As is always the case, the annual slate of Tony Award nominations, which were announced Tuesday morning, offered some unusual picks and unexpected snubs. Below are some of the most glaring omissions.
You will notice that my list does not include Hollywood names such as Jessica Chastain (“The Heiress”), Paul Rudd (“Grace”), Al Pacino (“Glengarry Glen Ross”) or Scarlett Johansson (“Cat on a Hot Tin Roof”) since no one expected any of them to score nominations.
The ‘Matilda’ quartet
The nominators opted not to nominate the four girls who alternate in the title role in “Matilda” as a single unit, as they did with the three boys in “Billy Elliot,” and instead recognized their joint achievement with a noncompetitive citation. That’s no fun.
This jukebox musical, which many automatically assumed would receive a Best New Musical slot on default, was rightfully shut out of the category, allowing the already closed but more worthy “Bring It On” to steal the last slot. Nice work nominators!
‘Harvey’ and Jim Parsons
The nominators completely forgot about the Roundabout’s pitch-perfect revival of this classic comedy from last summer, which was led by a charming performance by Jim Parsons.
Even those who found Richard Greenberg’s new play “The Assembled Parties” to be slow and pretentious must admit that Hecht gave an incredible, strikingly subtle performance as a delicate and aging Jewish mother.
Although Bette Midler is giving a zesty performance as the late Hollywood agent Sue Mengers in John Logan’s zinger-filled one-woman comedy “I’ll Eat You Last,” she lost out to others in the very competitive category of Best Actress in a Play.
It was no shocker that Alan Cumming’s one-man rendition of “Macbeth” was not nominated for Best Revival of a Play, but it was readily assumed that Cumming would be recognized for his herculean effort of portraying every major character.
It makes no sense to nominate “The Testament of Mary,” which is essentially just a rambling monologue, for Best New Play without recognizing Shaw’s raw, electrifying performance as the mother of Jesus.
Douglas Carter Beane’s comedic drama about a gay burlesque performer in 1930s Manhattan is a cumbersome but brave and substantial effort that deserved a nomination for Best Play. At least its star Nathan Lane got nominated.
Perhaps because he is giving a strangely kooky performance reminiscent of his character on “30 Rock,” Baldwin was passed over for Best Actor in a Play while his younger “Orphans” co-star Tom Sturridge was recognized.
While Cannavale is now giving an ineffective performance in Clifford Odets’ “The Big Knife,” he was the best part of the hot-selling but unnecessary revival of “Glengarry Glen Ross.”