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These are the user uploaded subtitles that are being translated: 1 00:00:02,000 --> 00:00:07,000 2 00:00:08,000 --> 00:00:13,000 3 00:00:11,010 --> 00:00:11,811 >> CYNTHIA! 4 00:00:11,878 --> 00:00:12,000 THEY NEED YOU ON STAGE, LIKE, NOW. 5 00:00:12,000 --> 00:00:13,613 THEY NEED YOU ON STAGE, LIKE, NOW. 6 00:00:13,680 --> 00:00:15,181 DO YOU KNOW WHAT YOU'RE DOING FOR THE OPENING NUMBER? 7 00:00:15,248 --> 00:00:15,982 >> Cynthia: I'M FIGURING IT OUT. 8 00:00:16,049 --> 00:00:17,283 >> IT'S THE TONYS! 9 00:00:17,350 --> 00:00:18,000 WE NEED COMEDY, WE NEED DANCE, WE NEED SPECTACLE. 10 00:00:18,000 --> 00:00:20,553 WE NEED COMEDY, WE NEED DANCE, WE NEED SPECTACLE. 11 00:00:20,620 --> 00:00:24,000 CAN YOU SHOOT GEORGE CLOONEY OUT OF HUMAN CANNON? 12 00:00:24,000 --> 00:00:25,358 CAN YOU SHOOT GEORGE CLOONEY OUT OF HUMAN CANNON? 13 00:00:25,425 --> 00:00:27,427 >> Cynthia: NO. 14 00:00:27,494 --> 00:00:28,528 NICE TO SEE YOU. 15 00:00:28,595 --> 00:00:29,662 >> YOU NEED STUNTS. 16 00:00:29,729 --> 00:00:30,000 PUSH ME DOWN THE STAIRS LIKE IN "DEATH BECOMES HER." 17 00:00:30,000 --> 00:00:30,630 PUSH ME DOWN THE STAIRS LIKE IN "DEATH BECOMES HER." 18 00:00:30,697 --> 00:00:31,431 >> Cynthia: NO! 19 00:00:31,498 --> 00:00:32,132 >> IT'S FINE! 20 00:00:32,198 --> 00:00:32,899 I'LL GET WORKER'S COMP. 21 00:00:32,966 --> 00:00:33,900 >> WE TALKING OPENING? 22 00:00:33,967 --> 00:00:36,000 WE NEED AMAZING COSTUMES AND QUICK CHANGES. 23 00:00:36,000 --> 00:00:38,438 WE NEED AMAZING COSTUMES AND QUICK CHANGES. 24 00:00:38,505 --> 00:00:42,000 >> Cynthia: I THINK I HAVE COSTUMES COVERED. 25 00:00:42,000 --> 00:00:46,946 >> Cynthia: I THINK I HAVE COSTUMES COVERED. 26 00:00:47,013 --> 00:00:48,000 >> CYNTHIA, YOU KNOW WHAT YOU NEED TO DO? 27 00:00:48,000 --> 00:00:48,248 >> CYNTHIA, YOU KNOW WHAT YOU NEED TO DO? 28 00:00:48,314 --> 00:00:53,019 [ELPHABA-STYLE VOCALIZING] >> Cynthia: I THINK THAT BELONGS TO 29 00:00:53,086 --> 00:00:53,753 DANIEL RADCLIFFE. 30 00:00:53,820 --> 00:00:54,000 >> CYNTHIA, HUGH JACKMAN CALLED. 31 00:00:54,000 --> 00:00:54,821 >> CYNTHIA, HUGH JACKMAN CALLED. 32 00:00:54,888 --> 00:00:55,955 HE SAYS WE NEED A HUGE AMOUNT OF TROMBONES. 33 00:00:56,022 --> 00:00:56,790 MORE THAN 75, BUT LESS THAN 77. 34 00:00:56,856 --> 00:00:57,524 >> Cynthia: NO! 35 00:00:57,590 --> 00:00:58,224 >> WELL, THEN WE NEED TO PATTER. 36 00:00:58,291 --> 00:00:58,792 KICK LINE. 37 00:00:58,858 --> 00:01:00,000 >> Cynthia: NO! 38 00:01:00,000 --> 00:01:02,128 >> Cynthia: NO! 39 00:01:02,195 --> 00:01:03,062 >> HWABOON? 40 00:01:03,129 --> 00:01:06,000 >> Cynthia: THANK YOU. 41 00:01:06,000 --> 00:01:06,766 >> Cynthia: THANK YOU. 42 00:01:06,833 --> 00:01:11,504 ♪ ♪ OPRAH, WHAT ARE YOU DOING HERE? 43 00:01:11,571 --> 00:01:12,000 >> IT'S THE TONYS. 44 00:01:12,000 --> 00:01:12,939 >> IT'S THE TONYS. 45 00:01:13,006 --> 00:01:14,207 IT'S YOU. 46 00:01:14,274 --> 00:01:16,976 I HAD TO BE HERE. 47 00:01:17,043 --> 00:01:17,977 >> Cynthia: WHAT DO YOU DO WHEN EVERYONE IS TELLING YOU WHAT YOU 48 00:01:18,044 --> 00:01:19,012 NEED TO DO? 49 00:01:19,078 --> 00:01:20,647 >> FORGET ABOUT THEM, BABE. 50 00:01:20,713 --> 00:01:23,349 THE ONLY THING YOU NEED TO DO IS BE YOURSELF. 51 00:01:23,416 --> 00:01:24,000 ♪ ♪ [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: ♪ SOME FOLKS LAND ALL 52 00:01:24,000 --> 00:01:30,000 ♪ ♪ [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: ♪ SOME FOLKS LAND ALL 53 00:01:30,000 --> 00:01:33,426 ♪ ♪ [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: ♪ SOME FOLKS LAND ALL 54 00:01:57,183 --> 00:02:00,000 THE PUNCHLINES ♪ ♪ AND BARELY BREAK A SWEAT ♪ ♪ WHILE OTHERS 55 00:02:00,000 --> 00:02:02,655 THE PUNCHLINES ♪ ♪ AND BARELY BREAK A SWEAT ♪ ♪ WHILE OTHERS 56 00:02:02,722 --> 00:02:06,000 CAN DO PATTER AS THEY DOUBLE-PIROUETTE ♪ ♪ WHETHER 57 00:02:06,000 --> 00:02:07,160 CAN DO PATTER AS THEY DOUBLE-PIROUETTE ♪ ♪ WHETHER 58 00:02:07,227 --> 00:02:12,000 COMEDY OR KICKLINE ♪ ♪ IF YOU'RE DOIN' YOU, YOU CAN'T GO WRONG ♪ 59 00:02:12,000 --> 00:02:17,270 COMEDY OR KICKLINE ♪ ♪ IF YOU'RE DOIN' YOU, YOU CAN'T GO WRONG ♪ 60 00:02:17,971 --> 00:02:18,000 ♪ AND SOMETIMES ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG 61 00:02:18,000 --> 00:02:24,000 ♪ AND SOMETIMES ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG 62 00:02:24,000 --> 00:02:27,981 ♪ AND SOMETIMES ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG 63 00:02:28,848 --> 00:02:30,000 ♪ ♪ OOH ♪ ♪ SOME MOMENTS CALL FOR GRANDEUR AS MIGHTY TRUMPETS 64 00:02:30,000 --> 00:02:34,087 ♪ ♪ OOH ♪ ♪ SOME MOMENTS CALL FOR GRANDEUR AS MIGHTY TRUMPETS 65 00:02:34,153 --> 00:02:36,000 BLARE ♪ ♪ SOME MOMENTS CALL FOR SLEIGHT OF HAND ♪ ♪ WELL, I 66 00:02:36,000 --> 00:02:37,857 BLARE ♪ ♪ SOME MOMENTS CALL FOR SLEIGHT OF HAND ♪ ♪ WELL, I 67 00:02:37,924 --> 00:02:42,000 CAN'T HELP YOU THERE ♪ ♪ AND SOMETIMES IT'S CONFETTI ♪ ♪ FROM 68 00:02:42,000 --> 00:02:42,061 CAN'T HELP YOU THERE ♪ ♪ AND SOMETIMES IT'S CONFETTI ♪ ♪ FROM 69 00:02:42,128 --> 00:02:48,000 CANNONS FIRIN' STEADY ALL NIGHT LONG ♪ ♪ BUT SOMETIMES ALL YOU 70 00:02:48,000 --> 00:02:52,171 CANNONS FIRIN' STEADY ALL NIGHT LONG ♪ ♪ BUT SOMETIMES ALL YOU 71 00:02:53,339 --> 00:02:54,000 NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ NOW, WE LOVE A BIG 72 00:02:54,000 --> 00:03:00,000 NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ NOW, WE LOVE A BIG 73 00:03:00,000 --> 00:03:02,382 NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ NOW, WE LOVE A BIG 74 00:03:02,448 --> 00:03:06,000 PRODUCTION WITH SETS THAT TOUCH THE SKY ♪ ♪ WHILE OTHER TIMES 75 00:03:06,000 --> 00:03:06,953 PRODUCTION WITH SETS THAT TOUCH THE SKY ♪ ♪ WHILE OTHER TIMES 76 00:03:07,020 --> 00:03:12,000 IT'S TRUE THAT LESS IS MORE ♪ ♪ WELL, ABOVE THAT BIG PRODUCTION 77 00:03:12,000 --> 00:03:13,059 IT'S TRUE THAT LESS IS MORE ♪ ♪ WELL, ABOVE THAT BIG PRODUCTION 78 00:03:13,126 --> 00:03:18,000 ♪ ♪ IF YOU REALLY WANNA FLY ♪ ♪ IT'S OUR STORIES AND OUR SONGS 79 00:03:18,000 --> 00:03:19,899 ♪ ♪ IF YOU REALLY WANNA FLY ♪ ♪ IT'S OUR STORIES AND OUR SONGS 80 00:03:19,966 --> 00:03:24,000 THAT LET US SOAR ♪ ♪ SO I TOOK IN ALL THE VOICES THAT TOLD ME 81 00:03:24,000 --> 00:03:28,708 THAT LET US SOAR ♪ ♪ SO I TOOK IN ALL THE VOICES THAT TOLD ME 82 00:03:28,775 --> 00:03:30,000 WHAT TO DO ♪ ♪ AND I LOOKED THROUGH ALL THE CHOICES ♪ ♪ AND 83 00:03:30,000 --> 00:03:36,000 WHAT TO DO ♪ ♪ AND I LOOKED THROUGH ALL THE CHOICES ♪ ♪ AND 84 00:03:36,000 --> 00:03:38,818 WHAT TO DO ♪ ♪ AND I LOOKED THROUGH ALL THE CHOICES ♪ ♪ AND 85 00:03:39,052 --> 00:03:42,000 I FOUND ONE THING IS TRUE ♪ ♪ IT'S REALLY VERY SIMPLE ♪ ♪ IT'S 86 00:03:42,000 --> 00:03:44,123 I FOUND ONE THING IS TRUE ♪ ♪ IT'S REALLY VERY SIMPLE ♪ ♪ IT'S 87 00:03:44,190 --> 00:03:48,000 THE THING THAT MAKES YOU SING ♪ ♪ THAT MAKES YOU STRONG ♪ ♪ AND 88 00:03:48,000 --> 00:03:51,965 THE THING THAT MAKES YOU SING ♪ ♪ THAT MAKES YOU STRONG ♪ ♪ AND 89 00:03:52,031 --> 00:03:54,000 SOMETIMES ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG 90 00:03:54,000 --> 00:04:00,000 SOMETIMES ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG 91 00:04:00,000 --> 00:04:02,041 SOMETIMES ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG 92 00:04:06,779 --> 00:04:11,851 ♪ WELCOME, BROADWAY INSPIRATIONAL VOICES! 93 00:04:11,918 --> 00:04:12,000 [APPLAUSE] ♪ ♪ >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ IT'S 94 00:04:12,000 --> 00:04:18,000 [APPLAUSE] ♪ ♪ >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ IT'S 95 00:04:18,000 --> 00:04:19,525 [APPLAUSE] ♪ ♪ >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ IT'S 96 00:04:19,592 --> 00:04:24,000 ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ IT'S ALL 97 00:04:24,000 --> 00:04:28,735 ALL YOU NEED ♪ ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ IT'S ALL 98 00:04:28,801 --> 00:04:30,000 YOU NEED ♪ ♪ AND SOMETIMES ALL YOU NEED IS SOME FIRST-TIME 99 00:04:30,000 --> 00:04:34,507 YOU NEED ♪ ♪ AND SOMETIMES ALL YOU NEED IS SOME FIRST-TIME 100 00:04:34,574 --> 00:04:36,000 NOMINEES ♪ >> ♪ OR WHEN AUDRA GLOWS AS MAMA ROSE ♪ >> ♪ AND WE 101 00:04:36,000 --> 00:04:37,510 NOMINEES ♪ >> ♪ OR WHEN AUDRA GLOWS AS MAMA ROSE ♪ >> ♪ AND WE 102 00:04:37,577 --> 00:04:41,047 ALL SING OUT LOUISE ♪ >> ♪ SING OUT LOUISE ♪ >> ♪ SOMETIMES ALL 103 00:04:41,114 --> 00:04:42,000 YOU NEED IS A PURPOSE TO ATTEND ♪ ♪ OR A STORY OF ROBOTIC LOVE ♪ 104 00:04:42,000 --> 00:04:45,752 YOU NEED IS A PURPOSE TO ATTEND ♪ ♪ OR A STORY OF ROBOTIC LOVE ♪ 105 00:04:45,818 --> 00:04:48,000 >> ♪ AND ITS MAYBE HAPPY END ♪ >> ♪ OH-OH ♪ ♪ SOMETIMES ALL YOU 106 00:04:48,000 --> 00:04:50,156 >> ♪ AND ITS MAYBE HAPPY END ♪ >> ♪ OH-OH ♪ ♪ SOMETIMES ALL YOU 107 00:04:50,223 --> 00:04:53,226 NEED IS TO BELT AS BLOOD DRIPS DOWN ♪ ♪ AND AS SMASH POPS OFF ♪ 108 00:04:53,292 --> 00:04:54,000 ♪ WELL, HERE COMES GROFF ♪ >> ♪ 'CAUSE JOHNNY'S BACK IN TOWN ♪ 109 00:04:54,000 --> 00:04:56,663 ♪ WELL, HERE COMES GROFF ♪ >> ♪ 'CAUSE JOHNNY'S BACK IN TOWN ♪ 110 00:04:56,729 --> 00:04:59,666 >> ♪ OH, SOMETIMES ALL YOU NEED ♪ >> ♪ IS ALL THIS TALENT ON 111 00:04:59,732 --> 00:05:00,000 DISPLAY ♪ >> ♪ GIMME ODENKIRK ♪ >> ♪ OR WATCH COLE WERK ♪ >> ♪ 112 00:05:00,000 --> 00:05:04,037 DISPLAY ♪ >> ♪ GIMME ODENKIRK ♪ >> ♪ OR WATCH COLE WERK ♪ >> ♪ 113 00:05:04,103 --> 00:05:05,405 AT "OH, MARY!'S 114 00:05:05,471 --> 00:05:06,000 S" CABARET ♪ ♪ OR DEAD DIVAS WHO LITERALLY SLAY ♪ ♪ OR DEAD 115 00:05:06,000 --> 00:05:08,041 S" CABARET ♪ ♪ OR DEAD DIVAS WHO LITERALLY SLAY ♪ ♪ OR DEAD 116 00:05:08,107 --> 00:05:11,978 OUTLAWS WHO SLOWLY DECAY ♪ >> ♪ CLOONEY, KIERAN, DOWNEY, DENZEL 117 00:05:12,045 --> 00:05:15,615 ♪ >> ♪ HALF OF HOLLYWOOD DID A PLAY ♪ ♪ WHILE THE CUBAN RHYTHMS 118 00:05:15,682 --> 00:05:18,000 SWAY ♪ >> ♪ BOOP ♪ >> ♪ THERE'S A MINCEMEAT MATINEE ♪ >> ♪ SEE 119 00:05:18,000 --> 00:05:18,718 SWAY ♪ >> ♪ BOOP ♪ >> ♪ THERE'S A MINCEMEAT MATINEE ♪ >> ♪ SEE 120 00:05:18,785 --> 00:05:21,587 BOOP ♪ >> ♪ SHIV ROY IS DORIAN GRAY ♪ >> ♪ YOU GET IT ALL ON 121 00:05:21,654 --> 00:05:24,000 BROADWAY ♪ >> ♪ IT'S ALL ON BROADWAY ♪ ♪ SO WHEN THE WORLD 122 00:05:24,000 --> 00:05:26,359 BROADWAY ♪ >> ♪ IT'S ALL ON BROADWAY ♪ ♪ SO WHEN THE WORLD 123 00:05:26,426 --> 00:05:30,000 IS LOOKIN' GLOOMY ♪ ♪ WELL, LET THAT CURTAIN RISE ♪ >> ♪ LET 124 00:05:30,000 --> 00:05:30,329 IS LOOKIN' GLOOMY ♪ ♪ WELL, LET THAT CURTAIN RISE ♪ >> ♪ LET 125 00:05:30,396 --> 00:05:33,232 THAT CURTAIN RISE ♪ >> ♪ 'CAUSE THE ANTIDOTE IS TO FIND YOUR 126 00:05:33,299 --> 00:05:36,000 NOTE ♪ ♪ AS WE ALL HARMONIZE ♪ >> ♪ WHOA ♪ >> ♪ WE'RE HERE AND 127 00:05:36,000 --> 00:05:36,669 NOTE ♪ ♪ AS WE ALL HARMONIZE ♪ >> ♪ WHOA ♪ >> ♪ WE'RE HERE AND 128 00:05:36,736 --> 00:05:40,106 HOLDIN' SPACE ♪ >> ♪ HOLDIN' SPACE ♪ >> ♪ 'CAUSE BROADWAY IS 129 00:05:40,173 --> 00:05:42,000 A PLACE WE ALL BELONG ♪ ♪ WHERE SOMETIMES ALL YOU NEED ♪ >> ♪ 130 00:05:42,000 --> 00:05:48,000 A PLACE WE ALL BELONG ♪ ♪ WHERE SOMETIMES ALL YOU NEED ♪ >> ♪ 131 00:05:48,000 --> 00:05:49,649 A PLACE WE ALL BELONG ♪ ♪ WHERE SOMETIMES ALL YOU NEED ♪ >> ♪ 132 00:05:49,716 --> 00:05:54,000 SOMETIMES ALL YOU NEED ♪ ♪ YEAH, SOMETIMES ALL YOU NEED IS A SONG 133 00:05:54,000 --> 00:05:59,726 SOMETIMES ALL YOU NEED ♪ ♪ YEAH, SOMETIMES ALL YOU NEED IS A SONG 134 00:06:02,628 --> 00:06:06,000 ♪ ♪ IT'S ALL YOU NEED ♪ >> Cynthia: OKAY, NOW. 135 00:06:06,000 --> 00:06:08,901 ♪ ♪ IT'S ALL YOU NEED ♪ >> Cynthia: OKAY, NOW. 136 00:06:08,968 --> 00:06:11,037 THIS IS WHERE YOU ALL JOIN IN. 137 00:06:11,104 --> 00:06:12,000 I CAN'T HAVE YOU BE AFRAID, BECAUSE I'LL PUT THIS MICROPHONE 138 00:06:12,000 --> 00:06:14,507 I CAN'T HAVE YOU BE AFRAID, BECAUSE I'LL PUT THIS MICROPHONE 139 00:06:14,574 --> 00:06:15,942 IN YOUR FACE. 140 00:06:16,008 --> 00:06:18,000 YOU BETTER SING, UNDERSTAND? 141 00:06:18,000 --> 00:06:19,112 YOU BETTER SING, UNDERSTAND? 142 00:06:19,178 --> 00:06:24,000 >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> Cynthia: I KNOW YOU 143 00:06:24,000 --> 00:06:26,586 >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> Cynthia: I KNOW YOU 144 00:06:26,652 --> 00:06:28,654 CAN SING THAT, COME ON. 145 00:06:28,721 --> 00:06:30,000 >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> ♪ IT'S ALL YOU NEED ♪ 146 00:06:30,000 --> 00:06:33,826 >> ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> ♪ IT'S ALL YOU NEED ♪ 147 00:06:33,893 --> 00:06:36,000 ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> [VOCALIZING] >> ♪ 148 00:06:36,000 --> 00:06:42,000 ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> [VOCALIZING] >> ♪ 149 00:06:42,000 --> 00:06:43,903 ♪ SOMETIMES ALL YOU NEED IS A SONG ♪ >> [VOCALIZING] >> ♪ 150 00:06:45,838 --> 00:06:48,000 SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ SOMETIMES ALL YOU NEED IS A 151 00:06:48,000 --> 00:06:54,000 SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ SOMETIMES ALL YOU NEED IS A 152 00:06:54,000 --> 00:06:55,848 SOMETIMES ALL YOU NEED IS A SONG ♪ ♪ SOMETIMES ALL YOU NEED IS A 153 00:07:01,521 --> 00:07:06,000 SONG ♪ 154 00:07:06,000 --> 00:07:11,531 SONG ♪ 155 00:07:21,374 --> 00:07:24,000 >> ♪ WELCOME TO THE 78TH ANNUAL TONY AWARDS! 156 00:07:24,000 --> 00:07:25,244 >> ♪ WELCOME TO THE 78TH ANNUAL TONY AWARDS! 157 00:07:25,311 --> 00:07:30,000 ♪ [CHEERS AND APPLAUSE] ♪ ♪ 158 00:07:30,000 --> 00:07:35,321 ♪ [CHEERS AND APPLAUSE] ♪ ♪ 159 00:07:50,736 --> 00:07:54,000 ♪ ♪ 160 00:07:54,000 --> 00:08:00,000 ♪ ♪ 161 00:08:00,000 --> 00:08:00,746 ♪ ♪ 162 00:08:03,349 --> 00:08:06,000 ♪ ♪ >> Cynthia: EVERYONE, WELCOME TO THE 78TH TONY AWARDS. 163 00:08:06,000 --> 00:08:12,000 ♪ ♪ >> Cynthia: EVERYONE, WELCOME TO THE 78TH TONY AWARDS. 164 00:08:12,000 --> 00:08:12,992 ♪ ♪ >> Cynthia: EVERYONE, WELCOME TO THE 78TH TONY AWARDS. 165 00:08:13,059 --> 00:08:16,963 [APPLAUSE] I'M CYNTHIA ERIVO, AND IT IS SO GOOD TO BE BACK. 166 00:08:17,029 --> 00:08:18,000 AS THEY APPARENTLY SAY IN A VERY FERTILE PIECE OF INTELLECTUAL 167 00:08:18,000 --> 00:08:22,902 AS THEY APPARENTLY SAY IN A VERY FERTILE PIECE OF INTELLECTUAL 168 00:08:22,969 --> 00:08:24,000 PROPERTY, THERE'S NO PLACE LIKE HOME. 169 00:08:24,000 --> 00:08:27,440 PROPERTY, THERE'S NO PLACE LIKE HOME. 170 00:08:27,506 --> 00:08:29,909 [LAUGHTER] AND BROADWAY HAS ALWAYS BEEN MINE. 171 00:08:29,976 --> 00:08:30,000 WHAT A SEASON! 172 00:08:30,000 --> 00:08:30,910 WHAT A SEASON! 173 00:08:30,977 --> 00:08:33,779 WHAT A LINEUP OF SHOWS BEING HONORED TONIGHT. 174 00:08:33,846 --> 00:08:36,000 DRAMAS, COMEDIES, STUNNING MUSICALS, ORIGINALS AND 175 00:08:36,000 --> 00:08:36,148 DRAMAS, COMEDIES, STUNNING MUSICALS, ORIGINALS AND 176 00:08:36,215 --> 00:08:39,318 REIMAGINATIONS OF THE HIGHEST ORDER. 177 00:08:39,385 --> 00:08:42,000 FEATURING FIRST-TIME NOMINEES LIKE COLE ESCOLA, SADIE SINK, 178 00:08:42,000 --> 00:08:48,000 FEATURING FIRST-TIME NOMINEES LIKE COLE ESCOLA, SADIE SINK, 179 00:08:48,000 --> 00:08:48,327 FEATURING FIRST-TIME NOMINEES LIKE COLE ESCOLA, SADIE SINK, 180 00:08:48,394 --> 00:08:48,761 YES. 181 00:08:48,828 --> 00:08:50,396 SADIE SINK. 182 00:08:50,463 --> 00:08:52,765 [APPLAUSE] LOUIS McCARTNEY, AND AN UP-AND-COMER WHO I THINK WE 183 00:08:52,832 --> 00:08:54,000 ARE GOING TO BE HEARING A LOT ABOUT -- GEORGE CLOONEY. 184 00:08:54,000 --> 00:08:56,302 ARE GOING TO BE HEARING A LOT ABOUT -- GEORGE CLOONEY. 185 00:08:56,369 --> 00:09:00,000 GOOD FOR YOU, GEORGE! 186 00:09:00,000 --> 00:09:01,274 GOOD FOR YOU, GEORGE! 187 00:09:01,340 --> 00:09:03,910 THINGS ARE GOING YOUR WAY. 188 00:09:03,976 --> 00:09:05,211 I LIKE IT A LOT FOR YOU. 189 00:09:05,278 --> 00:09:06,000 [LAUGHTER] THERE WERE SHOWS THAT TALK ABOUT OUR PRESENT, SHOWS 190 00:09:06,000 --> 00:09:08,347 [LAUGHTER] THERE WERE SHOWS THAT TALK ABOUT OUR PRESENT, SHOWS 191 00:09:08,414 --> 00:09:10,283 ABOUT THE FUTURES WE MIGHT LIVE IN, AND SHOWS THAT PAID HOMAGE 192 00:09:10,349 --> 00:09:12,000 TO AMERICA'S SEXIEST HISTORICAL FIGURES -- MARILYN MONROE, BETTY 193 00:09:12,000 --> 00:09:14,086 TO AMERICA'S SEXIEST HISTORICAL FIGURES -- MARILYN MONROE, BETTY 194 00:09:14,153 --> 00:09:18,000 BOOP, AND FLOYD COLLINS. 195 00:09:18,000 --> 00:09:18,925 BOOP, AND FLOYD COLLINS. 196 00:09:18,991 --> 00:09:20,893 [LAUGHTER] ALSO, THIS WAS BROADWAY'S MOST FINANCIALLY 197 00:09:20,960 --> 00:09:24,000 LUCRATIVE YEAR, EVER. 198 00:09:24,000 --> 00:09:28,401 LUCRATIVE YEAR, EVER. 199 00:09:28,467 --> 00:09:30,000 [APPLAUSE] BROADWAY IS OFFICIALLY BACK! 200 00:09:30,000 --> 00:09:33,039 [APPLAUSE] BROADWAY IS OFFICIALLY BACK! 201 00:09:33,105 --> 00:09:35,775 PROVIDED WE DON'T RUN OUT OF CAST MEMBERS FROM "SUCCESSION." 202 00:09:35,841 --> 00:09:36,000 [LAUGHTER] OKAY, THIS IS AMERICAN THEATER'S BIGGEST 203 00:09:36,000 --> 00:09:40,613 [LAUGHTER] OKAY, THIS IS AMERICAN THEATER'S BIGGEST 204 00:09:40,680 --> 00:09:41,614 NIGHT. 205 00:09:41,847 --> 00:09:42,000 I REALLY AM IN AWE OF THE ARTISTS IN THIS ROOM. 206 00:09:42,000 --> 00:09:44,884 I REALLY AM IN AWE OF THE ARTISTS IN THIS ROOM. 207 00:09:44,951 --> 00:09:47,920 I SAW NEARLY EVERYTHING THAT WAS NOMINATED, AND I AM MOVED TO 208 00:09:47,987 --> 00:09:48,000 HAVE BEEN PART OF THE AUDIENCES DURING THIS INCREDIBLE SEASON. 209 00:09:48,000 --> 00:09:49,755 HAVE BEEN PART OF THE AUDIENCES DURING THIS INCREDIBLE SEASON. 210 00:09:49,822 --> 00:09:54,000 WHATEVER HAPPENS TONIGHT, CONGRATULATIONS TO YOU ALL. 211 00:09:54,000 --> 00:09:56,495 WHATEVER HAPPENS TONIGHT, CONGRATULATIONS TO YOU ALL. 212 00:09:56,562 --> 00:10:00,000 [APPLAUSE] LET'S GET UNDERWAY. 213 00:10:00,000 --> 00:10:00,766 [APPLAUSE] LET'S GET UNDERWAY. 214 00:10:00,833 --> 00:10:03,602 OUR FIRST PRESENTERS ARE TWO BEST FRIEND FROM THE '80s WHO 215 00:10:06,005 --> 00:10:08,941 ARE GOING TO BE TOGETHER ON STAGE FOR THE FIRST TIME THIS 216 00:10:09,008 --> 00:10:10,710 FALL. 217 00:10:10,776 --> 00:10:12,000 PLEASE WELCOME TWO MEN WHO CAN ONLY BE DESCRIBED AS MOST 218 00:10:12,000 --> 00:10:13,980 PLEASE WELCOME TWO MEN WHO CAN ONLY BE DESCRIBED AS MOST 219 00:10:14,046 --> 00:10:18,000 EXCELLENT, KEANU REEVES AND ALEX WINTER. 220 00:10:18,000 --> 00:10:21,487 EXCELLENT, KEANU REEVES AND ALEX WINTER. 221 00:10:21,554 --> 00:10:24,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Alex: WE ARE THRILLED TO BE REUNITING FOR 222 00:10:24,000 --> 00:10:30,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Alex: WE ARE THRILLED TO BE REUNITING FOR 223 00:10:30,000 --> 00:10:31,564 [APPLAUSE] ♪ ♪ ♪ ♪ >> Alex: WE ARE THRILLED TO BE REUNITING FOR 224 00:10:36,135 --> 00:10:38,004 A NEW ADVENTURE THIS SEPTEMBER ON BROADWAY IN SAMUEL BECKETT'S 225 00:10:38,070 --> 00:10:42,000 "WAITING FOR GODOT." 226 00:10:42,000 --> 00:10:43,042 "WAITING FOR GODOT." 227 00:10:43,109 --> 00:10:44,710 [CHEERS AND APPLAUSE] >> Keanu: AND TONIGHT WE ARE HONORED TO 228 00:10:44,777 --> 00:10:48,000 PRESENT THE FIRST TONY AWARD OF THE EVENING, CELEBRATING 229 00:10:48,000 --> 00:10:48,214 PRESENT THE FIRST TONY AWARD OF THE EVENING, CELEBRATING 230 00:10:48,280 --> 00:10:52,118 EXCEPTIONAL PERFORMANCES THAT ILLUMINATED THIS RECORD-BREAKING 231 00:10:52,184 --> 00:10:53,185 SEASON. 232 00:10:53,486 --> 00:10:54,000 A TOTAL OF 31 DISTINCT AND ENGAGING CHARACTERS WERE CREATED 233 00:10:54,000 --> 00:10:56,522 A TOTAL OF 31 DISTINCT AND ENGAGING CHARACTERS WERE CREATED 234 00:10:56,589 --> 00:11:00,000 BY THESE FIVE INCREDIBLE TALENTS. 235 00:11:00,000 --> 00:11:00,059 BY THESE FIVE INCREDIBLE TALENTS. 236 00:11:00,126 --> 00:11:01,627 >> Alex: HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY AN 237 00:11:01,694 --> 00:11:06,000 ACTRESS IN A LEADING ROLE IN A PLAY. 238 00:11:06,000 --> 00:11:07,900 ACTRESS IN A LEADING ROLE IN A PLAY. 239 00:11:07,967 --> 00:11:12,000 ♪ ♪ >> Announcer: LAURA DONNELLY, "THE HILLS OF 240 00:11:12,000 --> 00:11:12,004 ♪ ♪ >> Announcer: LAURA DONNELLY, "THE HILLS OF 241 00:11:12,071 --> 00:11:12,705 CALIFORNIA." 242 00:11:12,772 --> 00:11:13,973 MIA FARROW, "THE ROOMMATE." 243 00:11:14,040 --> 00:11:18,000 LATANYA RICHARDSON JACKSON, "PURPOSE." 244 00:11:18,000 --> 00:11:19,945 LATANYA RICHARDSON JACKSON, "PURPOSE." 245 00:11:20,012 --> 00:11:24,000 SADIE SINK, "JOHN PROCTOR IS THE VILLAIN." 246 00:11:24,000 --> 00:11:24,683 SADIE SINK, "JOHN PROCTOR IS THE VILLAIN." 247 00:11:24,750 --> 00:11:30,000 SARAH SNOOK, "THE PICTURE OF DORIAN GRAY." 248 00:11:30,000 --> 00:11:33,459 SARAH SNOOK, "THE PICTURE OF DORIAN GRAY." 249 00:11:33,526 --> 00:11:36,000 [APPLAUSE] >> Keanu: AND THE TONY AWARD GOES TO... 250 00:11:36,000 --> 00:11:42,000 [APPLAUSE] >> Keanu: AND THE TONY AWARD GOES TO... 251 00:11:42,000 --> 00:11:42,968 [APPLAUSE] >> Keanu: AND THE TONY AWARD GOES TO... 252 00:11:43,035 --> 00:11:46,005 SARAH SNOOK, "THE PICTURE OF DORIAN GRAY." 253 00:11:46,072 --> 00:11:48,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: EMMY-WINNING ACTRESS 254 00:11:48,000 --> 00:11:54,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: EMMY-WINNING ACTRESS 255 00:11:54,000 --> 00:11:56,115 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: EMMY-WINNING ACTRESS 256 00:11:56,949 --> 00:12:00,000 SARAH SNOOK HAS A TONY AWARD FOR HER TO AWARD FOR HER T BROADWA 257 00:12:00,000 --> 00:12:04,623 SARAH SNOOK HAS A TONY AWARD FOR HER TO AWARD FOR HER T BROADWA 258 00:12:04,690 --> 00:12:05,458 DEBUT. 259 00:12:05,524 --> 00:12:06,000 ♪ ♪ >> HI! 260 00:12:06,000 --> 00:12:11,964 ♪ ♪ >> HI! 261 00:12:12,031 --> 00:12:13,099 IT DOES SPIN. 262 00:12:13,165 --> 00:12:16,969 I SAW IT IN THE VIDEO AND IT DOES SPIN, IT'S AMAZING. 263 00:12:17,036 --> 00:12:18,000 [LAUGHS] THIS IS AN INTIMIDATING ROOM FULL OF INCREDIBLE TALENTED 264 00:12:18,000 --> 00:12:20,739 [LAUGHS] THIS IS AN INTIMIDATING ROOM FULL OF INCREDIBLE TALENTED 265 00:12:20,806 --> 00:12:21,340 PEOPLE. 266 00:12:21,574 --> 00:12:22,808 THANK YOU SO MUCH FOR THIS. 267 00:12:22,875 --> 00:12:24,000 THIS MEANS SO MUCH FOR A LITTLE AUSTRALIAN GIRL TO BE HERE ON 268 00:12:24,000 --> 00:12:29,081 THIS MEANS SO MUCH FOR A LITTLE AUSTRALIAN GIRL TO BE HERE ON 269 00:12:29,148 --> 00:12:30,000 BROADWAY. 270 00:12:30,000 --> 00:12:30,716 BROADWAY. 271 00:12:30,783 --> 00:12:36,000 THANK YOU TO MY INCREDIBLE TEAM, UTA, BILLY, SCOTT, JENNY, AND 272 00:12:36,000 --> 00:12:39,191 THANK YOU TO MY INCREDIBLE TEAM, UTA, BILLY, SCOTT, JENNY, AND 273 00:12:39,258 --> 00:12:40,926 BEN, AND JUST EVERYBODY ON STAGE. 274 00:12:40,993 --> 00:12:42,000 IT IS BILLED AS A ONE PERSON SHOW AND I DON'T FEEL ALONE ANY 275 00:12:42,000 --> 00:12:45,564 IT IS BILLED AS A ONE PERSON SHOW AND I DON'T FEEL ALONE ANY 276 00:12:45,631 --> 00:12:47,800 NIGHT THAT I DO THIS SHOW. 277 00:12:47,867 --> 00:12:48,000 THERE ARE SO MANY PEOPLE ON THE STAGE MAKING IT WORK AND SO MANY 278 00:12:48,000 --> 00:12:49,602 THERE ARE SO MANY PEOPLE ON THE STAGE MAKING IT WORK AND SO MANY 279 00:12:49,668 --> 00:12:51,770 PEOPLE BEHIND THE STAGE MAKING IT WORK. 280 00:12:51,837 --> 00:12:54,000 IN PARTICULAR, A HUGE THANK YOU TO KIP WILLIAMS, WHO IS 281 00:12:54,000 --> 00:12:56,909 IN PARTICULAR, A HUGE THANK YOU TO KIP WILLIAMS, WHO IS 282 00:12:56,976 --> 00:12:58,477 INCREDIBLE, TO CREATE THIS. 283 00:12:58,544 --> 00:13:00,000 [APPLAUSE] AND AN EXCEPTIONAL THANK YOU, THE BIGGEST THANK YOU 284 00:13:00,000 --> 00:13:00,646 [APPLAUSE] AND AN EXCEPTIONAL THANK YOU, THE BIGGEST THANK YOU 285 00:13:00,713 --> 00:13:06,000 I CAN EVER GIVE TO MY HUSBAND, MY SOULSMATE, YOU ARE SO 286 00:13:06,000 --> 00:13:07,419 I CAN EVER GIVE TO MY HUSBAND, MY SOULSMATE, YOU ARE SO 287 00:13:07,486 --> 00:13:10,623 BRILLIANT HOLDING FAMILY TOGETHER AND LOOKING AFTER THE 288 00:13:10,689 --> 00:13:11,056 PHONES. 289 00:13:11,457 --> 00:13:12,000 THANK YOU. 290 00:13:12,000 --> 00:13:14,093 THANK YOU. 291 00:13:21,000 --> 00:13:22,935 [APPLAUSE] ♪ ♪ >> Cynthia: FROM "DEATH BECOMES HER," PLEASE 292 00:13:23,002 --> 00:13:24,000 WELCOME MICHELLE WILLIAMS. 293 00:13:24,000 --> 00:13:24,303 WELCOME MICHELLE WILLIAMS. 294 00:13:24,370 --> 00:13:30,000 [APPLAUSE] ♪ ♪ >> Michelle: DULL, GLOWLESS SKIN, WATTLING 295 00:13:30,000 --> 00:13:34,380 [APPLAUSE] ♪ ♪ >> Michelle: DULL, GLOWLESS SKIN, WATTLING 296 00:13:38,017 --> 00:13:42,000 TURKEY NECKS, SAGGING, SHAPELESS BREASTS, AND THAT'S JUST THE 297 00:13:42,000 --> 00:13:44,690 TURKEY NECKS, SAGGING, SHAPELESS BREASTS, AND THAT'S JUST THE 298 00:13:44,757 --> 00:13:46,592 FRONT ROW. 299 00:13:46,659 --> 00:13:48,000 [LAUGHTER] NOT YOU GUYS, NOT YOU GUYS. 300 00:13:48,000 --> 00:13:49,895 [LAUGHTER] NOT YOU GUYS, NOT YOU GUYS. 301 00:13:49,962 --> 00:13:52,198 THE FIRST NOMINATED MUSICAL IS AN OUTRAGEOUSLY FUNNY NEW COMEDY 302 00:13:52,264 --> 00:13:54,000 THAT'S SERVING ETERNAL YOUTH, WITH KILLER SIDE EFFECTS. 303 00:13:54,000 --> 00:13:57,169 THAT'S SERVING ETERNAL YOUTH, WITH KILLER SIDE EFFECTS. 304 00:13:57,236 --> 00:14:00,000 MEET MADELINE ASHTON, GLAMOROUS, VAIN ACTRESS, AND HELEN SHARP 305 00:14:00,000 --> 00:14:00,539 MEET MADELINE ASHTON, GLAMOROUS, VAIN ACTRESS, AND HELEN SHARP 306 00:14:00,606 --> 00:14:02,942 HER FRENEMY WITH A VENDETTA. 307 00:14:03,008 --> 00:14:06,000 I PLAY VIOLA VAN HORN, MYSTERIOUS, MAGICAL, AND SELLING 308 00:14:06,000 --> 00:14:09,215 I PLAY VIOLA VAN HORN, MYSTERIOUS, MAGICAL, AND SELLING 309 00:14:09,281 --> 00:14:11,016 YOUTH BY THE VIAL, HONEY. 310 00:14:11,083 --> 00:14:12,000 IN THIS NUMBER, MADELINE TAKES CENTER STAGE IN HER BROADWAY 311 00:14:12,000 --> 00:14:13,519 IN THIS NUMBER, MADELINE TAKES CENTER STAGE IN HER BROADWAY 312 00:14:13,586 --> 00:14:18,000 SHOW, "ME! 313 00:14:18,000 --> 00:14:18,057 SHOW, "ME! 314 00:14:18,123 --> 00:14:19,725 ME! 315 00:14:19,792 --> 00:14:21,360 ME!" 316 00:14:21,427 --> 00:14:23,762 GIVE IT UP FOR MEGAN HILTY AND MY HILARIOUS CAST MATES FROM 317 00:14:23,829 --> 00:14:24,000 "DEATH BECOMES HER!" 318 00:14:24,000 --> 00:14:24,964 "DEATH BECOMES HER!" 319 00:14:25,264 --> 00:14:30,000 [CHEERS AND APPLAUSE] ♪ ♪ >> ♪ WHY IS A GIRL LIKE ME SITTING 320 00:14:30,000 --> 00:14:32,137 [CHEERS AND APPLAUSE] ♪ ♪ >> ♪ WHY IS A GIRL LIKE ME SITTING 321 00:14:32,204 --> 00:14:36,000 HERE IN THIS CHAIR ♪ ♪ COMBING HER HAIR AND PAINTING HER FACE ♪ 322 00:14:36,000 --> 00:14:36,542 HERE IN THIS CHAIR ♪ ♪ COMBING HER HAIR AND PAINTING HER FACE ♪ 323 00:14:36,609 --> 00:14:38,177 ♪ IN THE CHASE TO STAY YOUNG AND BEAUTIFUL? 324 00:14:38,244 --> 00:14:42,000 ♪ ♪ WOULD YOU BELIEVE IT TO BE TRUE ♪ ♪ THAT I DO IT ALL FOR 325 00:14:42,000 --> 00:14:43,215 ♪ ♪ WOULD YOU BELIEVE IT TO BE TRUE ♪ ♪ THAT I DO IT ALL FOR 326 00:14:43,282 --> 00:14:44,049 YOU? 327 00:14:44,717 --> 00:14:48,000 ♪ ♪ FOR THAT GLIMMER IN YOUR EYE, FOR YOUR GAZE ♪ ♪ YES, 328 00:14:48,000 --> 00:14:50,889 ♪ ♪ FOR THAT GLIMMER IN YOUR EYE, FOR YOUR GAZE ♪ ♪ YES, 329 00:14:50,956 --> 00:14:54,000 EVERYTHING I DO IS FOR THE GAZE ♪ ♪ ♪ ♪ I'LL DO AN OUTFIT 330 00:14:54,000 --> 00:15:00,000 EVERYTHING I DO IS FOR THE GAZE ♪ ♪ ♪ ♪ I'LL DO AN OUTFIT 331 00:15:00,000 --> 00:15:00,966 EVERYTHING I DO IS FOR THE GAZE ♪ ♪ ♪ ♪ I'LL DO AN OUTFIT 332 00:15:01,033 --> 00:15:04,970 CHANGE, I'LL DO A TWIRL ♪ ♪ I'LL DO JUST ABOUT ANYTHING TO BE 333 00:15:05,037 --> 00:15:06,000 YOUR GIRL ♪ ♪ I'LL BE YOUR TINY DANCING QUEEN ♪ ♪ YOUR JUDY, 334 00:15:06,000 --> 00:15:11,777 YOUR GIRL ♪ ♪ I'LL BE YOUR TINY DANCING QUEEN ♪ ♪ YOUR JUDY, 335 00:15:11,844 --> 00:15:12,000 GAGA, CHER, CELINE ♪ ♪ I'LL OPTION UP ON CERTAIN MATINEES ♪ 336 00:15:12,000 --> 00:15:15,614 GAGA, CHER, CELINE ♪ ♪ I'LL OPTION UP ON CERTAIN MATINEES ♪ 337 00:15:15,681 --> 00:15:18,000 ♪ BUT ONLY FOR THE GAZE ♪ ♪ ♪ ♪ ♪ >> ♪ SHE WON'T GO QUIETLY ♪ ♪ 338 00:15:18,000 --> 00:15:24,000 ♪ BUT ONLY FOR THE GAZE ♪ ♪ ♪ ♪ ♪ >> ♪ SHE WON'T GO QUIETLY ♪ ♪ 339 00:15:24,000 --> 00:15:25,491 ♪ BUT ONLY FOR THE GAZE ♪ ♪ ♪ ♪ ♪ >> ♪ SHE WON'T GO QUIETLY ♪ ♪ 340 00:15:25,557 --> 00:15:30,000 OR BE IGNORED ♪ ♪ IT'S TRUE ♪ ♪ BE CAREFUL IF YOU PUSH HER ♪ ♪ 341 00:15:30,000 --> 00:15:32,931 OR BE IGNORED ♪ ♪ IT'S TRUE ♪ ♪ BE CAREFUL IF YOU PUSH HER ♪ ♪ 342 00:15:32,998 --> 00:15:35,567 SHE'LL GO OVERBOARD, SPLISH-SPLASH ♪ ♪ WITH EVERY 343 00:15:35,634 --> 00:15:36,000 MOVE WE LOVE HER MORE ♪ ♪ WE LOVE HER 'CAUSE SHE DOES IT FOR 344 00:15:36,000 --> 00:15:39,772 MOVE WE LOVE HER MORE ♪ ♪ WE LOVE HER 'CAUSE SHE DOES IT FOR 345 00:15:39,838 --> 00:15:42,000 THE GAZE ♪ >> ♪ I'M JUST A 20-SOMETHING INGENUE ♪ ♪ 346 00:15:42,000 --> 00:15:45,010 THE GAZE ♪ >> ♪ I'M JUST A 20-SOMETHING INGENUE ♪ ♪ 347 00:15:45,077 --> 00:15:48,000 BEVELING BEFORE YOU, BEGGING FOR YOUR PRAISE ♪ ♪ PLEASE LOVE ME ♪ 348 00:15:48,000 --> 00:15:51,450 BEVELING BEFORE YOU, BEGGING FOR YOUR PRAISE ♪ ♪ PLEASE LOVE ME ♪ 349 00:15:51,517 --> 00:15:54,000 ♪ GIVE ME THE GAZE ♪ ♪ THE GAZE LOVE ME ♪ ♪ I NEED THE GAZE, THE 350 00:15:54,000 --> 00:15:55,154 ♪ GIVE ME THE GAZE ♪ ♪ THE GAZE LOVE ME ♪ ♪ I NEED THE GAZE, THE 351 00:15:55,220 --> 00:16:00,000 GAZE LOVE ME ♪ ♪ THE GAZE LOVE ME ♪ ♪ ♪ ♪ ♪ >> HUH! 352 00:16:00,000 --> 00:16:05,230 GAZE LOVE ME ♪ ♪ THE GAZE LOVE ME ♪ ♪ ♪ ♪ ♪ >> HUH! 353 00:16:18,877 --> 00:16:24,000 ♪ ♪ ♪ ♪ >> WHOO! 354 00:16:24,000 --> 00:16:28,887 ♪ ♪ ♪ ♪ >> WHOO! 355 00:16:37,129 --> 00:16:42,000 ♪ ♪ ♪ OOH, AAH ♪ ♪ ♪ ♪ OOH, AAH ♪ ♪ ♪ ♪ ♪ >> ♪ OH, IT'S THE 356 00:16:42,000 --> 00:16:47,139 ♪ ♪ ♪ OOH, AAH ♪ ♪ ♪ ♪ OOH, AAH ♪ ♪ ♪ ♪ ♪ >> ♪ OH, IT'S THE 357 00:17:06,425 --> 00:17:11,029 GREATEST GIFT ♪ ♪ THE GREATEST LOVE ♪ ♪ THE GREATEST CLUB TO 358 00:17:11,096 --> 00:17:12,000 GET TO BE A MEMBER OF ♪ ♪ 'CAUSE IF YOU ASK ME, WHEN PUSH COMES 359 00:17:12,000 --> 00:17:15,801 GET TO BE A MEMBER OF ♪ ♪ 'CAUSE IF YOU ASK ME, WHEN PUSH COMES 360 00:17:15,868 --> 00:17:18,000 TO SHOVE ♪ ♪ IT'S FOR THE GAZE ♪ ♪ FORGIVE ME IF I'M COMING ON 361 00:17:18,000 --> 00:17:22,674 TO SHOVE ♪ ♪ IT'S FOR THE GAZE ♪ ♪ FORGIVE ME IF I'M COMING ON 362 00:17:22,741 --> 00:17:24,000 TOO STRONG ♪ ♪ I JUST WANT TO BE LOVED AND FEEL LIKE I BELONG ♪ ♪ 363 00:17:24,000 --> 00:17:29,048 TOO STRONG ♪ ♪ I JUST WANT TO BE LOVED AND FEEL LIKE I BELONG ♪ ♪ 364 00:17:29,114 --> 00:17:30,000 THAT'S WHY I WEAR THIS LITTLE GOWN AND SING THIS LITTLE SONG ♪ 365 00:17:30,000 --> 00:17:30,916 THAT'S WHY I WEAR THIS LITTLE GOWN AND SING THIS LITTLE SONG ♪ 366 00:17:30,983 --> 00:17:36,000 ♪ IT'S FOR THE GAZE ♪ ♪ I'D DO ANYTHING FOR ♪ >> ♪ SHE'D DO 367 00:17:36,000 --> 00:17:37,523 ♪ IT'S FOR THE GAZE ♪ ♪ I'D DO ANYTHING FOR ♪ >> ♪ SHE'D DO 368 00:17:37,589 --> 00:17:42,000 ANYTHING FOR ♪ >> ♪ WE ALL KNOW THAT THIS WHOLE DAMN SHOW ♪ ♪ IS 369 00:17:42,000 --> 00:17:44,463 ANYTHING FOR ♪ >> ♪ WE ALL KNOW THAT THIS WHOLE DAMN SHOW ♪ ♪ IS 370 00:17:44,530 --> 00:17:48,000 FOR THE GAZE ♪ >> ♪7 ALL FOR THE GAZE, THE GAZE ♪ >> ♪ ANYTHING 371 00:17:48,000 --> 00:17:49,902 FOR THE GAZE ♪ >> ♪7 ALL FOR THE GAZE, THE GAZE ♪ >> ♪ ANYTHING 372 00:17:49,968 --> 00:17:54,000 FOR THE GAZE ♪ [CHEERS AND APPLAUSE] ♪ ♪ >> Brian: UP NEXT, 373 00:17:54,000 --> 00:17:59,978 FOR THE GAZE ♪ [CHEERS AND APPLAUSE] ♪ ♪ >> Brian: UP NEXT, 374 00:18:07,753 --> 00:18:12,000 THE HEART-PUMPING RHYTHMS OF "BUENA VISTA SOCIAL CLUB." 375 00:18:12,000 --> 00:18:12,458 THE HEART-PUMPING RHYTHMS OF "BUENA VISTA SOCIAL CLUB." 376 00:18:12,524 --> 00:18:15,127 AND LATER, THE ORIGINAL COMPANY OF "HAMILTON" REUNITES FOR A 377 00:18:15,194 --> 00:18:18,000 SPECTACULAR TENTH ANNIVERSARY PERFORMANCE. 378 00:18:18,000 --> 00:18:19,832 SPECTACULAR TENTH ANNIVERSARY PERFORMANCE. 379 00:18:19,898 --> 00:18:22,901 I'M BRIAN STOKES MITCHELL, AND I'LL BE HERE ALL NIGHT. 380 00:18:22,968 --> 00:18:24,000 THE TONY AWARDS. 381 00:18:24,000 --> 00:18:25,170 THE TONY AWARDS. 382 00:18:25,237 --> 00:18:27,239 THIS IS CBS. 383 00:18:38,984 --> 00:18:40,919 ♪ ♪ [APPLAUSE] >> Cynthia: WE'RE BACK AT THE BEAUTIFUL RADIO CITY 384 00:18:40,986 --> 00:18:41,954 MUSIC HALL. 385 00:18:42,321 --> 00:18:44,623 REAL QUICK, EVERYONE, HOUSE RULES AND SUGGESTED ETIQUETTE. 386 00:18:44,690 --> 00:18:46,658 NO EATING, NO TEXTING. 387 00:18:46,725 --> 00:18:48,000 IF YOU ARE NOMINATED AND LOSE, SMILE AND PRETEND, LIKE WE'VE 388 00:18:48,000 --> 00:18:48,560 IF YOU ARE NOMINATED AND LOSE, SMILE AND PRETEND, LIKE WE'VE 389 00:18:48,627 --> 00:18:52,130 ALL HAD TO DO. 390 00:18:52,197 --> 00:18:54,000 [LAUGHTER] MORE IMPORTANTLY: FROM YOUR SEAT TO THE 391 00:18:54,000 --> 00:18:54,032 [LAUGHTER] MORE IMPORTANTLY: FROM YOUR SEAT TO THE 392 00:18:54,099 --> 00:18:56,201 MICROPHONE, 90 SECONDS TO SPEAK. 393 00:18:56,268 --> 00:18:57,469 90 SECONDS. 394 00:18:57,536 --> 00:18:58,971 IF YOU GO OVER, YOU WILL BE PLAYED OFF, OR I WILL SING YOU 395 00:18:59,037 --> 00:19:00,000 OFF. 396 00:19:00,000 --> 00:19:03,876 OFF. 397 00:19:03,942 --> 00:19:06,000 ♪ AND NOW THE END IS NEAR, AND SO I FACE MY FINAL CURTAIN ♪ 398 00:19:06,000 --> 00:19:11,149 ♪ AND NOW THE END IS NEAR, AND SO I FACE MY FINAL CURTAIN ♪ 399 00:19:11,216 --> 00:19:12,000 DON'T MESS WITH ME. 400 00:19:12,000 --> 00:19:12,251 DON'T MESS WITH ME. 401 00:19:12,317 --> 00:19:14,086 I'VE BEEN KNOWN TO CAST A FEW SPELLS IN MY TIME. 402 00:19:14,152 --> 00:19:15,687 AND, MOST IMPORTANTLY, SPEAK FROM THE HEART. 403 00:19:15,754 --> 00:19:18,000 OKAY, OUR NEXT PRESENTERS INCLUDE ONE OF MY SISTERS, AN 404 00:19:18,000 --> 00:19:20,158 OKAY, OUR NEXT PRESENTERS INCLUDE ONE OF MY SISTERS, AN 405 00:19:20,225 --> 00:19:22,194 OSCAR AND TONY NOMINEE WHO HAS STARRED IN TWO "COLOR PURPLES," 406 00:19:22,261 --> 00:19:24,000 AND A STAR OF THIS SEASON'S TONY-NOMINATED REVIVAL OF "OUR 407 00:19:24,000 --> 00:19:25,063 AND A STAR OF THIS SEASON'S TONY-NOMINATED REVIVAL OF "OUR 408 00:19:25,130 --> 00:19:26,431 TOWN." 409 00:19:26,498 --> 00:19:28,400 PLEASE WELCOME DANIELLE BROOKS AND KATIE HOLMES. 410 00:19:28,467 --> 00:19:30,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Danielle: EACH TIME THE CURTAIN RISES, A 411 00:19:30,000 --> 00:19:36,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Danielle: EACH TIME THE CURTAIN RISES, A 412 00:19:36,000 --> 00:19:38,477 [APPLAUSE] ♪ ♪ ♪ ♪ >> Danielle: EACH TIME THE CURTAIN RISES, A 413 00:19:50,556 --> 00:19:53,425 NEW ENCOUNTER AND A UNIQUE EXPERIENCE FOR ACTORS AND THEIR 414 00:19:53,492 --> 00:19:54,000 AUDIENCE BEGINS. 415 00:19:54,000 --> 00:19:55,527 AUDIENCE BEGINS. 416 00:19:55,594 --> 00:20:00,000 THE INTIMACY AND IMMEDIACY OF THAT RELATIONSHIP EXISTS ONLY 417 00:20:00,000 --> 00:20:00,198 THE INTIMACY AND IMMEDIACY OF THAT RELATIONSHIP EXISTS ONLY 418 00:20:00,265 --> 00:20:03,201 ONCE AS THE NEXT GROUP OF THEATERGOERS CREATES AN EXCITING 419 00:20:03,268 --> 00:20:06,000 NEW DYNAMIC. 420 00:20:06,000 --> 00:20:06,772 NEW DYNAMIC. 421 00:20:06,838 --> 00:20:09,207 >> Katie: IT WAS A PLEASURE TO COME BACK TO BROADWAY THIS YEAR 422 00:20:09,274 --> 00:20:11,843 FOR THE UNRIVALED THRILL OF BECOMING ONE WITH THE AUDIENCES 423 00:20:11,910 --> 00:20:12,000 HERE. 424 00:20:12,000 --> 00:20:13,845 HERE. 425 00:20:13,912 --> 00:20:16,782 THESE NEXT ARTISTS INSPIRED THE THEATERGOERS OF TODAY AND THE 426 00:20:16,848 --> 00:20:18,000 PERFORMERS OF TOMORROW. 427 00:20:18,000 --> 00:20:18,750 PERFORMERS OF TOMORROW. 428 00:20:18,817 --> 00:20:22,321 THE NOMINEES FOR BEST PERFORMANCE BY AN ACTOR IN A 429 00:20:22,387 --> 00:20:24,000 FEATURED ROLE IN A PLAY. 430 00:20:24,000 --> 00:20:27,426 FEATURED ROLE IN A PLAY. 431 00:20:27,492 --> 00:20:30,000 >> Announcer: GLENN DAVIS, "PURPOSE." 432 00:20:30,000 --> 00:20:31,830 >> Announcer: GLENN DAVIS, "PURPOSE." 433 00:20:31,897 --> 00:20:36,000 GABRIEL EBERT, "JOHN PROCTOR IS THE VILLAIN." 434 00:20:36,000 --> 00:20:36,268 GABRIEL EBERT, "JOHN PROCTOR IS THE VILLAIN." 435 00:20:36,335 --> 00:20:40,505 FRANCIS JUE, "YELLOW FACE." 436 00:20:40,572 --> 00:20:42,000 BOB ODENKIRK, "GLENGARRY GLEN ROSS." 437 00:20:42,000 --> 00:20:47,546 BOB ODENKIRK, "GLENGARRY GLEN ROSS." 438 00:20:47,613 --> 00:20:48,000 CONRAD RICAMORA, "OH, MARY!" 439 00:20:48,000 --> 00:20:53,752 CONRAD RICAMORA, "OH, MARY!" 440 00:20:53,819 --> 00:20:54,000 [APPLAUSE] ♪ ♪ >> Danielle: AND THE AMERICAN THEATRE WING'S TONY 441 00:20:54,000 --> 00:20:57,255 [APPLAUSE] ♪ ♪ >> Danielle: AND THE AMERICAN THEATRE WING'S TONY 442 00:20:57,322 --> 00:21:00,000 AWARD GOES TO... 443 00:21:00,000 --> 00:21:01,760 AWARD GOES TO... 444 00:21:01,827 --> 00:21:02,527 FRANCIS JUE. 445 00:21:03,195 --> 00:21:06,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: THIS IS THE FIRST 446 00:21:06,000 --> 00:21:09,935 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: THIS IS THE FIRST 447 00:21:10,002 --> 00:21:12,000 NOMINATION ANTONIO WARD WIN FOR YALE GRADUATE FRANCIS JUE. 448 00:21:12,000 --> 00:21:18,000 NOMINATION ANTONIO WARD WIN FOR YALE GRADUATE FRANCIS JUE. 449 00:21:18,000 --> 00:21:20,012 NOMINATION ANTONIO WARD WIN FOR YALE GRADUATE FRANCIS JUE. 450 00:21:30,022 --> 00:21:33,959 >> 20 YEARS AGO, WONDERFUL ACTOR, SINGER ALVIN NG GAVE ME 451 00:21:34,026 --> 00:21:34,726 THIS TUX. 452 00:21:35,260 --> 00:21:36,000 HE HAD IT MADE FOR HIMSELF FOR THE OPENING OF "PACIFIC 453 00:21:36,000 --> 00:21:38,997 HE HAD IT MADE FOR HIMSELF FOR THE OPENING OF "PACIFIC 454 00:21:39,064 --> 00:21:42,000 OVERTURES" ON BROADWAY IN 1976. 455 00:21:42,000 --> 00:21:43,969 OVERTURES" ON BROADWAY IN 1976. 456 00:21:44,036 --> 00:21:46,972 WHEN HE GAVE IT TO ME HE TOLD ME HE WANTED ME TO WEAR IT WHEN I 457 00:21:47,039 --> 00:21:48,000 ACCEPTED MY TONY AWARD. 458 00:21:48,000 --> 00:21:49,908 ACCEPTED MY TONY AWARD. 459 00:21:49,975 --> 00:21:54,000 [CHEERS AND APPLAUSE] I AM ONLY HERE BECAUSE OF THE 460 00:21:54,000 --> 00:21:59,985 [CHEERS AND APPLAUSE] I AM ONLY HERE BECAUSE OF THE 461 00:22:01,687 --> 00:22:04,156 ENCOURAGEMENT AND INSPIRATION OF GENERATIONS OF WONDERFUL, 462 00:22:04,222 --> 00:22:05,323 DENERATIONS OF WONDERFUL, DESERATIONS OF WONDERFUL, 463 00:22:05,390 --> 00:22:06,000 DESERVTIONS OF WONDERFUL, DESERVINONS OF WONDERFUL, 464 00:22:06,000 --> 00:22:06,491 DESERVTIONS OF WONDERFUL, DESERVINONS OF WONDERFUL, 465 00:22:06,558 --> 00:22:07,659 DESERVING S OF WONDERFUL, DESERVING ASOF WONDERFUL, 466 00:22:07,726 --> 00:22:08,827 DESERVING ASIA WONDERFUL, DESERVING ASIAN ONDERFUL, 467 00:22:08,894 --> 00:22:09,995 DESERVING ASIAN ARDERFUL, DESERVING ASIAN ARTIRFUL, 468 00:22:10,062 --> 00:22:10,962 DESERVING ASIAN ARTISTUL, DESERVING ASIAN ARTISTS , 469 00:22:11,029 --> 00:22:12,000 DESERVING ASIAN ARTISTS WHO CAME BEFORE ME. 470 00:22:12,000 --> 00:22:12,230 DESERVING ASIAN ARTISTS WHO CAME BEFORE ME. 471 00:22:12,297 --> 00:22:15,233 [APPLAUSE] AND NEVER GOT THE OPPORTUNITIES THAT I HAVE HAD. 472 00:22:15,300 --> 00:22:18,000 IT CAN BE DIFFICULT IN CHALLENGING TIMES TO BE BRAVE, 473 00:22:18,000 --> 00:22:19,304 IT CAN BE DIFFICULT IN CHALLENGING TIMES TO BE BRAVE, 474 00:22:19,371 --> 00:22:22,207 SO I WOULD LIKE TO THANK SCOTT ELLIS AND ROUNDABOUT THEATER FOR 475 00:22:22,274 --> 00:22:24,000 DARING TO DO A PLAY CALLED "YELLOW FACE" IN AN ELECTION 476 00:22:24,000 --> 00:22:27,379 DARING TO DO A PLAY CALLED "YELLOW FACE" IN AN ELECTION 477 00:22:27,446 --> 00:22:27,979 SEASON. 478 00:22:28,780 --> 00:22:30,000 THANK YOU TO DAVID HENRY LONG FOR ME AND SO MANY OTHERS OF 479 00:22:30,000 --> 00:22:31,516 THANK YOU TO DAVID HENRY LONG FOR ME AND SO MANY OTHERS OF 480 00:22:31,583 --> 00:22:32,684 VOICE. 481 00:22:32,751 --> 00:22:34,586 THANK YOU TO THE BILLY DIRECTOR, LEIGH SILVERMAN , WHOSE 482 00:22:34,653 --> 00:22:36,000 INTEGRITY MADE THIS ENTIRE GORGEOUS PRODUCTION SEWE ENTIRE 483 00:22:36,000 --> 00:22:41,793 INTEGRITY MADE THIS ENTIRE GORGEOUS PRODUCTION SEWE ENTIRE 484 00:22:41,860 --> 00:22:42,000 GORGEOUS PRODUCTION SEW SEWER. 485 00:22:42,000 --> 00:22:42,828 GORGEOUS PRODUCTION SEW SEWER. 486 00:22:43,195 --> 00:22:45,831 FOR THOSE WHO DON'T FEEL SEEN, FOR THOSE BEING TARGETED IN 487 00:22:45,897 --> 00:22:48,000 THESE AUTHORITARIAN TIMES, I SEE YOU. 488 00:22:48,000 --> 00:22:49,401 THESE AUTHORITARIAN TIMES, I SEE YOU. 489 00:22:49,468 --> 00:22:53,705 AT ITS BEST, THIS COMMUNITY SEES YOU. 490 00:22:53,772 --> 00:22:54,000 [APPLAUSE] AND I HOPE THAT ENCOURAGES YOU TO BE BRAVE AND 491 00:22:54,000 --> 00:22:58,043 [APPLAUSE] AND I HOPE THAT ENCOURAGES YOU TO BE BRAVE AND 492 00:22:58,110 --> 00:22:59,311 TO DREAM AND TO DREAM BIG. 493 00:22:59,377 --> 00:23:00,000 THANK YOU SO MUCH. 494 00:23:00,000 --> 00:23:03,882 THANK YOU SO MUCH. 495 00:23:03,949 --> 00:23:06,000 [APPLAUSE] MUSIC OF THE HOME >> Cynthia: PLEASE WELCOME 496 00:23:06,000 --> 00:23:12,000 [APPLAUSE] MUSIC OF THE HOME >> Cynthia: PLEASE WELCOME 497 00:23:12,000 --> 00:23:12,491 [APPLAUSE] MUSIC OF THE HOME >> Cynthia: PLEASE WELCOME 498 00:23:12,557 --> 00:23:18,000 EMMY-WINNING CHOREOGRAPHER JULIANNE HOUGH. 499 00:23:18,000 --> 00:23:22,567 EMMY-WINNING CHOREOGRAPHER JULIANNE HOUGH. 500 00:23:27,005 --> 00:23:29,708 [APPLAUSE] >> Julianne: EARLIER TONIGHT, PATRICIA DELGADO AND 501 00:23:29,775 --> 00:23:30,000 JUSTIN PECK RECEIVED THE TONY FOR THEIR AMAZING CHOREOGRAPHY 502 00:23:30,000 --> 00:23:33,678 JUSTIN PECK RECEIVED THE TONY FOR THEIR AMAZING CHOREOGRAPHY 503 00:23:33,745 --> 00:23:36,000 OF THE NEXT NOMINATED MUSICAL. 504 00:23:36,000 --> 00:23:37,315 OF THE NEXT NOMINATED MUSICAL. 505 00:23:37,382 --> 00:23:42,000 INSPIRED BY TRUE EVENTS, IT TRANSPORTS US TO HAVANA, WHERE 506 00:23:42,000 --> 00:23:42,254 INSPIRED BY TRUE EVENTS, IT TRANSPORTS US TO HAVANA, WHERE 507 00:23:42,320 --> 00:23:44,356 BLAZING TRUMPETS AND SIZZLING GUITARS SET THE DANCE FLOOR ON 508 00:23:44,422 --> 00:23:46,625 FIRE. 509 00:23:46,691 --> 00:23:48,000 SEEN THROUGH THE EYES OF THE LEGENDS WHO LIVED IT, FORGOTTEN 510 00:23:48,000 --> 00:23:52,264 SEEN THROUGH THE EYES OF THE LEGENDS WHO LIVED IT, FORGOTTEN 511 00:23:52,330 --> 00:23:54,000 MUSICIANS ARE REUNITED TO IMMORTALIZE THEIR HISTORIC CUBAN 512 00:23:54,000 --> 00:23:56,401 MUSICIANS ARE REUNITED TO IMMORTALIZE THEIR HISTORIC CUBAN 513 00:23:56,468 --> 00:23:59,571 SOUND AS ONE WOMAN DISCOVERS THE MUSIC THAT WILL FOREVER CHANGE 514 00:23:59,638 --> 00:24:00,000 HER LIFE. 515 00:24:00,000 --> 00:24:00,639 HER LIFE. 516 00:24:00,939 --> 00:24:02,507 PLEASE WELCOME THE COMPANY OF "BUENA VISTA SOCIAL CLUB." 517 00:24:02,574 --> 00:24:06,000 [APPLAUSE] ♪ ♪ >> THERE'S THIS PLACE IN MARIANAO -- WE ARE 518 00:24:06,000 --> 00:24:12,000 [APPLAUSE] ♪ ♪ >> THERE'S THIS PLACE IN MARIANAO -- WE ARE 519 00:24:12,000 --> 00:24:12,584 [APPLAUSE] ♪ ♪ >> THERE'S THIS PLACE IN MARIANAO -- WE ARE 520 00:24:12,651 --> 00:24:13,685 PLAYING THERE TONIGHT. 521 00:24:13,752 --> 00:24:15,487 >> ISN'T THAT NEIGHBORHOOD DANGEROUS? 522 00:24:15,554 --> 00:24:17,255 >> IT'S ON THE OTHER SIDE OF TOWN, SO PEOPLE MAKE CERTAIN 523 00:24:17,322 --> 00:24:18,000 ASSUMPTIONS. 524 00:24:18,000 --> 00:24:18,356 ASSUMPTIONS. 525 00:24:18,423 --> 00:24:20,025 BUT I PROMISE, IT'S SAFE. 526 00:24:20,091 --> 00:24:21,626 >> WHAT'S THIS PLACE CALLED? 527 00:24:21,693 --> 00:24:24,000 ♪ ♪ >> THE BUENA VISTA SOCIAL CLUB ♪ ♪ ♪ AY, CANDELA, CANDELA 528 00:24:24,000 --> 00:24:30,000 ♪ ♪ >> THE BUENA VISTA SOCIAL CLUB ♪ ♪ ♪ AY, CANDELA, CANDELA 529 00:24:30,000 --> 00:24:31,703 ♪ ♪ >> THE BUENA VISTA SOCIAL CLUB ♪ ♪ ♪ AY, CANDELA, CANDELA 530 00:24:35,173 --> 00:24:36,000 ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ CANDELA ME 531 00:24:36,000 --> 00:24:39,244 ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ CANDELA ME 532 00:24:39,311 --> 00:24:42,000 QUEMO AÉ ♪ ♪ PUSO UN BAILE UNA JUTÍA, PARA UNA GRAN DIVERSIÓN ♪ 533 00:24:42,000 --> 00:24:44,149 QUEMO AÉ ♪ ♪ PUSO UN BAILE UNA JUTÍA, PARA UNA GRAN DIVERSIÓN ♪ 534 00:24:44,216 --> 00:24:48,000 ♪ DE TIMBALERO UN RATÓN, QUE ALEGRABA EL CAMPO UN DÍA ♪ ♪ UN 535 00:24:48,000 --> 00:24:50,555 ♪ DE TIMBALERO UN RATÓN, QUE ALEGRABA EL CAMPO UN DÍA ♪ ♪ UN 536 00:24:50,622 --> 00:24:54,000 GATO TAMBIÉN VENÍA, ELEGANTE Y PLACENTERO ♪ ♪ BUENAS NOCHES, 537 00:24:54,000 --> 00:24:54,492 GATO TAMBIÉN VENÍA, ELEGANTE Y PLACENTERO ♪ ♪ BUENAS NOCHES, 538 00:24:54,559 --> 00:24:59,497 COMPAÑERO, SIEMPRE FIJO HACIA EL TIMBAL ♪ ♪ PARA EL CHIVO DE 539 00:24:59,564 --> 00:25:00,000 TOCAR, PARA DESCANSAR UN POCO ♪ ♪ SALIÓ EL RATÓN MEDIO LOCO, 540 00:25:00,000 --> 00:25:04,302 TOCAR, PARA DESCANSAR UN POCO ♪ ♪ SALIÓ EL RATÓN MEDIO LOCO, 541 00:25:04,369 --> 00:25:06,000 TAMBIÉN VOY A DESCANSAR ♪ ♪ Y EL GATO EN SU BUEN BAILAR, BAILABA 542 00:25:06,000 --> 00:25:10,809 TAMBIÉN VOY A DESCANSAR ♪ ♪ Y EL GATO EN SU BUEN BAILAR, BAILABA 543 00:25:10,876 --> 00:25:12,000 UN DANZÓN LIVIANO ♪ ♪ EL RATÓN SE SUBE AL GUANO, Y DICE BIEN 544 00:25:12,000 --> 00:25:15,847 UN DANZÓN LIVIANO ♪ ♪ EL RATÓN SE SUBE AL GUANO, Y DICE BIEN 545 00:25:15,914 --> 00:25:18,000 PLACENTERO ♪ ♪ Y AHORA SI QUIEREN BAILAR, BUSQUENSE OTRO 546 00:25:18,000 --> 00:25:20,285 PLACENTERO ♪ ♪ Y AHORA SI QUIEREN BAILAR, BUSQUENSE OTRO 547 00:25:20,352 --> 00:25:24,000 TIMBALERO ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ CANDELA ME QUEMO AÉ 548 00:25:24,000 --> 00:25:25,257 TIMBALERO ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ CANDELA ME QUEMO AÉ 549 00:25:25,323 --> 00:25:30,000 ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, 550 00:25:30,000 --> 00:25:31,129 ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, 551 00:25:31,196 --> 00:25:36,000 CANDELA, CANDELA ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, CANDELA, 552 00:25:36,000 --> 00:25:36,234 CANDELA, CANDELA ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, CANDELA, 553 00:25:36,301 --> 00:25:42,000 CANDELA ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ 554 00:25:42,000 --> 00:25:42,540 CANDELA ♪ ♪ CANDELA ME QUEMO AÉ ♪ ♪ AY, CANDELA, CANDELA ♪ ♪ 555 00:25:42,607 --> 00:25:48,000 CANDELA ME QUEMO AÉ ♪ ♪ ♪ ♪ ♪ ♪ 556 00:25:48,000 --> 00:25:52,617 CANDELA ME QUEMO AÉ ♪ ♪ ♪ ♪ ♪ ♪ 557 00:26:08,466 --> 00:26:12,000 ♪ ♪ 558 00:26:12,000 --> 00:26:18,000 ♪ ♪ 559 00:26:18,000 --> 00:26:18,476 ♪ ♪ 560 00:26:24,149 --> 00:26:24,716 ♪ AY! 561 00:26:26,084 --> 00:26:27,752 ♪ ♪ ME QUEMÓ AÉ ♪ ♪ DILÁN, DILÁN ♪ ♪ ME QUEMÓ AÉ ♪ ♪ DIDILÁN, 562 00:26:27,819 --> 00:26:30,000 DIDILÁN ♪ ♪ ME QUEMÓ AÉ ♪ ♪ DILÁN, DILÁN, DILÁN ♪ ♪ ME QUEÓO 563 00:26:30,000 --> 00:26:30,989 DIDILÁN ♪ ♪ ME QUEMÓ AÉ ♪ ♪ DILÁN, DILÁN, DILÁN ♪ ♪ ME QUEÓO 564 00:26:31,056 --> 00:26:36,000 AÉ ♪ ♪ DI-DI-DI-DI-DI-DI-DI DILÁN ♪ ♪ ♪ ME QUEMÓ AÉ ♪ ♪ ♪ 565 00:26:36,000 --> 00:26:41,066 AÉ ♪ ♪ DI-DI-DI-DI-DI-DI-DI DILÁN ♪ ♪ ♪ ME QUEMÓ AÉ ♪ ♪ ♪ 566 00:26:46,738 --> 00:26:48,000 ♪ ♪ 567 00:26:48,000 --> 00:26:54,000 ♪ ♪ 568 00:26:54,000 --> 00:26:56,748 ♪ ♪ 569 00:27:00,385 --> 00:27:04,389 ♪ ME QUEMÓ AÉ ♪ ♪ AY, OMARA QUE ME QUEMO ♪ ♪ ME QUEMÓ AÉ ♪ ♪ 570 00:27:04,456 --> 00:27:06,000 MIRA QUE ME ESTOY QUEMANDO ♪ ♪ ♪ ♪ ME QUEMÓ AÉ ♪ ♪ MÍRALO QUÉ 571 00:27:06,000 --> 00:27:07,926 MIRA QUE ME ESTOY QUEMANDO ♪ ♪ ♪ ♪ ME QUEMÓ AÉ ♪ ♪ MÍRALO QUÉ 572 00:27:07,993 --> 00:27:12,000 RICO ESTÁ ♪ ♪ ME QUEMÓ AÉ ♪ ♪ OYE MIRA MI PASILLO ♪ ♪ ME QUEÓO 573 00:27:12,000 --> 00:27:16,634 RICO ESTÁ ♪ ♪ ME QUEMÓ AÉ ♪ ♪ OYE MIRA MI PASILLO ♪ ♪ ME QUEÓO 574 00:27:16,701 --> 00:27:18,000 AÉ ♪ ♪ QUE TE QUEMA ♪ ♪ LA CANDELA MULATONA ♪ ♪ ME QUEMÓ ÉE 575 00:27:18,000 --> 00:27:22,407 AÉ ♪ ♪ QUE TE QUEMA ♪ ♪ LA CANDELA MULATONA ♪ ♪ ME QUEMÓ ÉE 576 00:27:22,474 --> 00:27:24,000 ♪ ♪ ME QUEMÓ AÉ ♪ >> i >> 577 00:27:24,000 --> 00:27:30,000 ♪ ♪ ME QUEMÓ AÉ ♪ >> i >> 578 00:27:30,000 --> 00:27:30,048 ♪ ♪ ME QUEMÓ AÉ ♪ >> i >> 579 00:27:30,115 --> 00:27:30,648 ¡ESO! 580 00:27:30,715 --> 00:27:36,000 [CHEERS AND APPLAUSE] 581 00:27:36,000 --> 00:27:40,725 [CHEERS AND APPLAUSE] 582 00:27:46,731 --> 00:27:48,000 ♪ ♪ >> Announcer: NEXT, JONATHAN GROFF SINGS THE MUSIC OF BOBBY 583 00:27:48,000 --> 00:27:52,170 ♪ ♪ >> Announcer: NEXT, JONATHAN GROFF SINGS THE MUSIC OF BOBBY 584 00:27:52,237 --> 00:27:53,405 DARIN. 585 00:27:53,471 --> 00:27:54,000 AND, COMING UP, THE ORIGINAL COMPANY OF "HAMILTON" WITH A 586 00:27:54,000 --> 00:27:56,574 AND, COMING UP, THE ORIGINAL COMPANY OF "HAMILTON" WITH A 587 00:27:56,641 --> 00:28:00,000 LIVE MIX TAPE LIKE YOU'VE NEVER HEARD BEFORE. 588 00:28:00,000 --> 00:28:01,880 LIVE MIX TAPE LIKE YOU'VE NEVER HEARD BEFORE. 589 00:28:01,946 --> 00:28:03,081 THE TONY AWARDS. 590 00:28:03,148 --> 00:28:05,150 THIS IS CBS. 591 00:28:12,957 --> 00:28:14,592 ♪ ♪ >> Cynthia: WE'RE BACK. 592 00:28:14,659 --> 00:28:16,628 HE MADE HIS BRADWAY DEBUT IN "CABARET," AND SHE'S CURRENTLY 593 00:28:16,694 --> 00:28:18,000 ON STAGE IN "& JULIET." 594 00:28:18,000 --> 00:28:19,898 ON STAGE IN "& JULIET." 595 00:28:19,964 --> 00:28:21,766 ADAM LAMBERT AND CHARLI D'AMELIO. 596 00:28:21,833 --> 00:28:24,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Charli: MEETING YOUNG FANS AND HEARING 597 00:28:24,000 --> 00:28:30,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Charli: MEETING YOUNG FANS AND HEARING 598 00:28:30,000 --> 00:28:31,843 [APPLAUSE] ♪ ♪ ♪ ♪ >> Charli: MEETING YOUNG FANS AND HEARING 599 00:28:37,582 --> 00:28:40,318 HOW EXCITED THEY ARE ABOUT LIVE THEATER HAS BEEN AN AMAZING 600 00:28:40,385 --> 00:28:41,419 GIFT. 601 00:28:41,753 --> 00:28:42,000 THANKS TO THE BROADWAY LEAGUE'S PROGRAM, BROADWAY BRIDGES, MORE 602 00:28:42,000 --> 00:28:44,889 THANKS TO THE BROADWAY LEAGUE'S PROGRAM, BROADWAY BRIDGES, MORE 603 00:28:44,956 --> 00:28:48,000 THAN 120,000 HIGH SCHOOL STUDENTS IN NEW YORK CITY HAVE 604 00:28:48,000 --> 00:28:48,259 THAN 120,000 HIGH SCHOOL STUDENTS IN NEW YORK CITY HAVE 605 00:28:48,326 --> 00:28:52,130 SEEN A SHOW FOR JUST $10. 606 00:28:52,197 --> 00:28:54,000 >> Adam: IT'S AN EXPERIENCE THAT THESE YOUNG PEOPLE WILL NEVER 607 00:28:54,000 --> 00:28:54,232 >> Adam: IT'S AN EXPERIENCE THAT THESE YOUNG PEOPLE WILL NEVER 608 00:28:54,299 --> 00:28:55,166 FORGET. 609 00:28:55,600 --> 00:28:57,202 MANY OF THEM WERE NO DOUBT INSPIRED BY OUR NEXT NOMINEES 610 00:28:57,268 --> 00:29:00,000 FOR BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL. 611 00:29:00,000 --> 00:29:00,839 FOR BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL. 612 00:29:00,905 --> 00:29:05,977 ♪ ♪ >> Announcer: BROOKS ASHMANSKAS, "SMASH." 613 00:29:06,044 --> 00:29:09,414 JEB BROWN, "DEAD OUTLAW." 614 00:29:09,481 --> 00:29:12,000 DANNY BURSTEIN, "GYPSY." 615 00:29:12,000 --> 00:29:13,017 DANNY BURSTEIN, "GYPSY." 616 00:29:13,084 --> 00:29:18,000 JAK MALONE, "OPERATION MINCEMEAT: A NEW MUSICAL." 617 00:29:18,000 --> 00:29:19,224 JAK MALONE, "OPERATION MINCEMEAT: A NEW MUSICAL." 618 00:29:19,290 --> 00:29:24,000 TAYLOR TRENSCH, "FLOYD COLLINS." 619 00:29:24,000 --> 00:29:24,762 TAYLOR TRENSCH, "FLOYD COLLINS." 620 00:29:24,829 --> 00:29:30,000 ♪ ♪ >> Charli: AND THE TONY AWARD GOES TO... 621 00:29:30,000 --> 00:29:30,902 ♪ ♪ >> Charli: AND THE TONY AWARD GOES TO... 622 00:29:30,969 --> 00:29:35,240 JAK MALONE. 623 00:29:35,306 --> 00:29:36,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: FOR HIS BROADWAY 624 00:29:36,000 --> 00:29:41,846 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: FOR HIS BROADWAY 625 00:29:41,913 --> 00:29:42,000 DEBUT, JAK MALONE EARNS HIS FIRST TONY NOMINATION AND WIN. 626 00:29:42,000 --> 00:29:48,000 DEBUT, JAK MALONE EARNS HIS FIRST TONY NOMINATION AND WIN. 627 00:29:48,000 --> 00:29:51,923 DEBUT, JAK MALONE EARNS HIS FIRST TONY NOMINATION AND WIN. 628 00:29:54,259 --> 00:30:00,000 ♪ ♪ 629 00:30:00,000 --> 00:30:04,269 ♪ ♪ 630 00:30:08,006 --> 00:30:11,943 >> [LAUGHS] THANK YOU SO MUCH TO THE AMERICAN THEATRE WING, THE 631 00:30:12,010 --> 00:30:13,945 BROADWAY LEAGUE, AND TO THIS INCREDIBLE BROADWAY COMMUNITY 632 00:30:14,012 --> 00:30:15,947 FOR YOUR WARMTH, GENEROSITY OF SPIRIT, AND THE FULFILLMENT OF A 633 00:30:16,014 --> 00:30:17,215 LIFELONG DREAM. 634 00:30:17,282 --> 00:30:18,000 THANK YOU SO MUCH FOR EVERYONE ON THE TEAM, OUR PRODUCERS, 635 00:30:18,000 --> 00:30:20,351 THANK YOU SO MUCH FOR EVERYONE ON THE TEAM, OUR PRODUCERS, 636 00:30:20,418 --> 00:30:24,000 CREATIVES, CAST, AND THE EXCEPTIONAL TEAM. 637 00:30:24,000 --> 00:30:24,956 CREATIVES, CAST, AND THE EXCEPTIONAL TEAM. 638 00:30:25,023 --> 00:30:27,692 IT IS SUCH A PLEASURE TO COME TO WORK WITH YOU EACH DAY. 639 00:30:27,759 --> 00:30:30,000 ALL WE DO IS LAUGH. 640 00:30:30,000 --> 00:30:30,695 ALL WE DO IS LAUGH. 641 00:30:30,762 --> 00:30:35,800 THANK YOU, MUCH LOVE, AND I'VE THE BEST DRESSER IN ALL OF 642 00:30:35,867 --> 00:30:36,000 BROADWAY AND HIS NAME IS JIM. 643 00:30:36,000 --> 00:30:39,237 BROADWAY AND HIS NAME IS JIM. 644 00:30:39,304 --> 00:30:42,000 THANK YOU TO MY WONDERFUL AGENTS, GERI ALLAN FOR THE 645 00:30:42,000 --> 00:30:45,076 THANK YOU TO MY WONDERFUL AGENTS, GERI ALLAN FOR THE 646 00:30:45,143 --> 00:30:48,000 NOTES, CLAIRE HAULED FOR BEING IN SPACE AND FROM DAY ONE FOR 647 00:30:48,000 --> 00:30:48,346 NOTES, CLAIRE HAULED FOR BEING IN SPACE AND FROM DAY ONE FOR 648 00:30:48,413 --> 00:30:50,982 THANK YOU FOR WRITING WHAT I BELIEVED TO THE BEST BELIEVED TO 649 00:30:51,049 --> 00:30:54,000 THE BE BEST MUSICAL THEATER SONG IN RECENT HISTORY AND NOT HAVING 650 00:30:54,000 --> 00:30:55,853 THE BE BEST MUSICAL THEATER SONG IN RECENT HISTORY AND NOT HAVING 651 00:30:55,920 --> 00:30:57,455 THE GOOD SENSE TO SING YOURSELVES. 652 00:30:57,522 --> 00:31:00,000 THANK YOU TO MY FAMILY WATCHING IN ENGLAND AND THANK YOU TO MY 653 00:31:00,000 --> 00:31:01,092 THANK YOU TO MY FAMILY WATCHING IN ENGLAND AND THANK YOU TO MY 654 00:31:01,159 --> 00:31:02,994 FAMILY WHO CAME OUT TO HAVE THIS ADVENTURE TO ME. 655 00:31:03,061 --> 00:31:05,129 YOU ARE MY WHOLE HEART AND I WOULD BE LOST WITHOUT YOU AND 656 00:31:05,196 --> 00:31:06,000 I'M GRATEFUL EVERY DAY. 657 00:31:06,000 --> 00:31:06,631 I'M GRATEFUL EVERY DAY. 658 00:31:06,698 --> 00:31:09,167 THE LAST THING I WANTED TO SAY IS THIS: EIGHT TIMES A WEEK I 659 00:31:09,234 --> 00:31:11,869 WALK OUT ON THAT STAGE UNTIL THE AUDIENCE ON A WOMAN. 660 00:31:11,936 --> 00:31:12,000 AND I'M NOT ONE. 661 00:31:12,000 --> 00:31:13,304 AND I'M NOT ONE. 662 00:31:13,371 --> 00:31:16,374 I ONLY CONVEY IT THROUGH SIMPLE ADJUSTMENT TO POSTURE, VOICE, 663 00:31:16,441 --> 00:31:18,000 AND ENERGY, BUT NIGHT AFTER NIGHT THE AUDIENCE IS BELIEVE IN 664 00:31:18,000 --> 00:31:20,645 AND ENERGY, BUT NIGHT AFTER NIGHT THE AUDIENCE IS BELIEVE IN 665 00:31:20,712 --> 00:31:21,279 HESTER. 666 00:31:22,046 --> 00:31:24,000 IF YOU WATCHED OUR SHOW AND FOUNDERS OF BELIEVING IN HESTER, 667 00:31:24,000 --> 00:31:24,148 IF YOU WATCHED OUR SHOW AND FOUNDERS OF BELIEVING IN HESTER, 668 00:31:24,215 --> 00:31:27,051 I'M SO GLAD TO TELL YOU THAT INTENTIONALLY OR OTHERWISE YOU 669 00:31:27,118 --> 00:31:30,000 MIGHT HAVE JUST BID FAREWELL TO CYNICISM, OUTDATED IDEAS OF THAT 670 00:31:30,000 --> 00:31:32,390 MIGHT HAVE JUST BID FAREWELL TO CYNICISM, OUTDATED IDEAS OF THAT 671 00:31:32,457 --> 00:31:34,826 ROTTEN OLD BINARY AND OPEN YOURSELF UP TO A WORLD THAT'S 672 00:31:34,892 --> 00:31:36,000 ALREADY OUT THERE IN GLORIOUS TECHNICOLOR AND ISN'T GOING AWAY 673 00:31:36,000 --> 00:31:38,363 ALREADY OUT THERE IN GLORIOUS TECHNICOLOR AND ISN'T GOING AWAY 674 00:31:38,429 --> 00:31:40,665 ANYTIME SOON. 675 00:31:40,732 --> 00:31:42,000 [CHEERS AND APPLAUSE] THANK YOU SO MUCH. 676 00:31:42,000 --> 00:31:43,835 [CHEERS AND APPLAUSE] THANK YOU SO MUCH. 677 00:31:43,901 --> 00:31:45,937 THANK YOU. 678 00:31:46,004 --> 00:31:48,000 ♪ ♪ ♪ ♪ >> Cynthia: SO SORRY. 679 00:31:48,000 --> 00:31:54,000 ♪ ♪ ♪ ♪ >> Cynthia: SO SORRY. 680 00:31:54,000 --> 00:31:56,014 ♪ ♪ ♪ ♪ >> Cynthia: SO SORRY. 681 00:32:00,852 --> 00:32:02,420 YOU CAUGHT ME ENJOYING THE SHOW. 682 00:32:02,487 --> 00:32:03,421 COULD YOU TAKE THAT? 683 00:32:03,488 --> 00:32:06,000 AND HER NAME IS CYNTHIA, TOO. 684 00:32:06,000 --> 00:32:08,993 AND HER NAME IS CYNTHIA, TOO. 685 00:32:09,060 --> 00:32:10,595 CONGRATULATIONS TO JAK MALONE. 686 00:32:10,662 --> 00:32:12,000 CONGRATULATIONS, CONGRATULATIONS. 687 00:32:12,000 --> 00:32:12,997 CONGRATULATIONS, CONGRATULATIONS. 688 00:32:13,064 --> 00:32:18,000 [APPLAUSE] YES, YES. 689 00:32:18,000 --> 00:32:18,770 [APPLAUSE] YES, YES. 690 00:32:18,836 --> 00:32:24,000 I'M UP IN THE BALCONY, BECAUSE I ADORE A BIT OF BALCONY. 691 00:32:24,000 --> 00:32:26,144 I'M UP IN THE BALCONY, BECAUSE I ADORE A BIT OF BALCONY. 692 00:32:26,210 --> 00:32:27,745 I'M 5'1", AND IT'S THE BEST CHANCE FOR ME TO GET A CLEAR 693 00:32:27,812 --> 00:32:29,380 VIEW OF THE STAGE. 694 00:32:29,447 --> 00:32:30,000 I SAW PRODUCTION WHICH SHALL NOT BE NAMED, BUT I WILL SAY IT WAS 695 00:32:30,000 --> 00:32:34,319 I SAW PRODUCTION WHICH SHALL NOT BE NAMED, BUT I WILL SAY IT WAS 696 00:32:34,385 --> 00:32:36,000 A "SMASH." 697 00:32:36,000 --> 00:32:36,487 A "SMASH." 698 00:32:36,554 --> 00:32:38,690 A WELL-INTENTIONED YOUNG MAN RAN UP TO ME AND SAID, "DO YOU NEED 699 00:32:38,756 --> 00:32:39,190 THIS?" 700 00:32:39,924 --> 00:32:41,726 BEFORE TRYING TO HAND ME AN ACTUAL BOOSTER SEAT. 701 00:32:41,793 --> 00:32:42,000 [LAUGHTER] BALCONY SEATS SOLVE THAT PROBLEM. 702 00:32:42,000 --> 00:32:44,896 [LAUGHTER] BALCONY SEATS SOLVE THAT PROBLEM. 703 00:32:44,962 --> 00:32:48,000 EVERYONE LOVES A BALCONY SEAT, EXCEPT, AS WE LEARNED THIS 704 00:32:48,000 --> 00:32:52,036 EVERYONE LOVES A BALCONY SEAT, EXCEPT, AS WE LEARNED THIS 705 00:32:52,103 --> 00:32:53,304 SEASON, ABRAHAM LINCOLN. 706 00:32:53,371 --> 00:32:54,000 [AUDIENCE REACTS] THE BALCONY'S ALSO THE BEST AND SAFEST PLACE 707 00:32:54,000 --> 00:33:00,000 [AUDIENCE REACTS] THE BALCONY'S ALSO THE BEST AND SAFEST PLACE 708 00:33:00,000 --> 00:33:01,412 [AUDIENCE REACTS] THE BALCONY'S ALSO THE BEST AND SAFEST PLACE 709 00:33:01,479 --> 00:33:06,000 TO SEE JONATHAN GROFF SAYING -- [CHEERS AND APPLAUSE] WITHOUT 710 00:33:06,000 --> 00:33:10,221 TO SEE JONATHAN GROFF SAYING -- [CHEERS AND APPLAUSE] WITHOUT 711 00:33:10,288 --> 00:33:12,000 GETTING SPIT ON, IF THAT'S NOT YOUR THING. 712 00:33:12,000 --> 00:33:14,125 GETTING SPIT ON, IF THAT'S NOT YOUR THING. 713 00:33:14,192 --> 00:33:18,000 SO PLEASE WELCOME A MAN WHO MAKES EVERYONE WET. 714 00:33:18,000 --> 00:33:20,498 SO PLEASE WELCOME A MAN WHO MAKES EVERYONE WET. 715 00:33:20,565 --> 00:33:24,000 [LAUGHTER] [CHEERS AND APPLAUSE] FROM "JUST IN TIME," AS BOBBY 716 00:33:24,000 --> 00:33:30,000 [LAUGHTER] [CHEERS AND APPLAUSE] FROM "JUST IN TIME," AS BOBBY 717 00:33:30,000 --> 00:33:30,074 [LAUGHTER] [CHEERS AND APPLAUSE] FROM "JUST IN TIME," AS BOBBY 718 00:33:30,141 --> 00:33:36,000 DARIN, MY FRIEND, THE INCREDIBLE JONATHAN GROFF. 719 00:33:36,000 --> 00:33:37,949 DARIN, MY FRIEND, THE INCREDIBLE JONATHAN GROFF. 720 00:33:38,015 --> 00:33:42,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> ♪ OH, THE SHARK, BABE, HAS SUCH TEETH, 721 00:33:42,000 --> 00:33:48,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> ♪ OH, THE SHARK, BABE, HAS SUCH TEETH, 722 00:33:48,000 --> 00:33:48,025 [APPLAUSE] ♪ ♪ ♪ ♪ >> ♪ OH, THE SHARK, BABE, HAS SUCH TEETH, 723 00:33:49,660 --> 00:33:54,000 DEAR ♪ ♪ AND HE SHOWS THEM, PEARLY WHITE ♪ ♪ JUST A 724 00:33:54,000 --> 00:33:58,002 DEAR ♪ ♪ AND HE SHOWS THEM, PEARLY WHITE ♪ ♪ JUST A 725 00:33:58,069 --> 00:34:00,000 JACKKNIFE HAS OLD MacHEATH, BABE ♪ ♪ AND HE KEEPS IT OUTTA SIGHT 726 00:34:00,000 --> 00:34:06,000 JACKKNIFE HAS OLD MacHEATH, BABE ♪ ♪ AND HE KEEPS IT OUTTA SIGHT 727 00:34:06,000 --> 00:34:08,079 JACKKNIFE HAS OLD MacHEATH, BABE ♪ ♪ AND HE KEEPS IT OUTTA SIGHT 728 00:34:12,984 --> 00:34:15,620 ♪ NOW ON THE SIDEWALK, AH-HUH ♪ ♪ OOH, SUNDAY MORNIN', AH-HUH ♪ 729 00:34:15,686 --> 00:34:18,000 ♪ LIES A BODY JUST OOZIN' LIFE ♪ ♪ EEK! 730 00:34:18,000 --> 00:34:19,457 ♪ LIES A BODY JUST OOZIN' LIFE ♪ ♪ EEK! 731 00:34:19,524 --> 00:34:24,000 ♪ ♪ AND SOMEONE'S SNEAKIN' 'ROUND THE CORNER ♪ ♪ COULD THAT 732 00:34:24,000 --> 00:34:25,763 ♪ ♪ AND SOMEONE'S SNEAKIN' 'ROUND THE CORNER ♪ ♪ COULD THAT 733 00:34:25,830 --> 00:34:28,533 SOMEONE BE MACK THE KNIFE? 734 00:34:28,599 --> 00:34:30,000 ♪ ♪ ♪ ♪ I CAN ONLY GIVE YOU LOVE THAT LASTS FOREVER ♪ ♪ AND THE 735 00:34:30,000 --> 00:34:36,000 ♪ ♪ ♪ ♪ I CAN ONLY GIVE YOU LOVE THAT LASTS FOREVER ♪ ♪ AND THE 736 00:34:36,000 --> 00:34:37,308 ♪ ♪ ♪ ♪ I CAN ONLY GIVE YOU LOVE THAT LASTS FOREVER ♪ ♪ AND THE 737 00:34:37,375 --> 00:34:40,745 PROMISE TO BE NEAR EACH TIME YOU CALL ♪ ♪ AND THE ONLY HEART I 738 00:34:40,812 --> 00:34:42,000 OWN, FOR YOU AND YOU ALONE ♪ ♪ THAT'S ALL, THAT'S ALL ♪ ♪ I CAN 739 00:34:42,000 --> 00:34:46,384 OWN, FOR YOU AND YOU ALONE ♪ ♪ THAT'S ALL, THAT'S ALL ♪ ♪ I CAN 740 00:34:46,451 --> 00:34:48,000 ONLY GIVE YOU COUNTRY WALKS IN SPRINGTIME ♪ ♪ AND A HAND TO 741 00:34:48,000 --> 00:34:49,454 ONLY GIVE YOU COUNTRY WALKS IN SPRINGTIME ♪ ♪ AND A HAND TO 742 00:34:49,520 --> 00:34:52,924 HOLD WHEN LEAVES BEGIN TO FALL ♪ ♪ AND A LOVE WHOSE BURNING LIGHT 743 00:34:52,990 --> 00:34:54,000 ♪ ♪ WILL WARM THE WINTER NIGHT ♪ ♪ THAT'S ALL, THAT'S ALL ♪ I'VE 744 00:34:54,000 --> 00:34:57,862 ♪ ♪ WILL WARM THE WINTER NIGHT ♪ ♪ THAT'S ALL, THAT'S ALL ♪ I'VE 745 00:34:57,929 --> 00:35:00,000 DONE A LOT OF THINGS AND I'VE BEEN A LOT OF PEOPLE, BUT OF THE 746 00:35:00,000 --> 00:35:04,802 DONE A LOT OF THINGS AND I'VE BEEN A LOT OF PEOPLE, BUT OF THE 747 00:35:04,869 --> 00:35:06,000 DAY, I AM A NIGHTCLUB ANIMAL! 748 00:35:06,000 --> 00:35:07,305 DAY, I AM A NIGHTCLUB ANIMAL! 749 00:35:07,371 --> 00:35:12,000 ♪ ♪ ♪ ONCE IN A LIFETIME ♪ ♪ A MAN KNOWS A MOMENT ♪ ♪ ONE 750 00:35:12,000 --> 00:35:13,811 ♪ ♪ ♪ ONCE IN A LIFETIME ♪ ♪ A MAN KNOWS A MOMENT ♪ ♪ ONE 751 00:35:13,878 --> 00:35:18,000 WONDERFUL MOMENT ♪ ♪ WHEN FATE GRABS HIS HAND ♪ ♪ AND THIS IS 752 00:35:18,000 --> 00:35:23,921 WONDERFUL MOMENT ♪ ♪ WHEN FATE GRABS HIS HAND ♪ ♪ AND THIS IS 753 00:35:23,988 --> 00:35:24,000 MY MOMENT ♪ ♪ MY ONCE IN A LIFETIME ♪ ♪ WHEN I CAN EXPLORE 754 00:35:24,000 --> 00:35:30,000 MY MOMENT ♪ ♪ MY ONCE IN A LIFETIME ♪ ♪ WHEN I CAN EXPLORE 755 00:35:30,000 --> 00:35:30,027 MY MOMENT ♪ ♪ MY ONCE IN A LIFETIME ♪ ♪ WHEN I CAN EXPLORE 756 00:35:30,094 --> 00:35:36,000 ♪ ♪ A NEW AND EXCITING LAND ♪ ♪ FOR ONCE IN MY LIFETIE ♪ ♪ YA 757 00:35:36,000 --> 00:35:38,302 ♪ ♪ A NEW AND EXCITING LAND ♪ ♪ FOR ONCE IN MY LIFETIE ♪ ♪ YA 758 00:35:38,369 --> 00:35:42,000 KNOW I FEEL LIKE A GIANT ♪ ♪ I'M GONNA SOAR LIKE AN EAGLE ♪ ♪ AS 759 00:35:42,000 --> 00:35:43,474 KNOW I FEEL LIKE A GIANT ♪ ♪ I'M GONNA SOAR LIKE AN EAGLE ♪ ♪ AS 760 00:35:43,541 --> 00:35:48,000 THOUGH I HAD WINGS ♪ ♪ FOR THIS IS MY MOMENT ♪ ♪ MY DESTINY 761 00:35:48,000 --> 00:35:50,982 THOUGH I HAD WINGS ♪ ♪ FOR THIS IS MY MOMENT ♪ ♪ MY DESTINY 762 00:35:51,048 --> 00:35:54,000 CALLS ME ♪ ♪ AND THOUGH IT MAY BE ♪ ♪ JUST ONCE IN MY LIFETIME 763 00:35:54,000 --> 00:36:00,000 CALLS ME ♪ ♪ AND THOUGH IT MAY BE ♪ ♪ JUST ONCE IN MY LIFETIME 764 00:36:00,000 --> 00:36:00,791 CALLS ME ♪ ♪ AND THOUGH IT MAY BE ♪ ♪ JUST ONCE IN MY LIFETIME 765 00:36:00,858 --> 00:36:06,000 ♪ ♪ I'M GOING TO DO GREAT THINGS ♪ ♪ LOOK OUT, OL' MACKIE IS 766 00:36:06,000 --> 00:36:07,298 ♪ ♪ I'M GOING TO DO GREAT THINGS ♪ ♪ LOOK OUT, OL' MACKIE IS 767 00:36:07,365 --> 00:36:09,600 BACK! 768 00:36:09,667 --> 00:36:12,000 ♪ ♪ ♪ [CHEERS AND APPLAUSE] 769 00:36:12,000 --> 00:36:18,000 ♪ ♪ ♪ [CHEERS AND APPLAUSE] 770 00:36:18,000 --> 00:36:19,677 ♪ ♪ ♪ [CHEERS AND APPLAUSE] 771 00:36:23,681 --> 00:36:24,000 ♪ ♪ 772 00:36:24,000 --> 00:36:30,000 ♪ ♪ 773 00:36:30,000 --> 00:36:33,691 ♪ ♪ 774 00:36:40,464 --> 00:36:42,000 ♪ ♪ >> Announcer: NEXT, NICOLE SCHERZINGER WITH A PERFORMANCE 775 00:36:42,000 --> 00:36:46,470 ♪ ♪ >> Announcer: NEXT, NICOLE SCHERZINGER WITH A PERFORMANCE 776 00:36:46,537 --> 00:36:48,000 FROM "SUNSET BLVD." 777 00:36:48,000 --> 00:36:48,039 FROM "SUNSET BLVD." 778 00:36:48,105 --> 00:36:50,775 AND THEN, LIN-MANUEL MIRANDA AND THE ORIGINAL COMPANY OF 779 00:36:50,841 --> 00:36:54,000 "HAMILTON" REUNITE FOR A LANDMARK LIVE MIX TAPE. 780 00:36:54,000 --> 00:36:54,812 "HAMILTON" REUNITE FOR A LANDMARK LIVE MIX TAPE. 781 00:36:54,879 --> 00:36:56,514 THE TONY AWARDS. 782 00:36:56,581 --> 00:36:59,283 THIS IS CBS. 783 00:37:18,369 --> 00:37:19,904 >> Cynthia: WE ARE BACK WITH A BROADWAY VETERAN AND AN ACTOR 784 00:37:19,971 --> 00:37:21,505 WHO IS MAKING HIS BROADWAY DEBUT THIS FALL IN "HARRY POTTER AND 785 00:37:22,974 --> 00:37:24,000 THE CURSED CHILD," CARRIE PRESTON AND TOM FELTON. 786 00:37:24,000 --> 00:37:25,343 THE CURSED CHILD," CARRIE PRESTON AND TOM FELTON. 787 00:37:38,990 --> 00:37:40,925 [APPLAUSE] ♪ ♪ ♪ ♪ >> Carrie: THE FULLY REALIZED CHARACTERS 788 00:37:40,992 --> 00:37:42,000 CREATED BY THIS NEXT GROUP OF ARTISTS ARE SHINING EXAMPLES OF 789 00:37:42,000 --> 00:37:45,262 CREATED BY THIS NEXT GROUP OF ARTISTS ARE SHINING EXAMPLES OF 790 00:37:45,329 --> 00:37:48,000 THE SHEER VARIETY OF OFFERINGS ON BROADWAY. 791 00:37:48,000 --> 00:37:48,866 THE SHEER VARIETY OF OFFERINGS ON BROADWAY. 792 00:37:48,933 --> 00:37:54,000 THEY GAVE US SOME OF THE BOLDEST AND BRAVEST HUMAN MOMENTS OF THE 793 00:37:54,000 --> 00:37:54,805 THEY GAVE US SOME OF THE BOLDEST AND BRAVEST HUMAN MOMENTS OF THE 794 00:37:54,872 --> 00:37:56,007 SEASON. 795 00:37:56,240 --> 00:38:00,000 >> Tom: THE INTENSITY THEY BRING TO THEIR ROLES ENRICHES NOT ONLY 796 00:38:00,000 --> 00:38:00,845 >> Tom: THE INTENSITY THEY BRING TO THEIR ROLES ENRICHES NOT ONLY 797 00:38:00,911 --> 00:38:02,246 THE WRITING, BUT THE PERFORMANCES OF THEIR FELLOW 798 00:38:02,313 --> 00:38:03,781 ARTISTS. 799 00:38:03,848 --> 00:38:06,000 THEIR COMMITMENT TO REALITY IS WHAT MAKES LIVE THEATER SO 800 00:38:06,000 --> 00:38:06,484 THEIR COMMITMENT TO REALITY IS WHAT MAKES LIVE THEATER SO 801 00:38:06,550 --> 00:38:09,487 THRILLING AND VIBRANT. 802 00:38:09,553 --> 00:38:12,000 HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY A FEATURED 803 00:38:12,000 --> 00:38:13,858 HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY A FEATURED 804 00:38:13,924 --> 00:38:15,726 ACTRESS IN A PLAY. 805 00:38:15,793 --> 00:38:18,000 >> Announcer: TALA ASHE, "ENGLISH." 806 00:38:18,000 --> 00:38:20,398 >> Announcer: TALA ASHE, "ENGLISH." 807 00:38:20,464 --> 00:38:23,401 JESSICA HECHT, "EUREKA DAY." 808 00:38:23,467 --> 00:38:24,000 MARJAN NESHAT, "ENGLISH." 809 00:38:24,000 --> 00:38:28,339 MARJAN NESHAT, "ENGLISH." 810 00:38:28,406 --> 00:38:30,000 FINA STRAZZA, "JOHN PROCTOR IS THE VILLAIN." 811 00:38:30,000 --> 00:38:33,144 FINA STRAZZA, "JOHN PROCTOR IS THE VILLAIN." 812 00:38:33,210 --> 00:38:36,000 KARA YOUNG, "PURPOSE." 813 00:38:36,000 --> 00:38:40,718 KARA YOUNG, "PURPOSE." 814 00:38:40,785 --> 00:38:42,000 >> Carrie: AND THE AMERICAN THEATRE WING'S TONY AWARD GOES 815 00:38:42,000 --> 00:38:43,220 >> Carrie: AND THE AMERICAN THEATRE WING'S TONY AWARD GOES 816 00:38:43,287 --> 00:38:48,000 TO... 817 00:38:48,000 --> 00:38:50,528 TO... 818 00:38:50,594 --> 00:38:53,798 KARA YOUNG, "PURPOSE." 819 00:38:53,864 --> 00:38:54,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: THIS IS THE FOURTH 820 00:38:54,000 --> 00:38:59,904 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: THIS IS THE FOURTH 821 00:38:59,970 --> 00:39:00,000 YEAR IN A ROW KARA YOUNG HAS EARNED A NOMINATION IN THIS 822 00:39:00,000 --> 00:39:04,508 YEAR IN A ROW KARA YOUNG HAS EARNED A NOMINATION IN THIS 823 00:39:04,575 --> 00:39:06,000 CATEGORY, AND TONIGHT SHE SCORES HER SECOND CONSECUTIVE TONY WIN. 824 00:39:06,000 --> 00:39:12,000 CATEGORY, AND TONIGHT SHE SCORES HER SECOND CONSECUTIVE TONY WIN. 825 00:39:12,000 --> 00:39:13,584 CATEGORY, AND TONIGHT SHE SCORES HER SECOND CONSECUTIVE TONY WIN. 826 00:39:13,651 --> 00:39:18,000 ♪ ♪ 827 00:39:18,000 --> 00:39:23,661 ♪ ♪ 828 00:39:24,962 --> 00:39:30,000 [CHEERS AND APPLAUSE] >> THANK YOU SO -- WOW, HI! 829 00:39:30,000 --> 00:39:31,102 [CHEERS AND APPLAUSE] >> THANK YOU SO -- WOW, HI! 830 00:39:31,168 --> 00:39:34,238 THANK YOU SO MUCH TO THE AMERICAN THEATRE WING. 831 00:39:34,305 --> 00:39:35,973 THANK YOU TO THE BROADWAY LEAGUE, THANK YOU TO MY MOTHER 832 00:39:36,040 --> 00:39:37,074 AND MY FATHER. 833 00:39:37,141 --> 00:39:40,845 MY MOTHER, WHO IS MY DATE, VANESSA JENKINS YOUNG. 834 00:39:40,911 --> 00:39:42,000 MY BELIZEAN QUEEN OF THE BAY WHO COOKED AND STEWED AND BREWED ME 835 00:39:42,000 --> 00:39:48,000 MY BELIZEAN QUEEN OF THE BAY WHO COOKED AND STEWED AND BREWED ME 836 00:39:48,000 --> 00:39:49,086 MY BELIZEAN QUEEN OF THE BAY WHO COOKED AND STEWED AND BREWED ME 837 00:39:49,153 --> 00:39:49,487 FOR NINE MONTHS. 838 00:39:49,553 --> 00:39:50,187 THANK YOU. 839 00:39:50,721 --> 00:39:54,000 MY FATHER, KLAY YOUNG, AND MY BROTHER, KLAY JR. 840 00:39:54,000 --> 00:39:56,894 MY FATHER, KLAY YOUNG, AND MY BROTHER, KLAY JR. 841 00:39:56,961 --> 00:39:57,895 I LOVE YOU GUYS. 842 00:39:58,129 --> 00:40:00,000 TO MY PARTNER, WHO IS EVERYTHING, AND TO BRANDEN 843 00:40:00,000 --> 00:40:03,033 TO MY PARTNER, WHO IS EVERYTHING, AND TO BRANDEN 844 00:40:03,100 --> 00:40:06,000 JACOBS-JENKINS, PULITZER PRIZE WINNING BRANDEN JACOBS-JENKINS, 845 00:40:06,000 --> 00:40:09,707 JACOBS-JENKINS, PULITZER PRIZE WINNING BRANDEN JACOBS-JENKINS, 846 00:40:09,774 --> 00:40:12,000 SERIOUS LIKE A NATURAL STORM, AND ALL AND AL ALL YOU HAVE TO 847 00:40:12,000 --> 00:40:13,110 SERIOUS LIKE A NATURAL STORM, AND ALL AND AL ALL YOU HAVE TO 848 00:40:13,177 --> 00:40:14,345 DO IS BUE UP. 849 00:40:14,411 --> 00:40:18,000 TO THE INCREDIBLE LEGENDARY PHYLICIA RASHAD, WHO IS OUR 850 00:40:18,000 --> 00:40:19,049 TO THE INCREDIBLE LEGENDARY PHYLICIA RASHAD, WHO IS OUR 851 00:40:19,116 --> 00:40:22,486 DIRECTOR, WHO OPENED WINDOWS AND DOORS AND MOVED MOUNTAINS TO 852 00:40:22,553 --> 00:40:24,000 GUIDE ME THROUGH AZIZA, THIS INCREDIBLE COMPANY PEOPLE I GET 853 00:40:24,000 --> 00:40:29,994 GUIDE ME THROUGH AZIZA, THIS INCREDIBLE COMPANY PEOPLE I GET 854 00:40:30,060 --> 00:40:33,430 TO BE WITH EIGHT SHOWS A WEEK. 855 00:40:33,497 --> 00:40:36,000 LATANYA RICHARDSON JACKSON, OUR MATRIARCH, THE QUEEN OF NUANCE. 856 00:40:36,000 --> 00:40:37,735 LATANYA RICHARDSON JACKSON, OUR MATRIARCH, THE QUEEN OF NUANCE. 857 00:40:37,802 --> 00:40:42,000 HARRY LENNIX, JON MICHAEL HILL, GLENN DAVIS, MAKING HER A COUPLE 858 00:40:42,000 --> 00:40:47,378 HARRY LENNIX, JON MICHAEL HILL, GLENN DAVIS, MAKING HER A COUPLE 859 00:40:47,444 --> 00:40:48,000 BROADWAY DEBUT. 860 00:40:48,000 --> 00:40:48,145 BROADWAY DEBUT. 861 00:40:48,212 --> 00:40:49,747 WRAP IT UP. 862 00:40:49,814 --> 00:40:52,316 THANK YOU TO THE PRODUCERS OF "PURPOSE." 863 00:40:52,383 --> 00:40:52,983 THANK YOU SO MUCH. 864 00:40:53,050 --> 00:40:54,000 I AM SO GRATEFUL. 865 00:40:54,000 --> 00:40:57,154 I AM SO GRATEFUL. 866 00:40:57,221 --> 00:40:58,789 ONE MORE SECOND. 867 00:40:58,856 --> 00:41:00,000 IN THIS WORLD THAT WE ARE SO DIVIDED, THEATER IS A SACRED 868 00:41:00,000 --> 00:41:03,527 IN THIS WORLD THAT WE ARE SO DIVIDED, THEATER IS A SACRED 869 00:41:03,594 --> 00:41:04,695 SPACE! 870 00:41:04,762 --> 00:41:06,000 IT'S A SACRED SPACE THAT WE HAVE TO HONOR AND TREASURE. 871 00:41:06,000 --> 00:41:07,264 IT'S A SACRED SPACE THAT WE HAVE TO HONOR AND TREASURE. 872 00:41:07,331 --> 00:41:09,033 AND IT MAKES US UNITED. 873 00:41:09,099 --> 00:41:11,335 THANK YOU SO MUCH. 874 00:41:11,402 --> 00:41:12,000 SORRY, CYNTHIA! 875 00:41:12,000 --> 00:41:12,770 SORRY, CYNTHIA! 876 00:41:12,837 --> 00:41:18,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME A THREE-TIME TONY 877 00:41:18,000 --> 00:41:22,847 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME A THREE-TIME TONY 878 00:41:28,118 --> 00:41:30,000 WINNER, TWO-TIME NORMA DESMOND, AND THE ONE AND ONLY GLENN 879 00:41:30,000 --> 00:41:34,225 WINNER, TWO-TIME NORMA DESMOND, AND THE ONE AND ONLY GLENN 880 00:41:34,291 --> 00:41:35,993 CLOSE. 881 00:41:36,060 --> 00:41:42,000 [APPLAUSE] ♪ ♪ >> Glenn: THE FIRST NOMINATED MUSICAL REVIVAL 882 00:41:42,000 --> 00:41:46,070 [APPLAUSE] ♪ ♪ >> Glenn: THE FIRST NOMINATED MUSICAL REVIVAL 883 00:41:49,874 --> 00:41:53,277 IS ABOUT A CHARACTER WHO STILL PROWLS THE CORRIDORS OF MY HEART 884 00:41:53,344 --> 00:41:54,000 AND SOUL. 885 00:41:54,000 --> 00:41:54,545 AND SOUL. 886 00:41:54,612 --> 00:42:00,000 MOVIE STAR NORMA DESMOND IS STILL HAUNTED BY HER MEMORIES 887 00:42:00,000 --> 00:42:00,150 MOVIE STAR NORMA DESMOND IS STILL HAUNTED BY HER MEMORIES 888 00:42:00,217 --> 00:42:03,787 AND STILL PLOTTING HER RETURN TO THE SILVER SCREEN. 889 00:42:03,854 --> 00:42:06,000 JAMIE LLOYD'S THRILLING REIMAGINATION CREATES AN 890 00:42:06,000 --> 00:42:06,423 JAMIE LLOYD'S THRILLING REIMAGINATION CREATES AN 891 00:42:06,490 --> 00:42:10,160 IMMERSIVE FEVER DREAM TO SHOWCASE THE PERFORMANCE OF RAW 892 00:42:10,227 --> 00:42:12,000 ARTISTRY AND ASTOUNDING BRAVERY. 893 00:42:12,000 --> 00:42:12,363 ARTISTRY AND ASTOUNDING BRAVERY. 894 00:42:12,429 --> 00:42:16,500 FROM ANDREW LLOYD WEBBER'S "SUNSET BLVD.," PLEASE WELCOME 895 00:42:16,567 --> 00:42:18,000 TONY NOMINEE NICOLE SCHERZINGER. 896 00:42:18,000 --> 00:42:18,135 TONY NOMINEE NICOLE SCHERZINGER. 897 00:42:18,202 --> 00:42:24,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> ♪ I DON'T KNOW WHY I'M FRIGHTENED ♪ ♪ I 898 00:42:24,000 --> 00:42:28,212 [APPLAUSE] ♪ ♪ ♪ ♪ >> ♪ I DON'T KNOW WHY I'M FRIGHTENED ♪ ♪ I 899 00:42:37,588 --> 00:42:42,000 KNOW MY WAY AROUND HERE ♪ ♪ THE CARDBOARD TREES, THE PAINTED 900 00:42:42,000 --> 00:42:47,598 KNOW MY WAY AROUND HERE ♪ ♪ THE CARDBOARD TREES, THE PAINTED 901 00:42:49,233 --> 00:42:54,000 SCENES, THE SOUND HERE ♪ ♪ YES, A WORLD TO REDISCOVER ♪ ♪ BUT 902 00:42:54,000 --> 00:42:59,243 SCENES, THE SOUND HERE ♪ ♪ YES, A WORLD TO REDISCOVER ♪ ♪ BUT 903 00:43:01,345 --> 00:43:06,000 I'M NOT IN ANY HURRY ♪ ♪ AND I NEED A MOMENT ♪ ♪ THE WHISPERED 904 00:43:06,000 --> 00:43:11,355 I'M NOT IN ANY HURRY ♪ ♪ AND I NEED A MOMENT ♪ ♪ THE WHISPERED 905 00:43:18,128 --> 00:43:24,000 CONVERSATIONS IN OVERCROWDED HALLWAYS ♪ ♪ THE ATMOSPHERE AS 906 00:43:24,000 --> 00:43:28,138 CONVERSATIONS IN OVERCROWDED HALLWAYS ♪ ♪ THE ATMOSPHERE AS 907 00:43:29,907 --> 00:43:30,000 THRILLING HERE AS ALWAYS ♪ ♪ FEEL THE EARLY MORNING MADNESS ♪ 908 00:43:30,000 --> 00:43:36,000 THRILLING HERE AS ALWAYS ♪ ♪ FEEL THE EARLY MORNING MADNESS ♪ 909 00:43:36,000 --> 00:43:39,917 THRILLING HERE AS ALWAYS ♪ ♪ FEEL THE EARLY MORNING MADNESS ♪ 910 00:43:41,518 --> 00:43:42,000 ♪ FEEL THE MAGIC IN THE MAKING ♪ ♪ WHY, EVERYTHING'S AS IF WE 911 00:43:42,000 --> 00:43:48,000 ♪ FEEL THE MAGIC IN THE MAKING ♪ ♪ WHY, EVERYTHING'S AS IF WE 912 00:43:48,000 --> 00:43:50,728 ♪ FEEL THE MAGIC IN THE MAKING ♪ ♪ WHY, EVERYTHING'S AS IF WE 913 00:43:50,794 --> 00:43:54,000 NEVER SAID GOODBYE ♪ ♪ I DON'T WANT TO BE ALONE, THAT'S ALL IN 914 00:43:54,000 --> 00:44:00,000 NEVER SAID GOODBYE ♪ ♪ I DON'T WANT TO BE ALONE, THAT'S ALL IN 915 00:44:00,000 --> 00:44:00,804 NEVER SAID GOODBYE ♪ ♪ I DON'T WANT TO BE ALONE, THAT'S ALL IN 916 00:44:03,440 --> 00:44:06,000 THE PAST ♪ ♪ THIS WORLD'S WAITED LONG ENOUGH ♪ ♪ I'VE COME HOME 917 00:44:06,000 --> 00:44:12,000 THE PAST ♪ ♪ THIS WORLD'S WAITED LONG ENOUGH ♪ ♪ I'VE COME HOME 918 00:44:12,000 --> 00:44:13,450 THE PAST ♪ ♪ THIS WORLD'S WAITED LONG ENOUGH ♪ ♪ I'VE COME HOME 919 00:44:19,757 --> 00:44:23,394 AT LAST ♪ 920 00:44:31,835 --> 00:44:36,000 [APPLAUSE] ♪ AND THIS TIME WILL BE BIGGER ♪ ♪ AND BRIGHTER THAN 921 00:44:36,000 --> 00:44:41,612 [APPLAUSE] ♪ AND THIS TIME WILL BE BIGGER ♪ ♪ AND BRIGHTER THAN 922 00:44:41,678 --> 00:44:42,000 WE KNEW IT ♪ ♪ SO WATCH ME FLY, WE ALL KNOW I CAN DO IT ♪ ♪ 923 00:44:42,000 --> 00:44:48,000 WE KNEW IT ♪ ♪ SO WATCH ME FLY, WE ALL KNOW I CAN DO IT ♪ ♪ 924 00:44:48,000 --> 00:44:50,354 WE KNEW IT ♪ ♪ SO WATCH ME FLY, WE ALL KNOW I CAN DO IT ♪ ♪ 925 00:44:50,421 --> 00:44:54,000 WE'LL HAVE EARLY MORNING MADNESS ♪ ♪ WE'LL HAVE MAGIC IN THE 926 00:44:54,000 --> 00:44:56,660 WE'LL HAVE EARLY MORNING MADNESS ♪ ♪ WE'LL HAVE MAGIC IN THE 927 00:44:56,727 --> 00:45:00,000 MAKING ♪ ♪ YES, EVERYTHING'S AS IF WE NEVER SAID GOODBYE ♪ ♪ 928 00:45:00,000 --> 00:45:06,000 MAKING ♪ ♪ YES, EVERYTHING'S AS IF WE NEVER SAID GOODBYE ♪ ♪ 929 00:45:06,000 --> 00:45:06,737 MAKING ♪ ♪ YES, EVERYTHING'S AS IF WE NEVER SAID GOODBYE ♪ ♪ 930 00:45:14,511 --> 00:45:18,000 YES, EVERYTHING'S AS IF WE NEVER SAID GOODBYE ♪ ♪ WE TAUGHT THE 931 00:45:18,000 --> 00:45:24,000 YES, EVERYTHING'S AS IF WE NEVER SAID GOODBYE ♪ ♪ WE TAUGHT THE 932 00:45:24,000 --> 00:45:24,521 YES, EVERYTHING'S AS IF WE NEVER SAID GOODBYE ♪ ♪ WE TAUGHT THE 933 00:45:32,062 --> 00:45:36,000 WORLD NEW WAYS TO DREAM ♪ 934 00:45:36,000 --> 00:45:42,000 WORLD NEW WAYS TO DREAM ♪ 935 00:45:42,000 --> 00:45:42,072 WORLD NEW WAYS TO DREAM ♪ 936 00:45:44,808 --> 00:45:48,000 ♪ ♪ [CHEERS AND APPLAUSE] 937 00:45:48,000 --> 00:45:54,000 ♪ ♪ [CHEERS AND APPLAUSE] 938 00:45:54,000 --> 00:45:54,818 ♪ ♪ [CHEERS AND APPLAUSE] 939 00:46:00,591 --> 00:46:05,729 ♪ ♪ >> Announcer: NEXT, A ROLLICKING PERFORMANCE FROM 940 00:46:05,796 --> 00:46:06,000 "PIRATES! 941 00:46:06,000 --> 00:46:06,830 "PIRATES! 942 00:46:07,064 --> 00:46:09,133 THE PENZANCE MUSICAL," AND LATER, A SPECIAL "HAMILTON" 943 00:46:09,199 --> 00:46:11,635 TENTH ANNIVERSARY REUNION. 944 00:46:11,702 --> 00:46:12,000 THE TONY AWARDS. 945 00:46:12,000 --> 00:46:12,736 THE TONY AWARDS. 946 00:46:12,803 --> 00:46:17,574 THIS IS CBS. 947 00:46:17,641 --> 00:46:18,000 ♪ ♪ >> HEY, I'M MULTITASKER DARREN CRISS, AND AT THIS VERY 948 00:46:18,000 --> 00:46:21,778 ♪ ♪ >> HEY, I'M MULTITASKER DARREN CRISS, AND AT THIS VERY 949 00:46:21,845 --> 00:46:23,914 MOMENT I'VE GOT A LOT ON MY PLATE. 950 00:46:23,981 --> 00:46:24,000 I'M ONE MORE COSTUME CHANGE FROM OVERHEATING. 951 00:46:24,000 --> 00:46:27,184 I'M ONE MORE COSTUME CHANGE FROM OVERHEATING. 952 00:46:27,251 --> 00:46:29,386 IN "MAYBE HAPPY ENDING," I PLAY A ROBOT AND, JUST LIKE MY 953 00:46:29,453 --> 00:46:30,000 CHARACTER, I'VE ONLY GOT SO MUCH BATTERY LIFE. 954 00:46:30,000 --> 00:46:31,822 CHARACTER, I'VE ONLY GOT SO MUCH BATTERY LIFE. 955 00:46:31,889 --> 00:46:36,000 THAT'S WHY, WHEN IT STARTS TO RUN LOW, I NEED A LITTLE BIT OF 956 00:46:36,000 --> 00:46:37,694 THAT'S WHY, WHEN IT STARTS TO RUN LOW, I NEED A LITTLE BIT OF 957 00:46:37,761 --> 00:46:39,630 CAFFEINE AND SOMETHING REVITALIZING THAT SAYS, "YOU GOT 958 00:46:39,696 --> 00:46:41,665 THIS." 959 00:46:41,732 --> 00:46:42,000 THAT'S WHY PURE LEAF IS THE PERFECT SCENE PARTNER TO GET ME 960 00:46:42,000 --> 00:46:44,401 THAT'S WHY PURE LEAF IS THE PERFECT SCENE PARTNER TO GET ME 961 00:46:44,468 --> 00:46:46,637 THROUGH THE SHOW, SO GRAB A PURE LEAF, TAKE A TEA BREAK, AND COME 962 00:46:46,703 --> 00:46:48,000 BACK FOR MORE OF THE TONY AWARDS. 963 00:46:48,000 --> 00:46:50,574 BACK FOR MORE OF THE TONY AWARDS. 964 00:46:50,641 --> 00:46:54,000 AAH, LET'S GO. 965 00:46:54,000 --> 00:46:54,678 AAH, LET'S GO. 966 00:46:54,745 --> 00:46:58,882 ♪ ♪ >> Announcer: SPONSORED BY PURE LEAF ICED TEA. 967 00:46:58,949 --> 00:47:00,000 TAKE A TEA BREAK. 968 00:47:00,000 --> 00:47:00,884 TAKE A TEA BREAK. 969 00:47:20,971 --> 00:47:24,000 >> AND WE'RE LIVE IN THREE, TWO, ONE -- >> Cynthia: HERE NOW, THE 970 00:47:24,000 --> 00:47:24,575 >> AND WE'RE LIVE IN THREE, TWO, ONE -- >> Cynthia: HERE NOW, THE 971 00:47:24,641 --> 00:47:26,276 NEWS. 972 00:47:26,343 --> 00:47:29,513 THIS SEASON BROADWAY AUDIENCES WERE THRILLED BY ENDLESS AMOUNTS 973 00:47:29,580 --> 00:47:30,000 OF ON-STAGE CAMERAS, AN ABUNDANCE OF SERIOUS MEN 974 00:47:30,000 --> 00:47:34,851 OF ON-STAGE CAMERAS, AN ABUNDANCE OF SERIOUS MEN 975 00:47:34,918 --> 00:47:36,000 SMOKING, AND EXTREMELY BLACK AND WHITE CLOSE-UPS OF EXTREMELY 976 00:47:36,000 --> 00:47:36,954 SMOKING, AND EXTREMELY BLACK AND WHITE CLOSE-UPS OF EXTREMELY 977 00:47:37,020 --> 00:47:42,000 ATTRACTIVE PEOPLE. 978 00:47:42,000 --> 00:47:43,327 ATTRACTIVE PEOPLE. 979 00:47:43,393 --> 00:47:48,000 [LAUGHTER] [APPLAUSE] SOURCES SAY THE APPROACH ADDS A SENSE OF 980 00:47:48,000 --> 00:47:50,534 [LAUGHTER] [APPLAUSE] SOURCES SAY THE APPROACH ADDS A SENSE OF 981 00:47:50,601 --> 00:47:53,604 DRAMA AND MYSTERY TO OTHERWISE STRAIGHTFORWARD INFORMATION. 982 00:47:53,670 --> 00:47:54,000 MORE SOON. 983 00:47:54,000 --> 00:47:56,273 MORE SOON. 984 00:47:56,340 --> 00:48:00,000 AND NOW, PLEASE WELCOME A TONY-WINNING PAIR THAT INCLUDES 985 00:48:00,000 --> 00:48:01,011 AND NOW, PLEASE WELCOME A TONY-WINNING PAIR THAT INCLUDES 986 00:48:01,078 --> 00:48:05,082 ONE OF MY TOP TWO GLINDAS -- KRISTIN CHENOWETH AND RACHEL BAY 987 00:48:05,148 --> 00:48:05,549 JONES. 988 00:48:05,616 --> 00:48:06,000 THAT'S THE NEWS. 989 00:48:06,000 --> 00:48:06,984 THAT'S THE NEWS. 990 00:48:07,050 --> 00:48:12,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Kristin: THE 16TH ANNUAL JIMMY AWARDS, 991 00:48:12,000 --> 00:48:17,060 [APPLAUSE] ♪ ♪ ♪ ♪ >> Kristin: THE 16TH ANNUAL JIMMY AWARDS, 992 00:48:20,464 --> 00:48:23,600 PRODUCED BY THE BROADWAY LEAGUE FOUNDATION, RECOGNIZES TALENTED 993 00:48:23,667 --> 00:48:24,000 HIGH SCHOOL STUDENTS FROM ACROSS THE COUNTRY. 994 00:48:24,000 --> 00:48:27,938 HIGH SCHOOL STUDENTS FROM ACROSS THE COUNTRY. 995 00:48:28,005 --> 00:48:30,000 MORE THAN 100 HOPEFULS WILL COMPETE FOR THIS YEARS AWARDS ON 996 00:48:30,000 --> 00:48:30,641 MORE THAN 100 HOPEFULS WILL COMPETE FOR THIS YEARS AWARDS ON 997 00:48:30,707 --> 00:48:31,675 ON JUNE 23RD. 998 00:48:31,742 --> 00:48:33,677 OH, RACHEL... 999 00:48:33,744 --> 00:48:36,000 I STILL REMEMBER WHEN I WON MY FIRST JIMMY AWARD. 1000 00:48:36,000 --> 00:48:39,516 I STILL REMEMBER WHEN I WON MY FIRST JIMMY AWARD. 1001 00:48:39,583 --> 00:48:42,000 >> Rachel: KRISTIN, THEY JUST STARTED IN 2009. 1002 00:48:42,000 --> 00:48:46,056 >> Rachel: KRISTIN, THEY JUST STARTED IN 2009. 1003 00:48:46,123 --> 00:48:48,000 [LAUGHTER] >> Kristin: YEAH... 1004 00:48:48,000 --> 00:48:49,660 [LAUGHTER] >> Kristin: YEAH... 1005 00:48:49,726 --> 00:48:50,927 THE YEAR I GRADUATED HIGH SCHOOL. 1006 00:48:50,994 --> 00:48:54,000 [LAUGHTER] >> Rachel: PAST WINNERS HAVE STARRED ON BROADWAY 1007 00:48:54,000 --> 00:48:55,699 [LAUGHTER] >> Rachel: PAST WINNERS HAVE STARRED ON BROADWAY 1008 00:48:55,766 --> 00:48:57,668 IN SHOWS LIKE "DEAR EVAN HANSEN," OR BEEN RECOGNIZED, 1009 00:48:57,734 --> 00:48:59,403 LIKE THESE NOMINEES FOR BEST PERFORMANCE BY AN ACTRESS IN A 1010 00:48:59,469 --> 00:49:00,000 FEATURED ROLE IN A MUSICAL. 1011 00:49:00,000 --> 00:49:02,873 FEATURED ROLE IN A MUSICAL. 1012 00:49:02,939 --> 00:49:06,000 >> Announcer: NATALIE VENETIA BELCON, "BUENA VISTA SOCIAL 1013 00:49:06,000 --> 00:49:06,710 >> Announcer: NATALIE VENETIA BELCON, "BUENA VISTA SOCIAL 1014 00:49:06,777 --> 00:49:08,512 CLUB." 1015 00:49:08,578 --> 00:49:11,415 JULIA KNITEL, "DEAD OUTLAW." 1016 00:49:11,481 --> 00:49:12,000 GRACIE LAWRENCE, "JUST IN TIME." 1017 00:49:12,000 --> 00:49:14,718 GRACIE LAWRENCE, "JUST IN TIME." 1018 00:49:14,785 --> 00:49:18,000 JUSTINA MACHADO, "REAL WOMEN HAVE CURVES: THE MUSICAL." 1019 00:49:18,000 --> 00:49:20,257 JUSTINA MACHADO, "REAL WOMEN HAVE CURVES: THE MUSICAL." 1020 00:49:20,324 --> 00:49:24,000 JOY WOODS, "GYPSY." 1021 00:49:24,000 --> 00:49:25,162 JOY WOODS, "GYPSY." 1022 00:49:25,228 --> 00:49:30,000 [APPLAUSE] ♪ ♪ >> Kristin: AND THE TONY AWARD FOR THE BEST 1023 00:49:30,000 --> 00:49:34,137 [APPLAUSE] ♪ ♪ >> Kristin: AND THE TONY AWARD FOR THE BEST 1024 00:49:34,204 --> 00:49:36,000 PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL, ONE 1025 00:49:36,000 --> 00:49:38,175 PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL, ONE 1026 00:49:38,241 --> 00:49:42,000 OF OUR PARTICULAR FAVORITE WORDS OF THE NIGHT... 1027 00:49:42,000 --> 00:49:43,447 OF OUR PARTICULAR FAVORITE WORDS OF THE NIGHT... 1028 00:49:43,513 --> 00:49:48,000 NATALIE VENETIA BELCON, "WHEN IT WAS. 1029 00:49:48,000 --> 00:49:48,852 NATALIE VENETIA BELCON, "WHEN IT WAS. 1030 00:49:48,919 --> 00:49:51,922 ""BUENA VISTA SOCIAL CLUB." 1031 00:49:51,988 --> 00:49:54,000 >> Announcer: OTHER BROADWAY CREDITS INCLUDE " AVENUE Q" AND 1032 00:49:54,000 --> 00:49:56,593 >> Announcer: OTHER BROADWAY CREDITS INCLUDE " AVENUE Q" AND 1033 00:49:56,660 --> 00:49:57,194 "RENT." 1034 00:49:57,728 --> 00:50:00,000 SHE EARNS HER FIRST TONY NOMINATION AND WIN. 1035 00:50:00,000 --> 00:50:02,065 SHE EARNS HER FIRST TONY NOMINATION AND WIN. 1036 00:50:02,132 --> 00:50:06,000 ♪ ♪ ♪ ♪ >> THANK YOU SO MUCH. 1037 00:50:06,000 --> 00:50:12,000 ♪ ♪ ♪ ♪ >> THANK YOU SO MUCH. 1038 00:50:12,000 --> 00:50:12,142 ♪ ♪ ♪ ♪ >> THANK YOU SO MUCH. 1039 00:50:18,648 --> 00:50:19,316 OH, MY GOODNESS. 1040 00:50:19,383 --> 00:50:22,986 HELLO, EVERYONE. 1041 00:50:23,053 --> 00:50:24,000 [APPLAUSE] AMAZING! 1042 00:50:24,000 --> 00:50:24,755 [APPLAUSE] AMAZING! 1043 00:50:24,821 --> 00:50:25,322 OKAY. 1044 00:50:25,989 --> 00:50:30,000 THE LAST TIME I WAS HERE WAS THE 58TH TONY AWARDS. 1045 00:50:30,000 --> 00:50:33,063 THE LAST TIME I WAS HERE WAS THE 58TH TONY AWARDS. 1046 00:50:33,130 --> 00:50:36,000 YEAH. 1047 00:50:36,000 --> 00:50:37,901 YEAH. 1048 00:50:37,968 --> 00:50:39,903 I MISS THIS PLACE. 1049 00:50:39,970 --> 00:50:42,000 ANYWAY, CONGRATULATIONS TO EVERYONE, ACTUALLY. 1050 00:50:42,000 --> 00:50:42,773 ANYWAY, CONGRATULATIONS TO EVERYONE, ACTUALLY. 1051 00:50:42,839 --> 00:50:48,000 THANK YOU TO THE BROADWAY LEAGUE AND THE AMERICAN THEATRE WING. 1052 00:50:48,000 --> 00:50:49,880 THANK YOU TO THE BROADWAY LEAGUE AND THE AMERICAN THEATRE WING. 1053 00:50:49,946 --> 00:50:54,000 TARO, XAVIER, THANK YOU FOR CALLING THE INCOME EVEN IF IT IS 1054 00:50:54,000 --> 00:50:56,486 TARO, XAVIER, THANK YOU FOR CALLING THE INCOME EVEN IF IT IS 1055 00:50:56,553 --> 00:50:57,554 A 12-YEAR-OLD ASIAN BOY. 1056 00:50:57,621 --> 00:51:00,000 SHE SAYS, I'VE GOT YOU, GIRL, AND THERE I AM. 1057 00:51:00,000 --> 00:51:04,294 SHE SAYS, I'VE GOT YOU, GIRL, AND THERE I AM. 1058 00:51:04,361 --> 00:51:06,000 TO MY PRODUCERS, ORIN WOLF, JOHN STILES, PATRICK DALY, BARBARA 1059 00:51:06,000 --> 00:51:09,232 TO MY PRODUCERS, ORIN WOLF, JOHN STILES, PATRICK DALY, BARBARA 1060 00:51:09,299 --> 00:51:12,000 BROCCOLI, DAVID YES THAT, BROCCOLI, DAVID YES TH YAZBEK, 1061 00:51:12,000 --> 00:51:18,000 BROCCOLI, DAVID YES THAT, BROCCOLI, DAVID YES TH YAZBEK, 1062 00:51:18,000 --> 00:51:19,376 BROCCOLI, DAVID YES THAT, BROCCOLI, DAVID YES TH YAZBEK, 1063 00:51:19,443 --> 00:51:21,077 THANK YOU FOR TRUSTING YOU THIS. 1064 00:51:21,144 --> 00:51:24,000 SAHEEM ALI, I'D LIKE TO CALL HIM "BOOKED AND BUSY," AND OUR 1065 00:51:24,000 --> 00:51:26,216 SAHEEM ALI, I'D LIKE TO CALL HIM "BOOKED AND BUSY," AND OUR 1066 00:51:26,283 --> 00:51:28,785 WONDERFUL BOOK WRITER, MARCO RAMIREZ. 1067 00:51:28,852 --> 00:51:30,000 THE BAND, MY OBSESSION. 1068 00:51:30,000 --> 00:51:30,954 THE BAND, MY OBSESSION. 1069 00:51:31,021 --> 00:51:33,089 WELL, MY SECOND SESSION. 1070 00:51:33,156 --> 00:51:34,157 THE FIRST ONE IS JASON MOMOA. 1071 00:51:34,224 --> 00:51:34,624 HEY, JASON. 1072 00:51:34,691 --> 00:51:36,000 HOW YOU DOING? 1073 00:51:36,000 --> 00:51:37,127 HOW YOU DOING? 1074 00:51:37,194 --> 00:51:42,000 [LAUGHTER AND APPLAUSE] AND THE REAL BUENA VISTA SOCIAL CLUB, 1075 00:51:42,000 --> 00:51:46,970 [LAUGHTER AND APPLAUSE] AND THE REAL BUENA VISTA SOCIAL CLUB, 1076 00:51:47,037 --> 00:51:48,000 WHO OF COURSE WE COULD NOT DO THIS WITHOUT. 1077 00:51:48,000 --> 00:51:50,307 WHO OF COURSE WE COULD NOT DO THIS WITHOUT. 1078 00:51:50,373 --> 00:51:51,775 I HOPE YOU WILL SEE THIS. 1079 00:51:51,842 --> 00:51:53,910 I HOPE YOU ARE PROUD OF US. 1080 00:51:53,977 --> 00:51:54,000 IT IS SUCH AN HONOR TO PORTRAY YOU. 1081 00:51:54,000 --> 00:51:58,281 IT IS SUCH AN HONOR TO PORTRAY YOU. 1082 00:51:58,348 --> 00:52:00,000 MY FELLOW NOMINEES, YOUR PERFORMANCES ARE ALL INCREDIBLY 1083 00:52:00,000 --> 00:52:01,451 MY FELLOW NOMINEES, YOUR PERFORMANCES ARE ALL INCREDIBLY 1084 00:52:01,518 --> 00:52:02,352 INSPIRING. 1085 00:52:02,853 --> 00:52:05,589 MY FRIENDS AND FAMILY, THANK YOU FOR LISTENING TO ME CRY AND 1086 00:52:05,655 --> 00:52:06,000 CACKLE AND COMPLAIN AT 3:00 IN THE MORNING. 1087 00:52:06,000 --> 00:52:10,927 CACKLE AND COMPLAIN AT 3:00 IN THE MORNING. 1088 00:52:10,994 --> 00:52:12,000 AND MY TEAM, JOHN MASON, PERRY, LAUREN, AND ALEX, THIS IS SUCH 1089 00:52:12,000 --> 00:52:18,000 AND MY TEAM, JOHN MASON, PERRY, LAUREN, AND ALEX, THIS IS SUCH 1090 00:52:18,000 --> 00:52:21,037 AND MY TEAM, JOHN MASON, PERRY, LAUREN, AND ALEX, THIS IS SUCH 1091 00:52:21,638 --> 00:52:24,000 AN INCREDIBLE HONOR TO COME BACK THIS WAY AND TO PORTRAY THIS 1092 00:52:24,000 --> 00:52:30,000 AN INCREDIBLE HONOR TO COME BACK THIS WAY AND TO PORTRAY THIS 1093 00:52:30,000 --> 00:52:30,113 AN INCREDIBLE HONOR TO COME BACK THIS WAY AND TO PORTRAY THIS 1094 00:52:30,180 --> 00:52:31,848 WOMAN, AND THIS BAND. 1095 00:52:31,915 --> 00:52:34,150 I THANK YOU ALL SO MUCH. 1096 00:52:34,217 --> 00:52:36,000 GOOD NIGHT. 1097 00:52:36,000 --> 00:52:37,320 GOOD NIGHT. 1098 00:52:37,387 --> 00:52:42,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME TONY AWARD WINNER 1099 00:52:42,000 --> 00:52:46,162 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME TONY AWARD WINNER 1100 00:52:46,229 --> 00:52:47,230 KELLI O'HARA. 1101 00:52:47,564 --> 00:52:48,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Kelli: GOOD EVENING, EVERYONE. 1102 00:52:48,000 --> 00:52:54,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Kelli: GOOD EVENING, EVERYONE. 1103 00:52:54,000 --> 00:52:57,541 [APPLAUSE] ♪ ♪ ♪ ♪ >> Kelli: GOOD EVENING, EVERYONE. 1104 00:53:00,010 --> 00:53:04,381 EIGHT TIMES A WEEK, A THEATRICAL LANDMARK SETS SAIL FROM 1105 00:53:04,447 --> 00:53:06,000 BROADWAY, AS MY BELOVED ROUNDABOUT THEATRE COMPANY 1106 00:53:06,000 --> 00:53:06,316 BROADWAY, AS MY BELOVED ROUNDABOUT THEATRE COMPANY 1107 00:53:06,383 --> 00:53:10,453 CHARTS A NEW COURSE FOR THE SHOW THAT LAUNCHED MUSICAL COMEDY. 1108 00:53:10,520 --> 00:53:12,000 THIS IS "PIRATES!," THE JAZZED-UP REIMAGINING OF GILBERT 1109 00:53:12,000 --> 00:53:15,625 THIS IS "PIRATES!," THE JAZZED-UP REIMAGINING OF GILBERT 1110 00:53:15,692 --> 00:53:18,000 AND SULLIVAN'S "PIRATES OF PENZANCE," JOYFULLY RELOCATED TO 1111 00:53:18,000 --> 00:53:18,295 AND SULLIVAN'S "PIRATES OF PENZANCE," JOYFULLY RELOCATED TO 1112 00:53:18,361 --> 00:53:22,766 THE CITY OF NEW ORLEANS. 1113 00:53:22,832 --> 00:53:24,000 NOW TONY AWARD WINNER DAVID HYDE PIERCE AND THE ENTIRE PIRATES! 1114 00:53:24,000 --> 00:53:29,973 NOW TONY AWARD WINNER DAVID HYDE PIERCE AND THE ENTIRE PIRATES! 1115 00:53:30,040 --> 00:53:33,443 CREW PERFORM THE CLASSIC, "WE SAIL THE OCEAN BLUE." 1116 00:53:33,510 --> 00:53:35,445 AYE, AYE, CAPTAIN. 1117 00:53:35,512 --> 00:53:36,000 >> OH, I'M NOT A CAPTAIN. 1118 00:53:36,000 --> 00:53:36,546 >> OH, I'M NOT A CAPTAIN. 1119 00:53:36,613 --> 00:53:39,249 I AM THE VERY MODEL OF A MODERN MAJOR GENERAL. 1120 00:53:39,316 --> 00:53:40,617 HE'S A CAPTAIN! 1121 00:53:40,684 --> 00:53:42,000 ♪ ♪ >> ♪ I GOT THE SAIL THE OCEAN BLUES ♪ ♪ AND AS PIRATE 1122 00:53:42,000 --> 00:53:48,000 ♪ ♪ >> ♪ I GOT THE SAIL THE OCEAN BLUES ♪ ♪ AND AS PIRATE 1123 00:53:48,000 --> 00:53:48,325 ♪ ♪ >> ♪ I GOT THE SAIL THE OCEAN BLUES ♪ ♪ AND AS PIRATE 1124 00:53:48,391 --> 00:53:50,994 KING, I'M MINDLESS ♪ ♪ YET I MIX MY BOOTLEG BOOZE ♪ ♪ WITH THE 1125 00:53:51,061 --> 00:53:54,000 MILK OF HUMAN KINDNESS ♪ ♪ WITH PLUCK AND PANACHE ♪ ♪ I CAN 1126 00:53:54,000 --> 00:53:54,664 MILK OF HUMAN KINDNESS ♪ ♪ WITH PLUCK AND PANACHE ♪ ♪ I CAN 1127 00:53:54,731 --> 00:53:57,767 BUCKLE AND SWASH ♪ ♪ ALTHOUGH MY HEART IS NOT IRONCLAD, GUYS ♪ ♪ 1128 00:53:57,834 --> 00:54:00,000 IF I MAY BE SUCCINCT, EVEN THOUGH WE'RE EXTINCT ♪ ♪ WE WISH 1129 00:54:00,000 --> 00:54:00,103 IF I MAY BE SUCCINCT, EVEN THOUGH WE'RE EXTINCT ♪ ♪ WE WISH 1130 00:54:00,170 --> 00:54:05,408 TO LIVE OR DIE AS BAD GUYS ♪ >> ♪ I WAS ONCE A PIRATE, TOO ♪ ♪ 1131 00:54:05,475 --> 00:54:06,000 AND A CRAVEN SLAVE TO DUTY ♪ >> ♪ IN A PLEASANT SWITCHEROO ♪ ♪ I 1132 00:54:06,000 --> 00:54:09,546 AND A CRAVEN SLAVE TO DUTY ♪ >> ♪ IN A PLEASANT SWITCHEROO ♪ ♪ I 1133 00:54:09,613 --> 00:54:12,000 HAVE FOUND MYSELF A CUTIE ♪ >> ♪ WHEN THE TRADEWINDS PLAY OVER 1134 00:54:12,000 --> 00:54:13,216 HAVE FOUND MYSELF A CUTIE ♪ >> ♪ WHEN THE TRADEWINDS PLAY OVER 1135 00:54:13,283 --> 00:54:17,387 HURRICANE BAY ♪ ♪ I COULDN'T WISH MY LIFE TO BE FINER ♪ ♪ BUT 1136 00:54:17,454 --> 00:54:18,000 IF PIRATES APPEAR, THEN I FEAR YOU'LL HEAR ♪ ♪ THIS MAJOR 1137 00:54:18,000 --> 00:54:21,224 IF PIRATES APPEAR, THEN I FEAR YOU'LL HEAR ♪ ♪ THIS MAJOR 1138 00:54:21,291 --> 00:54:24,000 GENERAL SING >> ♪ BUT YOU'RE LOVED IN A MAJOR WAY ♪ >> ♪ LOVE 1139 00:54:24,000 --> 00:54:26,262 GENERAL SING >> ♪ BUT YOU'RE LOVED IN A MAJOR WAY ♪ >> ♪ LOVE 1140 00:54:26,329 --> 00:54:29,633 HAS THROWN ME OVERBOARD ♪ ♪ IN THE DEEP BLUE SEA, I'M FLAILING 1141 00:54:29,699 --> 00:54:30,000 ♪ ♪ I'M SINKING FAST AND REVIEWING MY PAST ♪ ♪ WHATEVER 1142 00:54:30,000 --> 00:54:33,069 ♪ ♪ I'M SINKING FAST AND REVIEWING MY PAST ♪ ♪ WHATEVER 1143 00:54:33,136 --> 00:54:35,972 MADE ME TAKE UP SAILING ♪ >> ♪ AHOY, AHOY ♪ >> ♪ THE SITUATION 1144 00:54:36,039 --> 00:54:41,678 STINKS ♪ >> ♪ AHOY, AHOY ♪ >> ♪ I GUESS THAT I'M A JINKX ♪ >> ♪ 1145 00:54:41,745 --> 00:54:42,000 SO WE'LL STAND BY OUR HEARTS ALL DAY ♪ ♪ ♪ ♪ ♪ [SHOES TAPPING] 1146 00:54:42,000 --> 00:54:48,000 SO WE'LL STAND BY OUR HEARTS ALL DAY ♪ ♪ ♪ ♪ ♪ [SHOES TAPPING] 1147 00:54:48,000 --> 00:54:51,755 SO WE'LL STAND BY OUR HEARTS ALL DAY ♪ ♪ ♪ ♪ ♪ [SHOES TAPPING] 1148 00:55:13,677 --> 00:55:18,000 [WASHBOARD] ♪ ♪ ♪ ♪ ♪ ♪ >> TAKE IT HOME! 1149 00:55:18,000 --> 00:55:23,687 [WASHBOARD] ♪ ♪ ♪ ♪ ♪ ♪ >> TAKE IT HOME! 1150 00:56:05,061 --> 00:56:06,000 ♪ ♪ >> ♪ WE'VE A STORY JUST FOR YOU ♪ ♪ OF ROMANCE AND DANCE AND 1151 00:56:06,000 --> 00:56:12,000 ♪ ♪ >> ♪ WE'VE A STORY JUST FOR YOU ♪ ♪ OF ROMANCE AND DANCE AND 1152 00:56:12,000 --> 00:56:15,071 ♪ ♪ >> ♪ WE'VE A STORY JUST FOR YOU ♪ ♪ OF ROMANCE AND DANCE AND 1153 00:56:17,907 --> 00:56:18,000 CROSSED SWORDS ♪ ♪ ONE OF SISTERS BRAVE AND TRUE ♪ ♪ AND 1154 00:56:18,000 --> 00:56:23,646 CROSSED SWORDS ♪ ♪ ONE OF SISTERS BRAVE AND TRUE ♪ ♪ AND 1155 00:56:23,713 --> 00:56:24,000 ABOUT TWO DOZEN WASHBOARDS ♪ ♪ AND HERE'S OUR GRAND CONFESSION 1156 00:56:24,000 --> 00:56:29,052 ABOUT TWO DOZEN WASHBOARDS ♪ ♪ AND HERE'S OUR GRAND CONFESSION 1157 00:56:29,119 --> 00:56:30,000 ♪ ♪ THAT BORDERS ON OBSESSION ♪ ♪ WE LIVE TO GIVE THIS HARDY 1158 00:56:30,000 --> 00:56:32,622 ♪ ♪ THAT BORDERS ON OBSESSION ♪ ♪ WE LIVE TO GIVE THIS HARDY 1159 00:56:32,689 --> 00:56:36,000 HIP-HOO-RAH ♪ ♪ LIFE IS A MARDI GRAS ♪ ♪ ♪ [CHEERS AND APPLAUSE] 1160 00:56:36,000 --> 00:56:42,000 HIP-HOO-RAH ♪ ♪ LIFE IS A MARDI GRAS ♪ ♪ ♪ [CHEERS AND APPLAUSE] 1161 00:56:42,000 --> 00:56:42,699 HIP-HOO-RAH ♪ ♪ LIFE IS A MARDI GRAS ♪ ♪ ♪ [CHEERS AND APPLAUSE] 1162 00:56:56,746 --> 00:57:00,000 ♪ ♪ >> Announcer: NEXT, A PERFORMANCE FROM "MAYBE HAPPY 1163 00:57:00,000 --> 00:57:04,854 ♪ ♪ >> Announcer: NEXT, A PERFORMANCE FROM "MAYBE HAPPY 1164 00:57:04,921 --> 00:57:05,755 ENDING." 1165 00:57:05,822 --> 00:57:06,000 THEN, IT'S A LIVE "HAMILTON" MIX TAPE. 1166 00:57:06,000 --> 00:57:08,424 THEN, IT'S A LIVE "HAMILTON" MIX TAPE. 1167 00:57:08,491 --> 00:57:08,892 THE TONY AWARDS. 1168 00:57:08,958 --> 00:57:09,959 THIS IS CBS. 1169 00:57:26,976 --> 00:57:28,912 ♪ ♪ [APPLAUSE] >> Announcer: PLEASE WELCOME ACTOR, DIRECTOR, 1170 00:57:28,978 --> 00:57:30,000 NEW YORKER, BEN STILLER. 1171 00:57:30,000 --> 00:57:30,980 NEW YORKER, BEN STILLER. 1172 00:57:31,047 --> 00:57:36,000 [APPLAUSE] ♪ ♪ >> Ben: I'M SO HONORED TO BE HERE, BECAUSE 1173 00:57:36,000 --> 00:57:41,090 [APPLAUSE] ♪ ♪ >> Ben: I'M SO HONORED TO BE HERE, BECAUSE 1174 00:57:41,891 --> 00:57:42,000 THEATER IS MY PASSION, THE PLACE WHERE I FEEL MOST AT HOME. 1175 00:57:42,000 --> 00:57:45,562 THEATER IS MY PASSION, THE PLACE WHERE I FEEL MOST AT HOME. 1176 00:57:45,628 --> 00:57:48,000 THE STAGE HAS BEEN A CONSTANT SANCTUARY FOR ME, DATING ALL THE 1177 00:57:48,000 --> 00:57:49,032 THE STAGE HAS BEEN A CONSTANT SANCTUARY FOR ME, DATING ALL THE 1178 00:57:49,098 --> 00:57:50,567 WAY BACK TO LAST WEEK, WHEN THE KNICKS LOST THE EASTERN 1179 00:57:50,633 --> 00:57:51,434 CONFERENCE FINALS. 1180 00:57:51,501 --> 00:57:54,000 [LAUGHTER] THANK YOU. 1181 00:57:54,000 --> 00:57:57,407 [LAUGHTER] THANK YOU. 1182 00:57:57,473 --> 00:57:59,475 I WAS TOLD THERE WAS A HUGE CROSSOVER BETWEEN THEATER LOVERS 1183 00:57:59,542 --> 00:58:00,000 AND SPORTS FANS. 1184 00:58:00,000 --> 00:58:04,547 AND SPORTS FANS. 1185 00:58:04,614 --> 00:58:06,000 [LAUGHTER AND APPLAUSE] YEAH. 1186 00:58:06,000 --> 00:58:08,318 [LAUGHTER AND APPLAUSE] YEAH. 1187 00:58:08,384 --> 00:58:10,320 THE FIVE DISTINCT VOICES NOMINATED FOR OUR NEXT AWARD 1188 00:58:10,386 --> 00:58:12,000 REPRESENT THE DIVERSITY AND EXTRAORDINARY WEALTH OF NEW 1189 00:58:12,000 --> 00:58:12,589 REPRESENT THE DIVERSITY AND EXTRAORDINARY WEALTH OF NEW 1190 00:58:12,655 --> 00:58:14,991 MATERIAL THAT CAPTIVATED THEATERGOERS THIS SEASON. 1191 00:58:15,058 --> 00:58:18,000 AMONG THEM ARE TONY AND PULITZER PRIZE WINNERS, ALONG WITH THREE 1192 00:58:18,000 --> 00:58:19,729 AMONG THEM ARE TONY AND PULITZER PRIZE WINNERS, ALONG WITH THREE 1193 00:58:19,796 --> 00:58:24,000 PLAYWRIGHTS WHO ARE MAKING THEIR BROADWAY DEBUTS. 1194 00:58:24,000 --> 00:58:25,301 PLAYWRIGHTS WHO ARE MAKING THEIR BROADWAY DEBUTS. 1195 00:58:25,368 --> 00:58:29,439 [APPLAUSE] TO TELL YOU ABOUT THE INSPIRATIONS BEHIND THEIR WORKS 1196 00:58:29,505 --> 00:58:30,000 ARE SOME OF THE BRILLIANT NOMINATED ARTISTS FROM EACH 1197 00:58:30,000 --> 00:58:31,608 ARE SOME OF THE BRILLIANT NOMINATED ARTISTS FROM EACH 1198 00:58:31,674 --> 00:58:35,912 PLAY. 1199 00:58:35,979 --> 00:58:36,000 ♪ ♪ >> GUYS, PLEASE, PLEASE. 1200 00:58:36,000 --> 00:58:42,000 ♪ ♪ >> GUYS, PLEASE, PLEASE. 1201 00:58:42,000 --> 00:58:44,287 ♪ ♪ >> GUYS, PLEASE, PLEASE. 1202 00:58:44,354 --> 00:58:45,121 I HAVE TO GET THROUGH THIS. 1203 00:58:45,188 --> 00:58:46,189 "OH, MARY!" 1204 00:58:46,522 --> 00:58:48,000 BEGAN AS A STUPID QUESTION I EMAILED TO MYSELF: "WHAT IF ABE 1205 00:58:48,000 --> 00:58:48,358 BEGAN AS A STUPID QUESTION I EMAILED TO MYSELF: "WHAT IF ABE 1206 00:58:48,424 --> 00:58:52,128 LINCOLN'S ASSASSINATION WASN'T SUCH A BAD THING FOR OL' MARY 1207 00:58:52,195 --> 00:58:52,962 TODD?" 1208 00:58:53,463 --> 00:58:54,000 AFTER MORE THAN A DECADE OF PAINSTAKINGLY AVOIDING ANY 1209 00:58:54,000 --> 00:58:55,498 AFTER MORE THAN A DECADE OF PAINSTAKINGLY AVOIDING ANY 1210 00:58:55,565 --> 00:58:59,068 RESEARCH, I WROTE MY HISTORICALLY INACCURATE PORTRAIT 1211 00:58:59,135 --> 00:59:00,000 OF THE BRATTY CURLED FIRST LADY. 1212 00:59:00,000 --> 00:59:01,337 OF THE BRATTY CURLED FIRST LADY. 1213 00:59:01,404 --> 00:59:04,374 IN MY VERSION, MARY IS A FRUSTRATED ALCOHOLIC CABARET 1214 00:59:04,440 --> 00:59:06,000 PERFORMER. 1215 00:59:06,000 --> 00:59:09,112 PERFORMER. 1216 00:59:09,178 --> 00:59:12,000 IT'S THAT CLASSIC TALE OF ART IMITATING LIFE -- MY LIFE, NOT 1217 00:59:12,000 --> 00:59:16,953 IT'S THAT CLASSIC TALE OF ART IMITATING LIFE -- MY LIFE, NOT 1218 00:59:17,020 --> 00:59:18,000 HERS. 1219 00:59:18,000 --> 00:59:18,955 HERS. 1220 00:59:19,022 --> 00:59:22,692 [APPLAUSE] >> LAST YEAR'S TONY-WINNING PLAYWRIGHT BRANDEN 1221 00:59:22,759 --> 00:59:24,000 JACOBS-JENKINS RETURNS TO BROADWAY WITH THIS YEAR'S 1222 00:59:24,000 --> 00:59:25,061 JACOBS-JENKINS RETURNS TO BROADWAY WITH THIS YEAR'S 1223 00:59:25,128 --> 00:59:28,197 PULITZER PRIZE WINNER, "PURPOSE." 1224 00:59:28,264 --> 00:59:30,000 WILDLY FUNNY AND EXPLOSIVELY DRAMATIC, "PURPOSE" CENTERS 1225 00:59:30,000 --> 00:59:31,601 WILDLY FUNNY AND EXPLOSIVELY DRAMATIC, "PURPOSE" CENTERS 1226 00:59:31,668 --> 00:59:36,000 AROUND THE COMPLEX DYNAMICS OF A POLITICAL DYNASTY LED BY SOLOMON 1227 00:59:36,000 --> 00:59:36,239 AROUND THE COMPLEX DYNAMICS OF A POLITICAL DYNASTY LED BY SOLOMON 1228 00:59:36,306 --> 00:59:40,910 JASPER, PASTOR AND HERO OF THE CIVIL RIGHTS MOVEMENT. 1229 00:59:40,977 --> 00:59:42,000 GATHERED TOGETHER FOR AN EMOTIONAL HOMECOMING, THE FAMILY 1230 00:59:42,000 --> 00:59:43,212 GATHERED TOGETHER FOR AN EMOTIONAL HOMECOMING, THE FAMILY 1231 00:59:43,279 --> 00:59:45,648 MEMBERS EACH WRESTLE WITH WHAT PURPOSE MEANS TO THEM, AS 1232 00:59:45,715 --> 00:59:48,000 LONG-BURIED TRUTHS ARE REVEALED, FORCING THEM INTO A RECKONING 1233 00:59:48,000 --> 00:59:48,184 LONG-BURIED TRUTHS ARE REVEALED, FORCING THEM INTO A RECKONING 1234 00:59:48,251 --> 00:59:53,890 WITH THEMSELVES, THEIR FAITH, AND THEIR FAMILY'S LEGACY. 1235 00:59:53,957 --> 00:59:54,000 [APPLAUSE] >> IN A SEASIDE TOWN IN 1950s ENGLAND, A MOTHER 1236 00:59:54,000 --> 01:00:00,000 [APPLAUSE] >> IN A SEASIDE TOWN IN 1950s ENGLAND, A MOTHER 1237 01:00:00,000 --> 01:00:02,131 [APPLAUSE] >> IN A SEASIDE TOWN IN 1950s ENGLAND, A MOTHER 1238 01:00:02,198 --> 01:00:05,468 DREAMS OF FREEING HER FOUR DAUGHTERS FROM LIVES OF STIFLING 1239 01:00:05,535 --> 01:00:06,000 DRUDGERY. 1240 01:00:06,000 --> 01:00:06,602 DRUDGERY. 1241 01:00:06,869 --> 01:00:09,339 THEIR IMPECCABLY DRILLED SISTER ACT WILL CARRY THEM TO DISTANT 1242 01:00:09,405 --> 01:00:12,000 SHORES TO LIVE OUT SPARKLING, EMPOWERED FUTURES. 1243 01:00:12,000 --> 01:00:13,309 SHORES TO LIVE OUT SPARKLING, EMPOWERED FUTURES. 1244 01:00:13,376 --> 01:00:17,113 WHEN THOSE SAME DAUGHTERS GATHER TWO DECADES LATER AT THEIR 1245 01:00:17,180 --> 01:00:18,000 MOTHER'S DEATHBED, A LONG-BURIED SECRET WILL CHANGE THEIR STORY 1246 01:00:18,000 --> 01:00:19,115 MOTHER'S DEATHBED, A LONG-BURIED SECRET WILL CHANGE THEIR STORY 1247 01:00:19,182 --> 01:00:21,517 FOREVER. 1248 01:00:21,584 --> 01:00:24,000 IN "THE HILLS OF CALIFORNIA," JEZ BUTTERWORTH EXPLORES HOW THE 1249 01:00:24,000 --> 01:00:24,954 IN "THE HILLS OF CALIFORNIA," JEZ BUTTERWORTH EXPLORES HOW THE 1250 01:00:25,021 --> 01:00:30,000 ROAD TO HELL IS PAVED WITH GOOD INTENTIONS. 1251 01:00:30,000 --> 01:00:31,761 ROAD TO HELL IS PAVED WITH GOOD INTENTIONS. 1252 01:00:31,828 --> 01:00:36,000 [APPLAUSE] >> PLAYWRIGHT KIMBERLY BELFLOWER RE-EXAMINES 1253 01:00:36,000 --> 01:00:38,368 [APPLAUSE] >> PLAYWRIGHT KIMBERLY BELFLOWER RE-EXAMINES 1254 01:00:38,434 --> 01:00:41,804 "THE CRUCIBLE" THROUGH A CONTEMPORARY LENS IN "JOHN 1255 01:00:41,871 --> 01:00:42,000 PROCTOR IS THE VILLAIN," A PLAY RUNNING ON POP MUSIC, OPTIMISM, 1256 01:00:42,000 --> 01:00:45,008 PROCTOR IS THE VILLAIN," A PLAY RUNNING ON POP MUSIC, OPTIMISM, 1257 01:00:45,074 --> 01:00:46,275 AND FURY. 1258 01:00:46,342 --> 01:00:48,000 HER INFECTIOUS COMING-OF-AGE STORY SPEAKS TO MY GENERATION, 1259 01:00:48,000 --> 01:00:49,612 HER INFECTIOUS COMING-OF-AGE STORY SPEAKS TO MY GENERATION, 1260 01:00:49,679 --> 01:00:53,683 AND ALL AUDIENCES, IN OUR OWN LANGUAGE, AND IT'S REALLY FUNNY. 1261 01:00:53,750 --> 01:00:54,000 WHEN A GROUP OF SMALL-TOWN TEENAGE GIRLS IN GEORGIA START 1262 01:00:54,000 --> 01:00:57,020 WHEN A GROUP OF SMALL-TOWN TEENAGE GIRLS IN GEORGIA START 1263 01:00:57,086 --> 01:01:00,000 TO QUESTION EVERYTHING THEY'VE BEEN TAUGHT TO BELIEVE, THEY 1264 01:01:00,000 --> 01:01:00,323 TO QUESTION EVERYTHING THEY'VE BEEN TAUGHT TO BELIEVE, THEY 1265 01:01:00,390 --> 01:01:03,326 JOIN FORCES TO CHALLENGE OLD NARRATIVES AND CREATE NEW ONES, 1266 01:01:03,393 --> 01:01:06,000 DANCING TOGETHER AMIDST A WORLD ON FIRE. 1267 01:01:06,000 --> 01:01:10,400 DANCING TOGETHER AMIDST A WORLD ON FIRE. 1268 01:01:10,466 --> 01:01:12,000 [APPLAUSE] >> PRODUCED BY ROUNDABOUT THEATRE COMPANY, THE 1269 01:01:12,000 --> 01:01:18,000 [APPLAUSE] >> PRODUCED BY ROUNDABOUT THEATRE COMPANY, THE 1270 01:01:18,000 --> 01:01:20,510 [APPLAUSE] >> PRODUCED BY ROUNDABOUT THEATRE COMPANY, THE 1271 01:01:20,843 --> 01:01:24,000 PULITZER PRIZE-WINNING "ENGLISH" WAS WRITTEN BY SANAZ TOOSSI IN 1272 01:01:24,000 --> 01:01:24,380 PULITZER PRIZE-WINNING "ENGLISH" WAS WRITTEN BY SANAZ TOOSSI IN 1273 01:01:24,447 --> 01:01:29,352 RESPONSE TO THE 2017 MUSLIM TRAVEL BAN. 1274 01:01:29,419 --> 01:01:30,000 THIS COMEDY ABOUT LANGUAGE AND IDENTITY FOLLOWS FOUR IRANIAN 1275 01:01:30,000 --> 01:01:32,822 THIS COMEDY ABOUT LANGUAGE AND IDENTITY FOLLOWS FOUR IRANIAN 1276 01:01:32,889 --> 01:01:35,691 ADULTS AND THEIR TEACHER AS SHE PREPARES THEM FOR AN ENGLISH 1277 01:01:35,758 --> 01:01:36,000 LANGUAGE EXAM THAT WILL DETERMINE THEIR FUTURES. 1278 01:01:36,000 --> 01:01:39,462 LANGUAGE EXAM THAT WILL DETERMINE THEIR FUTURES. 1279 01:01:39,529 --> 01:01:42,000 THROUGH LINGUISTIC GAMES, ACCENT EXERCISES, AND EVEN THE LYRICS 1280 01:01:42,000 --> 01:01:44,600 THROUGH LINGUISTIC GAMES, ACCENT EXERCISES, AND EVEN THE LYRICS 1281 01:01:44,667 --> 01:01:48,000 OF A RICKY MARTIN SONG, THEY ARE ALL CONFRONTED BY THEIR WILDLY 1282 01:01:48,000 --> 01:01:48,704 OF A RICKY MARTIN SONG, THEY ARE ALL CONFRONTED BY THEIR WILDLY 1283 01:01:48,771 --> 01:01:50,573 DIFFERENT DREAMS AND WHETHER THEY CAN STILL BE THEMSELVES IN 1284 01:01:50,640 --> 01:01:54,000 ANOTHER LANGUAGE. 1285 01:01:54,000 --> 01:01:57,580 ANOTHER LANGUAGE. 1286 01:01:57,647 --> 01:02:00,000 [APPLAUSE] >> Ben: THANK YOU TO ALL OF OUR NOMINEES FOR YOUR 1287 01:02:00,000 --> 01:02:01,284 [APPLAUSE] >> Ben: THANK YOU TO ALL OF OUR NOMINEES FOR YOUR 1288 01:02:01,350 --> 01:02:04,020 OUTSTANDING CONTRIBUTIONS TO THE THEATER. 1289 01:02:04,087 --> 01:02:06,000 AND THE TONY AWARD GOES TO... 1290 01:02:06,000 --> 01:02:12,000 AND THE TONY AWARD GOES TO... 1291 01:02:12,000 --> 01:02:14,097 AND THE TONY AWARD GOES TO... 1292 01:02:17,033 --> 01:02:18,000 "PURPOSE." 1293 01:02:18,000 --> 01:02:19,769 "PURPOSE." 1294 01:02:19,836 --> 01:02:24,000 [CHEERS AND APPLAUSE] >> Announcer: ACCEPTING THE AWARD 1295 01:02:24,000 --> 01:02:27,176 [CHEERS AND APPLAUSE] >> Announcer: ACCEPTING THE AWARD 1296 01:02:27,243 --> 01:02:30,000 FOR "PURPOSE," AUTHOR BRANDEN JACOBS-JENKINS AND PRODUCER 1297 01:02:30,000 --> 01:02:32,748 FOR "PURPOSE," AUTHOR BRANDEN JACOBS-JENKINS AND PRODUCER 1298 01:02:32,815 --> 01:02:35,251 GLENN DAVIS. 1299 01:02:35,318 --> 01:02:36,000 ♪ ♪ ♪ ♪ 1300 01:02:36,000 --> 01:02:42,000 ♪ ♪ ♪ ♪ 1301 01:02:42,000 --> 01:02:45,328 ♪ ♪ ♪ ♪ 1302 01:03:01,577 --> 01:03:04,680 >> ALL RIGHT. 1303 01:03:04,747 --> 01:03:06,000 DAMN. 1304 01:03:06,000 --> 01:03:06,149 DAMN. 1305 01:03:06,215 --> 01:03:10,019 ON BEHALF OF THE ENTIRE STEPPENWOLF COMMUNITY AND TEAM 1306 01:03:10,086 --> 01:03:12,000 PURPOSE, I WOULD LIKE TO THANK THE BROADWAY LEAGUE IN THE 1307 01:03:12,000 --> 01:03:12,388 PURPOSE, I WOULD LIKE TO THANK THE BROADWAY LEAGUE IN THE 1308 01:03:12,455 --> 01:03:14,557 AMERICAN THEATRE WING FOR THIS HONOR. 1309 01:03:14,624 --> 01:03:17,293 MY FELLOW ARTISTIC DIRECTOR AUDREY FRANCIS, EXECUTIVE 1310 01:03:17,360 --> 01:03:18,000 DIRECTOR BROOKE FLANAGAN, AND I DEDICATE THIS AWARD TO 1311 01:03:18,000 --> 01:03:21,130 DIRECTOR BROOKE FLANAGAN, AND I DEDICATE THIS AWARD TO 1312 01:03:21,197 --> 01:03:24,000 STEPPENWOLF'S LEADERSHIP STAFF, OUR BOARD, AND OUR ENSEMBLE. 1313 01:03:24,000 --> 01:03:24,167 STEPPENWOLF'S LEADERSHIP STAFF, OUR BOARD, AND OUR ENSEMBLE. 1314 01:03:24,233 --> 01:03:27,803 THEY ARE WITHOUT QUESTION SOME OF THE GREATEST ARTISTS IN OUR 1315 01:03:27,870 --> 01:03:29,772 COUNTRIES, RISK TAKERS AND INNOVATORS WHO HAVE LARGE SUM OF 1316 01:03:29,839 --> 01:03:30,000 THE MOST BOLD PLAYS IN THE AMERICAN THEATRICAL CANON. 1317 01:03:30,000 --> 01:03:32,475 THE MOST BOLD PLAYS IN THE AMERICAN THEATRICAL CANON. 1318 01:03:32,542 --> 01:03:36,000 THANK YOU TO OUR SINGULAR PRODUCER, THE INCOMPARABLE DAVID 1319 01:03:36,000 --> 01:03:37,547 THANK YOU TO OUR SINGULAR PRODUCER, THE INCOMPARABLE DAVID 1320 01:03:37,613 --> 01:03:38,114 STONE. 1321 01:03:38,915 --> 01:03:42,000 AND TO THE ENTIRE PRODUCING TEAM FOR GIVING US THIS ONCE A 1322 01:03:42,000 --> 01:03:42,351 AND TO THE ENTIRE PRODUCING TEAM FOR GIVING US THIS ONCE A 1323 01:03:42,418 --> 01:03:46,656 LIFETIME OPPORTUNITY, AND OUR BRILLIANT DIRECTOR, MS. 1324 01:03:46,722 --> 01:03:48,000 PHYLICIA RASHAD, THE QUEEN, FOR HER LEADERSHIP AND VISION. 1325 01:03:48,000 --> 01:03:50,459 PHYLICIA RASHAD, THE QUEEN, FOR HER LEADERSHIP AND VISION. 1326 01:03:50,526 --> 01:03:54,000 AND THANK YOU TO ASK ORDINARY PLAYWRIGHT, THE GENIUS THAT IS 1327 01:03:54,000 --> 01:03:54,197 AND THANK YOU TO ASK ORDINARY PLAYWRIGHT, THE GENIUS THAT IS 1328 01:03:54,263 --> 01:03:55,198 BRANDEN JACOBS-JENKINS. 1329 01:03:55,264 --> 01:03:56,933 YOU'VE CREATED THIS PLAY WITH US, FOR US. 1330 01:03:56,999 --> 01:03:59,302 YOU ARE A CREATIVE GENIUS AND A FRIEND. 1331 01:03:59,368 --> 01:04:00,000 I LOVE YOU. 1332 01:04:00,000 --> 01:04:00,002 I LOVE YOU. 1333 01:04:00,069 --> 01:04:01,003 THANK YOU. 1334 01:04:01,070 --> 01:04:04,941 ONE OF THE GREAT VOICES OF OUR GENERATION. 1335 01:04:05,007 --> 01:04:06,000 >> THANK YOU. 1336 01:04:06,000 --> 01:04:06,375 >> THANK YOU. 1337 01:04:06,442 --> 01:04:07,643 THANK YOU, TONY NOMINATORS AND VOTERS AND THANK YOU TO THESE 1338 01:04:07,710 --> 01:04:12,000 AUDIENCES THAT HAD BEEN SHOWING UP AND SHOWING OUT, BRINGING 1339 01:04:12,000 --> 01:04:12,715 AUDIENCES THAT HAD BEEN SHOWING UP AND SHOWING OUT, BRINGING 1340 01:04:12,782 --> 01:04:14,784 THEIR AUNTIES AND MOM'S ANCESTORS AND MAKING IT A FAMILY 1341 01:04:14,850 --> 01:04:15,918 AFFAIR. 1342 01:04:16,219 --> 01:04:18,000 I WANT TO THANK MY HUSBAND WHO HAD NO BUSINESS LETTING ME GO TO 1343 01:04:18,000 --> 01:04:18,321 I WANT TO THANK MY HUSBAND WHO HAD NO BUSINESS LETTING ME GO TO 1344 01:04:18,387 --> 01:04:24,000 CHICAGO TO PLAY MAKE BELIEVE ON THE THTO WITH THE BEST ARTIST IN 1345 01:04:24,000 --> 01:04:26,796 CHICAGO TO PLAY MAKE BELIEVE ON THE THTO WITH THE BEST ARTIST IN 1346 01:04:26,862 --> 01:04:27,396 AMERICA. 1347 01:04:28,197 --> 01:04:30,000 I WANT TO THANK MY TEACHERS, FOR MAKING ME A PLAYWRIGHT, FOR 1348 01:04:30,000 --> 01:04:30,566 I WANT TO THANK MY TEACHERS, FOR MAKING ME A PLAYWRIGHT, FOR 1349 01:04:30,633 --> 01:04:31,867 GIVING A PURPOSE. 1350 01:04:31,934 --> 01:04:34,203 I WANT TO THANK MARSHA NORMAN AND CHRISTOPHER FOR TELLING ME 1351 01:04:34,270 --> 01:04:36,000 TO STOP BEING A STUDENT AND TO START WRITING. 1352 01:04:36,000 --> 01:04:36,872 TO STOP BEING A STUDENT AND TO START WRITING. 1353 01:04:36,939 --> 01:04:42,000 I WANT TO THANK JEFFREY SCOTT AND LIZ FOR PLUCKING ME OUT OF 1354 01:04:42,000 --> 01:04:42,511 I WANT TO THANK JEFFREY SCOTT AND LIZ FOR PLUCKING ME OUT OF 1355 01:04:42,578 --> 01:04:45,948 THE SLUSH PILE, AND THE CITY OF CHICAGO WHO MADE THIS SHOW WHAT 1356 01:04:46,015 --> 01:04:48,000 IT WAS WITH THEIR ENTHUSIASM, WHO SENT PEOPLE HERE. 1357 01:04:48,000 --> 01:04:48,918 IT WAS WITH THEIR ENTHUSIASM, WHO SENT PEOPLE HERE. 1358 01:04:48,985 --> 01:04:51,153 I ENCOURAGE EVERYONE TO PLEASE SUPPORT THEIR LOCAL THEATERS. 1359 01:04:51,220 --> 01:04:54,000 A LOT OF GREAT STUFF HAPPENS IN NEW YORK, BUT A LOT HAPPENS OUT 1360 01:04:54,000 --> 01:04:58,461 A LOT OF GREAT STUFF HAPPENS IN NEW YORK, BUT A LOT HAPPENS OUT 1361 01:04:58,527 --> 01:05:00,000 IN OTHER REGIONS, SO USE YOUR NEXT COMMERCIAL BREAK TO GOOGLE 1362 01:05:00,000 --> 01:05:04,834 IN OTHER REGIONS, SO USE YOUR NEXT COMMERCIAL BREAK TO GOOGLE 1363 01:05:04,900 --> 01:05:06,000 A LOCAL THEATER NEAR ME, OR HAVE A VERY DIFFICULT CONVERSATION 1364 01:05:06,000 --> 01:05:06,369 A LOCAL THEATER NEAR ME, OR HAVE A VERY DIFFICULT CONVERSATION 1365 01:05:06,435 --> 01:05:06,969 WITH YOUR FAMILY MEMBERS. 1366 01:05:07,036 --> 01:05:09,739 OKAY, THANK YOU SO MUCH. 1367 01:05:09,805 --> 01:05:10,640 THANK YOU. 1368 01:05:11,274 --> 01:05:12,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> HERE WE ARE AGAIN, THEATER'S BIGGEST 1369 01:05:12,000 --> 01:05:18,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> HERE WE ARE AGAIN, THEATER'S BIGGEST 1370 01:05:18,000 --> 01:05:21,250 [APPLAUSE] ♪ ♪ ♪ ♪ >> HERE WE ARE AGAIN, THEATER'S BIGGEST 1371 01:05:21,751 --> 01:05:22,351 NIGHT. 1372 01:05:23,119 --> 01:05:24,000 >> TONIGHT ISN'T JUST ABOUT WHAT HAPPENS HERE ON BROADWAY, IT'S 1373 01:05:24,000 --> 01:05:24,720 >> TONIGHT ISN'T JUST ABOUT WHAT HAPPENS HERE ON BROADWAY, IT'S 1374 01:05:24,787 --> 01:05:27,723 ABOUT OUR ENTIRE THEATER WORLD, FROM SCHOOLS AND COMMUNITY 1375 01:05:27,790 --> 01:05:30,000 CENTERS TO OFF-BROADWAY HOUSES AND REGIONAL STAGES. 1376 01:05:30,000 --> 01:05:32,094 CENTERS TO OFF-BROADWAY HOUSES AND REGIONAL STAGES. 1377 01:05:32,161 --> 01:05:34,297 THAT'S WHAT MAKES BROADWAY THE LONGEST STREET IN AMERICA. 1378 01:05:34,363 --> 01:05:36,000 >> THE AMERICAN THEATRE WING SUPPORTS THEATER MAKERS BY 1379 01:05:36,000 --> 01:05:37,533 >> THE AMERICAN THEATRE WING SUPPORTS THEATER MAKERS BY 1380 01:05:37,600 --> 01:05:40,503 OFFERING MENTORSHIPS, AWARDING GRANTS, AND OPENING DOORS INTO 1381 01:05:43,939 --> 01:05:46,509 THE INDUSTRY, DEVELOPING THE TALENT PIPELINE TO SUSTAIN THE 1382 01:05:46,575 --> 01:05:48,000 ART FORM NATIONWIDE. 1383 01:05:48,000 --> 01:05:49,011 ART FORM NATIONWIDE. 1384 01:05:49,078 --> 01:05:52,415 >> THE POWER OF THEATER REACHES FAR BEYOND THE FOOTLIGHTS. 1385 01:05:52,481 --> 01:05:54,000 IT STRENGTHENS OUR SCHOOLS, FUELS OUR ECONOMY, AND DEFINES 1386 01:05:54,000 --> 01:05:55,084 IT STRENGTHENS OUR SCHOOLS, FUELS OUR ECONOMY, AND DEFINES 1387 01:05:55,151 --> 01:05:57,153 OUR NATIONAL LEGACY. 1388 01:05:57,219 --> 01:06:00,000 >> WE ARE LIVING THROUGH UNSETTLING AND UNCERTAIN TIMES, 1389 01:06:00,000 --> 01:06:00,890 >> WE ARE LIVING THROUGH UNSETTLING AND UNCERTAIN TIMES, 1390 01:06:00,956 --> 01:06:04,193 BUT IN MOMENTS OF DARKNESS IT IS ARTISTS WHO ILLUMINATE OUR PATH 1391 01:06:04,260 --> 01:06:06,000 FORWARD, AND FOR MORE THAN A HUNDRED YEARS, THE WING HAS 1392 01:06:06,000 --> 01:06:06,195 FORWARD, AND FOR MORE THAN A HUNDRED YEARS, THE WING HAS 1393 01:06:06,262 --> 01:06:07,763 STOOD WITH OUR ARTISTS. 1394 01:06:07,830 --> 01:06:10,132 >> BUT WE CAN'T DO IT ALONE, SO GO SEE A PLAY. 1395 01:06:10,199 --> 01:06:11,367 >> JOIN A DRAMA CLUB. 1396 01:06:11,434 --> 01:06:12,000 >> SUPPORT YOUR LOCAL THEATER. 1397 01:06:12,000 --> 01:06:12,601 >> SUPPORT YOUR LOCAL THEATER. 1398 01:06:12,668 --> 01:06:15,838 >> OR DONATE TO HELP THE NEXT GENERATION TAKE THE STAGE. 1399 01:06:15,905 --> 01:06:18,000 VISIT AmericanTheatreWing.org TO ADD YOUR VOICE TO OUR MISSION. 1400 01:06:18,000 --> 01:06:22,778 VISIT AmericanTheatreWing.org TO ADD YOUR VOICE TO OUR MISSION. 1401 01:06:22,845 --> 01:06:24,000 ♪ ♪ >> Cynthia: PLEASE WELCOME TONY AWARD WINNER LEA SALONGA. 1402 01:06:24,000 --> 01:06:26,148 ♪ ♪ >> Cynthia: PLEASE WELCOME TONY AWARD WINNER LEA SALONGA. 1403 01:06:26,215 --> 01:06:30,000 [APPLAUSE] ♪ ♪ >> Lea: THE NEXT NOMINATED MUSICAL TAKES US TO 1404 01:06:30,000 --> 01:06:35,558 [APPLAUSE] ♪ ♪ >> Lea: THE NEXT NOMINATED MUSICAL TAKES US TO 1405 01:06:35,624 --> 01:06:36,000 FUTURE SOUTH KOREA, WHERE ROBOTS OLIVER AND CLAIRE MEET AT A 1406 01:06:36,000 --> 01:06:39,628 FUTURE SOUTH KOREA, WHERE ROBOTS OLIVER AND CLAIRE MEET AT A 1407 01:06:39,695 --> 01:06:42,000 RETIREMENT HOME FOR OBSOLETE "HELPERBOTS." 1408 01:06:42,000 --> 01:06:42,565 RETIREMENT HOME FOR OBSOLETE "HELPERBOTS." 1409 01:06:42,631 --> 01:06:47,036 WITH LIMITED TIME BEFORE THE BATTERIES FAIL FOR GOOD, THEY 1410 01:06:47,103 --> 01:06:48,000 SET OFF ON AN ADVENTURE TO FIND THE LAST OF THE NEARLY EXTINCT 1411 01:06:48,000 --> 01:06:51,073 SET OFF ON AN ADVENTURE TO FIND THE LAST OF THE NEARLY EXTINCT 1412 01:06:51,140 --> 01:06:54,000 FIREFLIES THAT LIVE DEEP IN THE FORESTS OF JEJU ISLAND. 1413 01:06:54,000 --> 01:06:55,811 FIREFLIES THAT LIVE DEEP IN THE FORESTS OF JEJU ISLAND. 1414 01:06:55,878 --> 01:06:57,980 ALONG THE WAY, THEY DISCOVER LOVE, LOSS, AND THE COMPLEXITIES 1415 01:06:58,047 --> 01:07:00,000 OF THE HUMAN EXPERIENCE. 1416 01:07:00,000 --> 01:07:02,785 OF THE HUMAN EXPERIENCE. 1417 01:07:02,852 --> 01:07:05,621 PLEASE WELCOME THE COMPANY OF "MAYBE HAPPY ENDING." 1418 01:07:05,688 --> 01:07:06,000 [APPLAUSE] >> HOW'S YOUR BATTERY? 1419 01:07:06,000 --> 01:07:12,000 [APPLAUSE] >> HOW'S YOUR BATTERY? 1420 01:07:12,000 --> 01:07:15,698 [APPLAUSE] >> HOW'S YOUR BATTERY? 1421 01:07:18,901 --> 01:07:21,036 >> YOU REALLY DON'T NEED TO WORRY ABOUT ME, OLIVER. 1422 01:07:21,103 --> 01:07:21,837 >> I'M NOT WORRYING. 1423 01:07:21,904 --> 01:07:23,406 WAS I WORRYING, HWABOON? 1424 01:07:23,472 --> 01:07:24,000 >> I CAN'T PROMISE WE ARE GOING TO SEE ANY FIREFLIES. 1425 01:07:24,000 --> 01:07:26,942 >> I CAN'T PROMISE WE ARE GOING TO SEE ANY FIREFLIES. 1426 01:07:27,009 --> 01:07:30,000 I SHOULDN'T HAVE DRAGGED YOU HERE. 1427 01:07:30,000 --> 01:07:30,713 I SHOULDN'T HAVE DRAGGED YOU HERE. 1428 01:07:30,780 --> 01:07:32,615 WHAT ARE YOU DOING? 1429 01:07:32,681 --> 01:07:35,251 >> WAITING FOR THE LITTLE FOREST ROBOTS. 1430 01:07:35,317 --> 01:07:36,000 ♪ ♪ ♪ ♪ >> JUST STAND STILL. 1431 01:07:36,000 --> 01:07:36,986 ♪ ♪ ♪ ♪ >> JUST STAND STILL. 1432 01:08:30,439 --> 01:08:36,000 ♪ ♪ ♪ ♪ >> ♪ HI, TINY FRIEND ♪ ♪ CAN YOU SAY HELLO? 1433 01:08:36,000 --> 01:08:40,449 ♪ ♪ ♪ ♪ >> ♪ HI, TINY FRIEND ♪ ♪ CAN YOU SAY HELLO? 1434 01:08:46,989 --> 01:08:48,000 ♪ ♪ TELL ME, WHY, TINY FRIEND, DOES YOUR TUMMY GLOW? 1435 01:08:48,000 --> 01:08:52,161 ♪ ♪ TELL ME, WHY, TINY FRIEND, DOES YOUR TUMMY GLOW? 1436 01:08:52,228 --> 01:08:54,000 ♪ ♪ DO YOU FLY JUST FOR FUN ♪ ♪ OR TO GET SOMEWHERE BY THE DAWN? 1437 01:08:54,000 --> 01:08:59,101 ♪ ♪ DO YOU FLY JUST FOR FUN ♪ ♪ OR TO GET SOMEWHERE BY THE DAWN? 1438 01:08:59,168 --> 01:09:00,000 ♪ ♪ ♪ ♪ NEVER FLY AWAY, LITTLE ROBOT ♪ ♪ DON'T YOU WANT TO 1439 01:09:00,000 --> 01:09:06,000 ♪ ♪ ♪ ♪ NEVER FLY AWAY, LITTLE ROBOT ♪ ♪ DON'T YOU WANT TO 1440 01:09:06,000 --> 01:09:09,178 ♪ ♪ ♪ ♪ NEVER FLY AWAY, LITTLE ROBOT ♪ ♪ DON'T YOU WANT TO 1441 01:09:12,781 --> 01:09:17,052 STAY, LITTLE ROBOT? 1442 01:09:17,119 --> 01:09:18,000 ♪ ♪ BLINKING ALONE IN THE NIGHT, YOUR LITTLE LIGHT CALLED ME ♪ ♪ 1443 01:09:18,000 --> 01:09:24,000 ♪ ♪ BLINKING ALONE IN THE NIGHT, YOUR LITTLE LIGHT CALLED ME ♪ ♪ 1444 01:09:24,000 --> 01:09:27,162 ♪ ♪ BLINKING ALONE IN THE NIGHT, YOUR LITTLE LIGHT CALLED ME ♪ ♪ 1445 01:09:28,430 --> 01:09:30,000 PLEASE NEVER FLY AWAY, LITTLE FRIEND ♪ ♪ ♪ >> ♪ WHERE, TINY 1446 01:09:30,000 --> 01:09:36,000 PLEASE NEVER FLY AWAY, LITTLE FRIEND ♪ ♪ ♪ >> ♪ WHERE, TINY 1447 01:09:36,000 --> 01:09:36,105 PLEASE NEVER FLY AWAY, LITTLE FRIEND ♪ ♪ ♪ >> ♪ WHERE, TINY 1448 01:09:36,171 --> 01:09:39,508 FRIEND, DO YOU HAVE TO BE? 1449 01:09:39,575 --> 01:09:42,000 ♪ >> ♪ DO YOU CARE, TINY FRIEND, WHAT YOU MEAN TO ME? 1450 01:09:42,000 --> 01:09:45,481 ♪ >> ♪ DO YOU CARE, TINY FRIEND, WHAT YOU MEAN TO ME? 1451 01:09:45,548 --> 01:09:48,000 ♪ >> ♪ IF I SWEAR, TINY FRIEND, TO LOOK AFTER YOU ♪ >> ♪ WILL 1452 01:09:48,000 --> 01:09:54,000 ♪ >> ♪ IF I SWEAR, TINY FRIEND, TO LOOK AFTER YOU ♪ >> ♪ WILL 1453 01:09:54,000 --> 01:09:54,557 ♪ >> ♪ IF I SWEAR, TINY FRIEND, TO LOOK AFTER YOU ♪ >> ♪ WILL 1454 01:09:54,623 --> 01:09:58,394 YOU SLEEP? 1455 01:09:58,460 --> 01:10:00,000 ♪ >> ♪ NEVER FLY AWAY, LITTLE ROBOT ♪ ♪ STAY ANOTHER DAY, 1456 01:10:00,000 --> 01:10:06,000 ♪ >> ♪ NEVER FLY AWAY, LITTLE ROBOT ♪ ♪ STAY ANOTHER DAY, 1457 01:10:06,000 --> 01:10:06,168 ♪ >> ♪ NEVER FLY AWAY, LITTLE ROBOT ♪ ♪ STAY ANOTHER DAY, 1458 01:10:06,235 --> 01:10:12,000 LITTLE ROBOT ♪ ♪ BLINKING ALONE IN THE NIGHT ♪ ♪ YOUR LITTLE 1459 01:10:12,000 --> 01:10:16,245 LITTLE ROBOT ♪ ♪ BLINKING ALONE IN THE NIGHT ♪ ♪ YOUR LITTLE 1460 01:10:18,213 --> 01:10:24,000 LIGHT ♪ ♪ CHANGED ME ♪ ♪ NOW NEVER FLY AWAY, LITTLE FRIEND ♪ 1461 01:10:24,000 --> 01:10:28,223 LIGHT ♪ ♪ CHANGED ME ♪ ♪ NOW NEVER FLY AWAY, LITTLE FRIEND ♪ 1462 01:10:31,794 --> 01:10:36,000 ♪ ♪ 1463 01:10:36,000 --> 01:10:41,804 ♪ ♪ 1464 01:10:51,981 --> 01:10:53,916 [APPLAUSE] ♪ ♪ >> Announcer: NEXT, JEREMY JORDAN PERFORMS 1465 01:10:53,983 --> 01:10:54,000 WITH THE COMPANY OF "FLOYD COLLINS." 1466 01:10:54,000 --> 01:10:56,218 WITH THE COMPANY OF "FLOYD COLLINS." 1467 01:10:56,285 --> 01:11:00,000 PLUS, A LANDMARK LIVE REUNION AS OF "HAMILTON." 1468 01:11:00,000 --> 01:11:00,723 PLUS, A LANDMARK LIVE REUNION AS OF "HAMILTON." 1469 01:11:00,789 --> 01:11:06,000 THE TONY AWARDS. 1470 01:11:06,000 --> 01:11:06,795 THE TONY AWARDS. 1471 01:11:06,862 --> 01:11:08,430 TEXT "GAVIN" TO 44321 TO SUPPORT THE WING'S GAVIN CREEL 1472 01:11:08,497 --> 01:11:11,333 FELLOWSHIP, AND VISIT AmericanTheatreWing.org TO LEARN 1473 01:11:11,400 --> 01:11:11,767 MORE. 1474 01:11:11,834 --> 01:11:12,000 THIS IS CBS. 1475 01:11:12,000 --> 01:11:13,802 THIS IS CBS. 1476 01:11:23,946 --> 01:11:24,000 ♪ ♪ [APPLAUSE] >> Brian: WELCOME BACK TO THE TONY AWARDS. 1477 01:11:24,000 --> 01:11:27,349 ♪ ♪ [APPLAUSE] >> Brian: WELCOME BACK TO THE TONY AWARDS. 1478 01:11:27,416 --> 01:11:30,000 AND NOW, PLEASE WELCOME PLAYWRIGHT AND TWO-TIME ACADEMY 1479 01:11:30,000 --> 01:11:31,553 AND NOW, PLEASE WELCOME PLAYWRIGHT AND TWO-TIME ACADEMY 1480 01:11:31,620 --> 01:11:34,223 AWARD NOMINEE JESSE EISENBERG. 1481 01:11:34,289 --> 01:11:36,000 [APPLAUSE] ♪ ♪ >> Jesse: OUR NEXT NOMINATED MUSICAL REVIVAL 1482 01:11:36,000 --> 01:11:42,000 [APPLAUSE] ♪ ♪ >> Jesse: OUR NEXT NOMINATED MUSICAL REVIVAL 1483 01:11:42,000 --> 01:11:44,400 [APPLAUSE] ♪ ♪ >> Jesse: OUR NEXT NOMINATED MUSICAL REVIVAL 1484 01:11:44,466 --> 01:11:47,536 RECOUNTS THE TALE OF A TRUE AMERICAN DREAMER AND CAVE 1485 01:11:47,603 --> 01:11:48,000 EXPLORER WHO MADE NATIONAL HEADLINES AND BECAME A TOURIST 1486 01:11:48,000 --> 01:11:50,439 EXPLORER WHO MADE NATIONAL HEADLINES AND BECAME A TOURIST 1487 01:11:50,506 --> 01:11:51,640 ATTRACTION. 1488 01:11:51,840 --> 01:11:54,000 IN 1925, WHILE CHASING FAME AND FORTUNE, HE BECAME TRAPPED 200 1489 01:11:54,000 --> 01:11:54,276 IN 1925, WHILE CHASING FAME AND FORTUNE, HE BECAME TRAPPED 200 1490 01:11:54,343 --> 01:11:56,178 FEET UNDERGROUND. 1491 01:11:56,245 --> 01:11:59,515 ALONE, EXCEPT FOR OCCASIONAL CONTACT WITH HIS FAMILY AND AN 1492 01:11:59,581 --> 01:12:00,000 INTREPID REPORTER, HE FIGHTS FOR HIS SANITY -- AND, ULTIMATELY, 1493 01:12:00,000 --> 01:12:01,383 INTREPID REPORTER, HE FIGHTS FOR HIS SANITY -- AND, ULTIMATELY, 1494 01:12:01,450 --> 01:12:02,451 HIS LIFE. 1495 01:12:02,518 --> 01:12:05,988 PLEASE WELCOME THE COMPANY OF "FLOYD COLLINS." 1496 01:12:06,055 --> 01:12:12,000 [APPLAUSE] ♪ ♪ 1497 01:12:12,000 --> 01:12:16,065 [APPLAUSE] ♪ ♪ 1498 01:12:17,900 --> 01:12:18,000 ♪ ♪ >> ♪ DEEP IN THE LAND OF THE HOLLOWS AND CREEKS ♪ ♪ IF'N YOU 1499 01:12:18,000 --> 01:12:21,670 ♪ ♪ >> ♪ DEEP IN THE LAND OF THE HOLLOWS AND CREEKS ♪ ♪ IF'N YOU 1500 01:12:21,737 --> 01:12:24,000 GET LOST, YOU GET LOST FOR WEEKS ♪ ♪ LISTEN TO THE TALE OF A MAN 1501 01:12:24,000 --> 01:12:25,174 GET LOST, YOU GET LOST FOR WEEKS ♪ ♪ LISTEN TO THE TALE OF A MAN 1502 01:12:25,240 --> 01:12:30,000 WHO GOT LOST ♪ ♪ A HUNDRED FEET UNDER THE WINTER FROST ♪ >> ♪ 1503 01:12:30,000 --> 01:12:34,316 WHO GOT LOST ♪ ♪ A HUNDRED FEET UNDER THE WINTER FROST ♪ >> ♪ 1504 01:12:34,383 --> 01:12:36,000 EVEN FLOYD KNEW SOMETHIN' WASN'T RIGHT ♪ ♪ HE WAS SUFFERIN' 1505 01:12:36,000 --> 01:12:39,388 EVEN FLOYD KNEW SOMETHIN' WASN'T RIGHT ♪ ♪ HE WAS SUFFERIN' 1506 01:12:39,455 --> 01:12:42,000 NIGHTMARES AT NIGHT ♪ >> ♪ BUT HE DIDN'T WORRY 'BOUT WHAT HE 1507 01:12:42,000 --> 01:12:47,896 NIGHTMARES AT NIGHT ♪ >> ♪ BUT HE DIDN'T WORRY 'BOUT WHAT HE 1508 01:12:47,963 --> 01:12:48,000 DREAMED ♪ ♪ THINGS WAS GOIN' GOOD, OR SO IT SEEMED ♪ ♪ WENT 1509 01:12:48,000 --> 01:12:51,900 DREAMED ♪ ♪ THINGS WAS GOIN' GOOD, OR SO IT SEEMED ♪ ♪ WENT 1510 01:12:51,967 --> 01:12:54,000 LOOKIN' FOR HIS FORTUNE UNDER THE GROUND ♪ ♪ SURE ENOUGH HIS 1511 01:12:54,000 --> 01:12:57,673 LOOKIN' FOR HIS FORTUNE UNDER THE GROUND ♪ ♪ SURE ENOUGH HIS 1512 01:12:57,740 --> 01:13:00,000 FORTUNE IS WHAT HE FOUND ♪ ♪ ♪ >> ALL RIGHT! 1513 01:13:00,000 --> 01:13:04,880 FORTUNE IS WHAT HE FOUND ♪ ♪ ♪ >> ALL RIGHT! 1514 01:13:04,947 --> 01:13:06,000 LET'S FIND OUT IF THERE IS CAVERN DOWN THERE. 1515 01:13:06,000 --> 01:13:07,750 LET'S FIND OUT IF THERE IS CAVERN DOWN THERE. 1516 01:13:07,816 --> 01:13:08,650 OO-EE! 1517 01:13:08,717 --> 01:13:10,886 [NO ECHO] AAGH! 1518 01:13:10,953 --> 01:13:11,920 >> Echo: OO-EE! 1519 01:13:11,987 --> 01:13:12,000 >> YES! 1520 01:13:12,000 --> 01:13:13,789 >> YES! 1521 01:13:13,856 --> 01:13:18,000 ♪ IF I FOLLOW THAT SOUND ♪ ♪ I COULD FIND WHAT I'M LOOKIN' FOR 1522 01:13:18,000 --> 01:13:19,194 ♪ IF I FOLLOW THAT SOUND ♪ ♪ I COULD FIND WHAT I'M LOOKIN' FOR 1523 01:13:19,261 --> 01:13:24,000 ♪ ♪ IT COULD BE GLORY CALLIN' ♪ ♪ CALLIN' ME ♪ ♪ CALLIN' ♪ ♪ 1524 01:13:24,000 --> 01:13:27,035 ♪ ♪ IT COULD BE GLORY CALLIN' ♪ ♪ CALLIN' ME ♪ ♪ CALLIN' ♪ ♪ 1525 01:13:27,102 --> 01:13:30,000 COME ON, BOY ♪ ♪ YOU CAN DO IT NOW ♪ ♪ YOU CAN HAVE WHAT YOU 1526 01:13:30,000 --> 01:13:31,106 COME ON, BOY ♪ ♪ YOU CAN DO IT NOW ♪ ♪ YOU CAN HAVE WHAT YOU 1527 01:13:31,173 --> 01:13:36,000 DREAM ON ♪ ♪ CALLIN' ♪ ♪ AND COMIN' BACK AND COMIN' CLEAR ♪ ♪ 1528 01:13:36,000 --> 01:13:40,349 DREAM ON ♪ ♪ CALLIN' ♪ ♪ AND COMIN' BACK AND COMIN' CLEAR ♪ ♪ 1529 01:13:40,415 --> 01:13:42,000 CALLIN' IS WHAT I HEAR ♪ ♪ NO MORE PLOWIN' A HARD-SCRABBLE 1530 01:13:42,000 --> 01:13:48,000 CALLIN' IS WHAT I HEAR ♪ ♪ NO MORE PLOWIN' A HARD-SCRABBLE 1531 01:13:48,000 --> 01:13:49,091 CALLIN' IS WHAT I HEAR ♪ ♪ NO MORE PLOWIN' A HARD-SCRABBLE 1532 01:13:49,158 --> 01:13:54,000 FIELD ♪ ♪ I JUST KNOW ♪ ♪ I JUST KNOW IT'S MY LUCKY DAY ♪ WELCOME 1533 01:13:54,000 --> 01:13:54,429 FIELD ♪ ♪ I JUST KNOW ♪ ♪ I JUST KNOW IT'S MY LUCKY DAY ♪ WELCOME 1534 01:13:54,496 --> 01:13:57,099 TO FLOYD COLLINS' SAND CAVE! 1535 01:13:57,166 --> 01:14:00,000 ♪ YOU GOT YOUR MAGICAL PASSAGEWAYS ♪ ♪ YOU GOT YOUR 1536 01:14:00,000 --> 01:14:03,906 ♪ YOU GOT YOUR MAGICAL PASSAGEWAYS ♪ ♪ YOU GOT YOUR 1537 01:14:03,972 --> 01:14:06,000 SQUEEZES AND BENDS ♪ ♪ MY KINGDOM IS OPEN ♪ ♪ COME ONE AND 1538 01:14:06,000 --> 01:14:06,508 SQUEEZES AND BENDS ♪ ♪ MY KINGDOM IS OPEN ♪ ♪ COME ONE AND 1539 01:14:06,575 --> 01:14:12,000 ALL, MY TRAVELING FRIENDS ♪ ♪ I ALWAYS KNEW YOU'D HEAR MY CALL ♪ 1540 01:14:12,000 --> 01:14:14,516 ALL, MY TRAVELING FRIENDS ♪ ♪ I ALWAYS KNEW YOU'D HEAR MY CALL ♪ 1541 01:14:14,583 --> 01:14:18,000 ♪ DOH-OH-EE-OH ♪ >> Echo: ♪ DOH-OH-EE-OH ♪ >> ♪ EE-OH-OH ♪ 1542 01:14:18,000 --> 01:14:19,621 ♪ DOH-OH-EE-OH ♪ >> Echo: ♪ DOH-OH-EE-OH ♪ >> ♪ EE-OH-OH ♪ 1543 01:14:19,688 --> 01:14:24,000 >> Echo: ♪ EE-OH-OH ♪ >> ♪ GONNA FOLLOW THAT SOUND ♪ ♪ GONNA FIND 1544 01:14:24,000 --> 01:14:25,727 >> Echo: ♪ EE-OH-OH ♪ >> ♪ GONNA FOLLOW THAT SOUND ♪ ♪ GONNA FIND 1545 01:14:25,794 --> 01:14:30,000 WHAT I'M LOOKIN' FOR ♪ ♪ THAT'S MY GLORY CALLIN' ♪ ♪ IT'S 1546 01:14:30,000 --> 01:14:32,067 WHAT I'M LOOKIN' FOR ♪ ♪ THAT'S MY GLORY CALLIN' ♪ ♪ IT'S 1547 01:14:32,134 --> 01:14:36,000 CALLIN' ME ♪ ♪ CALLIN' ♪ ♪ COME ON, BOY ♪ ♪ YOU CAN DO IT NOW ♪ 1548 01:14:36,000 --> 01:14:38,807 CALLIN' ME ♪ ♪ CALLIN' ♪ ♪ COME ON, BOY ♪ ♪ YOU CAN DO IT NOW ♪ 1549 01:14:38,874 --> 01:14:42,000 ♪ YOU CAN HAVE WHAT YOU DREAM ON ♪ ♪ GLORY, OO-EE-HOO ♪ ♪ AND 1550 01:14:42,000 --> 01:14:47,015 ♪ YOU CAN HAVE WHAT YOU DREAM ON ♪ ♪ GLORY, OO-EE-HOO ♪ ♪ AND 1551 01:14:47,082 --> 01:14:48,000 COMIN' CLEAR ♪ ♪ GLORY IS WHAT I HEAR ♪ ♪ I ALWAYS KNEW I'D HEAR 1552 01:14:48,000 --> 01:14:54,000 COMIN' CLEAR ♪ ♪ GLORY IS WHAT I HEAR ♪ ♪ I ALWAYS KNEW I'D HEAR 1553 01:14:54,000 --> 01:14:57,092 COMIN' CLEAR ♪ ♪ GLORY IS WHAT I HEAR ♪ ♪ I ALWAYS KNEW I'D HEAR 1554 01:14:59,595 --> 01:15:00,000 THE SOUND ♪ ♪ OF VOICES ALL AROUND ME ♪ ♪ THAT'S THE SOUND 1555 01:15:00,000 --> 01:15:04,333 THE SOUND ♪ ♪ OF VOICES ALL AROUND ME ♪ ♪ THAT'S THE SOUND 1556 01:15:04,399 --> 01:15:06,000 OF GLORY, AFTER ALL ♪ ♪ THAT'S MY CALL ♪ ♪ DOH-OH-EE-OH ♪ >> 1557 01:15:06,000 --> 01:15:12,000 OF GLORY, AFTER ALL ♪ ♪ THAT'S MY CALL ♪ ♪ DOH-OH-EE-OH ♪ >> 1558 01:15:12,000 --> 01:15:14,443 OF GLORY, AFTER ALL ♪ ♪ THAT'S MY CALL ♪ ♪ DOH-OH-EE-OH ♪ >> 1559 01:15:15,544 --> 01:15:18,000 Echo: ♪ DOH-OH-EE-OH ♪ >> ♪ EE-OH-OH ♪ >> Echo: ♪ EE-OH-OH ♪ 1560 01:15:18,000 --> 01:15:18,547 Echo: ♪ DOH-OH-EE-OH ♪ >> ♪ EE-OH-OH ♪ >> Echo: ♪ EE-OH-OH ♪ 1561 01:15:18,614 --> 01:15:24,000 >> ♪ OO-EE ♪ >> Echo: ♪ OO-EE ♪ ♪ OO-EE ♪ ♪ ♪ [CHEERS AND 1562 01:15:24,000 --> 01:15:28,624 >> ♪ OO-EE ♪ >> Echo: ♪ OO-EE ♪ ♪ OO-EE ♪ ♪ ♪ [CHEERS AND 1563 01:15:36,064 --> 01:15:40,502 APPLAUSE] 1564 01:15:45,240 --> 01:15:48,000 ♪ ♪ >> Cynthia: PLEASE WELCOME THE GREATEST THEATER COUPLE 1565 01:15:48,000 --> 01:15:51,380 ♪ ♪ >> Cynthia: PLEASE WELCOME THE GREATEST THEATER COUPLE 1566 01:15:51,446 --> 01:15:53,382 SINCE KANDER & EBB, SAMUEL L. 1567 01:15:53,448 --> 01:15:54,000 JACKSON AND LATANYA RICHARDSON JACKSON. 1568 01:15:54,000 --> 01:15:55,584 JACKSON AND LATANYA RICHARDSON JACKSON. 1569 01:15:55,651 --> 01:16:00,000 [APPLAUSE] ♪ ♪ >> Samuel: THE PERFORMANCES AND PRODUCTIONS 1570 01:16:00,000 --> 01:16:05,661 [APPLAUSE] ♪ ♪ >> Samuel: THE PERFORMANCES AND PRODUCTIONS 1571 01:16:09,197 --> 01:16:12,000 NOMINATED TONIGHT ARE GLOWING REMINDERS OF BOTH THE IMPORTANCE 1572 01:16:12,000 --> 01:16:12,567 NOMINATED TONIGHT ARE GLOWING REMINDERS OF BOTH THE IMPORTANCE 1573 01:16:12,634 --> 01:16:15,437 OF THE ARTS AND, AS PERFORMERS, WHAT IT MEANS TO BE A PART OF 1574 01:16:15,504 --> 01:16:18,000 THIS INCREDIBLE COMMUNITY. 1575 01:16:18,000 --> 01:16:18,040 THIS INCREDIBLE COMMUNITY. 1576 01:16:18,106 --> 01:16:21,944 >> LaTanya: THIS SEASON, BROADWAY THEATERGOERS WERE 1577 01:16:22,010 --> 01:16:24,000 STIMULATED BY REVIVALS OF SHAKESPEARE, AN AMERICAN 1578 01:16:24,000 --> 01:16:25,914 STIMULATED BY REVIVALS OF SHAKESPEARE, AN AMERICAN 1579 01:16:25,981 --> 01:16:29,051 CLASSIC, AND TWO MODERN WORKS THAT ARE AS TIMELY AND 1580 01:16:29,117 --> 01:16:30,000 THOUGHT-PROVOKING AS EVER. 1581 01:16:30,000 --> 01:16:31,820 THOUGHT-PROVOKING AS EVER. 1582 01:16:31,887 --> 01:16:36,000 HERE ARE THE NOMINEES FOR BEST REVIVAL OF A PLAY. 1583 01:16:36,000 --> 01:16:39,494 HERE ARE THE NOMINEES FOR BEST REVIVAL OF A PLAY. 1584 01:16:39,561 --> 01:16:42,000 ♪ ♪ >> "EUREKA DAY" TAKES PLACE IN AN INDEPENDENT PRIVATE 1585 01:16:42,000 --> 01:16:43,398 ♪ ♪ >> "EUREKA DAY" TAKES PLACE IN AN INDEPENDENT PRIVATE 1586 01:16:43,465 --> 01:16:47,169 PROGRESSIVE SCHOOL, AND THEY ARE WRESTLING WITH WHAT YOU DO TO 1587 01:16:47,235 --> 01:16:48,000 PROTECT CHILDREN AND EDUCATE THEM IN THE FACE OF 1588 01:16:48,000 --> 01:16:49,338 PROTECT CHILDREN AND EDUCATE THEM IN THE FACE OF 1589 01:16:49,404 --> 01:16:54,000 DISAGREEMENT. 1590 01:16:54,000 --> 01:16:55,010 DISAGREEMENT. 1591 01:16:55,077 --> 01:16:58,347 >> IF YOU TEASED TO LEAVE THE SCHOOL, I'M SORRY WE COULDN'T 1592 01:16:58,413 --> 01:17:00,000 MAKE A WAY TO FEEL LIKE THERE WAS A PLACE YOU HERE. 1593 01:17:00,000 --> 01:17:01,650 MAKE A WAY TO FEEL LIKE THERE WAS A PLACE YOU HERE. 1594 01:17:01,717 --> 01:17:03,785 >> THE PLAY REALLY DEALS WITH A LOT OF THINGS THAT SOMEHOW 1595 01:17:03,852 --> 01:17:05,387 RELATE TO A MODERN AUDIENCE, EVEN THOUGH IT WAS WRITTEN 500 1596 01:17:05,454 --> 01:17:06,000 YEARS AGO. 1597 01:17:06,000 --> 01:17:06,588 YEARS AGO. 1598 01:17:06,788 --> 01:17:08,557 >> IT FELT LIKE BROADWAY WAS YOUNG IN OUR EYES, BRINGING IN 1599 01:17:08,623 --> 01:17:11,093 SUCH A YOUNG CROWD, HAVING THAT KIND OF ENERGY IN THE ROUND, IT 1600 01:17:11,159 --> 01:17:12,000 IS PRETTY UNREAL. 1601 01:17:12,000 --> 01:17:17,199 IS PRETTY UNREAL. 1602 01:17:17,265 --> 01:17:18,000 >> YOU'VE GOT TO HAVE LIFE TO LOVE LIFE. 1603 01:17:18,000 --> 01:17:18,567 >> YOU'VE GOT TO HAVE LIFE TO LOVE LIFE. 1604 01:17:18,633 --> 01:17:21,636 THAT'S WHAT THEY CALL A VICIOUS CIRCLE. 1605 01:17:21,703 --> 01:17:24,000 >> IS THE MOST BEAUTIFUL SHOW ABOUT LOVE AND COMMUNITY AND 1606 01:17:24,000 --> 01:17:25,674 >> IS THE MOST BEAUTIFUL SHOW ABOUT LOVE AND COMMUNITY AND 1607 01:17:25,741 --> 01:17:27,809 APPRECIATING YOUR LIFE WHILE YOU HAVE IT. 1608 01:17:27,876 --> 01:17:30,000 >> WHAT IT MEANS TO BE AN ETERNAL SPIRIT, BOTH BEFORE AND 1609 01:17:30,000 --> 01:17:30,078 >> WHAT IT MEANS TO BE AN ETERNAL SPIRIT, BOTH BEFORE AND 1610 01:17:30,145 --> 01:17:32,948 AFTER THAT LIFE ON EARTH. 1611 01:17:33,015 --> 01:17:35,117 YOU COULD STUDY THIS FOREVER. 1612 01:17:35,183 --> 01:17:36,000 >> IT'S A SHAPE-SHIFTING PLAY. 1613 01:17:36,000 --> 01:17:40,155 >> IT'S A SHAPE-SHIFTING PLAY. 1614 01:17:40,222 --> 01:17:42,000 IT'S A COMEDY ABOUT MISTAKEN RACIAL IDENTITY. 1615 01:17:42,000 --> 01:17:43,692 IT'S A COMEDY ABOUT MISTAKEN RACIAL IDENTITY. 1616 01:17:43,759 --> 01:17:46,328 >> ASIAN PARTS MUST ONLY BE PLAYED BY ASIAN ACTORS. 1617 01:17:46,395 --> 01:17:48,000 >> THEN BECOMES SOMETHING VERY HEARTFELT. 1618 01:17:48,000 --> 01:17:48,730 >> THEN BECOMES SOMETHING VERY HEARTFELT. 1619 01:17:48,797 --> 01:17:50,532 >> SO MUCH OF THIS PLAY IS ACTUALLY BASED ON TRUE EVENTS. 1620 01:17:50,599 --> 01:17:51,900 IT IS AS RELEVANT, IF NOT MORE SO. 1621 01:17:51,967 --> 01:17:53,969 THERE IS MORE OF AN AWARENESS OF WHAT WE SHOULD BE TRYING TO 1622 01:17:54,036 --> 01:17:59,174 ASPIRE TO. 1623 01:17:59,241 --> 01:18:00,000 [APPLAUSE] >> Samuel: AND THE AMERICAN THEATRE WING'S TONY 1624 01:18:00,000 --> 01:18:03,045 [APPLAUSE] >> Samuel: AND THE AMERICAN THEATRE WING'S TONY 1625 01:18:03,111 --> 01:18:04,946 AWARD GOES TO... 1626 01:18:05,013 --> 01:18:06,000 "EUREKA DAY." 1627 01:18:06,000 --> 01:18:07,082 "EUREKA DAY." 1628 01:18:07,149 --> 01:18:12,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: ACCEPTING THE AWARD 1629 01:18:12,000 --> 01:18:14,122 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: ACCEPTING THE AWARD 1630 01:18:14,189 --> 01:18:18,000 FOR "EUREKA DAY," PRODUCER LYNNE MEADOW AND AUTHOR JONATHAN 1631 01:18:18,000 --> 01:18:19,261 FOR "EUREKA DAY," PRODUCER LYNNE MEADOW AND AUTHOR JONATHAN 1632 01:18:19,327 --> 01:18:23,365 SPECTOR. 1633 01:18:23,432 --> 01:18:24,000 ♪ ♪ 1634 01:18:24,000 --> 01:18:30,000 ♪ ♪ 1635 01:18:30,000 --> 01:18:33,442 ♪ ♪ 1636 01:18:37,813 --> 01:18:42,000 ♪ ♪ ♪ ♪ >> THANK YOU TO THE BROADWAY LEAGUE. 1637 01:18:42,000 --> 01:18:47,823 ♪ ♪ ♪ ♪ >> THANK YOU TO THE BROADWAY LEAGUE. 1638 01:18:59,101 --> 01:19:00,000 SUCH AN HONOR TO BE INCLUDED IN SUCH AN AMAZING SEASON OF PLAYS 1639 01:19:00,000 --> 01:19:03,572 SUCH AN HONOR TO BE INCLUDED IN SUCH AN AMAZING SEASON OF PLAYS 1640 01:19:03,638 --> 01:19:04,773 ON BROADWAY. 1641 01:19:04,973 --> 01:19:06,000 THANKS TO MY THEATER COMMUNITY WHO GAVE ME SPACE TO FIND MY 1642 01:19:06,000 --> 01:19:09,711 THANKS TO MY THEATER COMMUNITY WHO GAVE ME SPACE TO FIND MY 1643 01:19:09,778 --> 01:19:12,000 VOICE AS A WRITER, MY WIFE, MOLLY, WHO MAKES EVERYTHING 1644 01:19:12,000 --> 01:19:14,082 VOICE AS A WRITER, MY WIFE, MOLLY, WHO MAKES EVERYTHING 1645 01:19:14,149 --> 01:19:16,751 POSSIBLE, MY CHILDREN WATCHING AT HOME, MY PARENTS, THE WORLD'S 1646 01:19:16,818 --> 01:19:18,000 BEST AGENT, THE REST OF THE TEAM, AND ESPECIALLY OUR 1647 01:19:18,000 --> 01:19:21,857 BEST AGENT, THE REST OF THE TEAM, AND ESPECIALLY OUR 1648 01:19:21,923 --> 01:19:24,000 AWE-INSPIRING COLLABORATORS, ANNA SHAPIRO, THIS INCREDIBLE 1649 01:19:24,000 --> 01:19:24,593 AWE-INSPIRING COLLABORATORS, ANNA SHAPIRO, THIS INCREDIBLE 1650 01:19:24,659 --> 01:19:27,896 CAST, THE TEAM BEHIND THE THEATER CLUB, PASSIONATE 1651 01:19:27,963 --> 01:19:30,000 SUPPORTERS OF NEW PLAYS, PRODUCING PARTNERS LIKE THE 1652 01:19:30,000 --> 01:19:30,632 SUPPORTERS OF NEW PLAYS, PRODUCING PARTNERS LIKE THE 1653 01:19:30,699 --> 01:19:33,568 SINGULAR SONIA FRIEDMAN AND ALL THE ARTISTS WHO ARE PART OF THE 1654 01:19:33,635 --> 01:19:34,669 JOURNEY OF THIS PLAY. 1655 01:19:34,736 --> 01:19:36,000 I LEARNED SO MUCH FROM ALL OF YOU, SO THANK YOU. 1656 01:19:36,000 --> 01:19:40,041 I LEARNED SO MUCH FROM ALL OF YOU, SO THANK YOU. 1657 01:19:40,108 --> 01:19:42,000 [APPLAUSE] >> THANK YOU SO MUCH FOR THIS INCREDIBLY WONDERFUL 1658 01:19:42,000 --> 01:19:45,280 [APPLAUSE] >> THANK YOU SO MUCH FOR THIS INCREDIBLY WONDERFUL 1659 01:19:45,347 --> 01:19:46,014 HONOR. 1660 01:19:46,615 --> 01:19:48,000 ON BEHALF OF MY MANHATTAN THEATER CLUB COLLEAGUES, OUR 1661 01:19:48,000 --> 01:19:51,686 ON BEHALF OF MY MANHATTAN THEATER CLUB COLLEAGUES, OUR 1662 01:19:51,753 --> 01:19:54,000 STAFF, OUR BOARD, OR OTHER PRODUCING PARTNERS, SONIA 1663 01:19:54,000 --> 01:19:58,593 STAFF, OUR BOARD, OR OTHER PRODUCING PARTNERS, SONIA 1664 01:19:58,660 --> 01:19:59,995 FRIEDMAN, THANK YOU SO MUCH. 1665 01:20:00,061 --> 01:20:02,097 THANK YOU SO MUCH FOR GETTING THIS PLAY TO HAPPEN. 1666 01:20:02,164 --> 01:20:06,000 IT WAS A JOY TO WORK WITH JONATHAN SPECTOR ON THIS PLAY. 1667 01:20:06,000 --> 01:20:06,134 IT WAS A JOY TO WORK WITH JONATHAN SPECTOR ON THIS PLAY. 1668 01:20:06,201 --> 01:20:11,606 THIS SERIOUSLY FUNNY PLAY, THIS INSIGHTFUL PLAY. 1669 01:20:11,673 --> 01:20:12,000 NOW I AM IN MY 50-PLUS YEARS OF MANHATTAN THEATER CLUB AS ITS 1670 01:20:12,000 --> 01:20:18,000 NOW I AM IN MY 50-PLUS YEARS OF MANHATTAN THEATER CLUB AS ITS 1671 01:20:18,000 --> 01:20:18,413 NOW I AM IN MY 50-PLUS YEARS OF MANHATTAN THEATER CLUB AS ITS 1672 01:20:18,480 --> 01:20:21,616 ARTISTIC DIRECTOR, AND MORE THAN EVER I FEEL SUCH GRATITUDE TO 1673 01:20:21,683 --> 01:20:24,000 HAVE THIS PLATFORM TO WELCOME OUR PLAYWRIGHTS, OUR ARTISTS, TO 1674 01:20:24,000 --> 01:20:26,855 HAVE THIS PLATFORM TO WELCOME OUR PLAYWRIGHTS, OUR ARTISTS, TO 1675 01:20:26,922 --> 01:20:30,000 TELL STORIES LIKE JONATHAN'S THAT IMPACT, ENTERTAIN, AND OPEN 1676 01:20:30,000 --> 01:20:30,392 TELL STORIES LIKE JONATHAN'S THAT IMPACT, ENTERTAIN, AND OPEN 1677 01:20:30,458 --> 01:20:32,460 OUR HEARTS AND OUR MINDS. 1678 01:20:32,527 --> 01:20:36,000 I AM S NERVOUS, I'M SHAKING, BUT I FEEL SO PASSIONATELY ABOUT ALL 1679 01:20:36,000 --> 01:20:37,332 I AM S NERVOUS, I'M SHAKING, BUT I FEEL SO PASSIONATELY ABOUT ALL 1680 01:20:37,399 --> 01:20:38,333 OF THIS. 1681 01:20:38,400 --> 01:20:40,702 CAN YOU HOLD THIS? 1682 01:20:40,769 --> 01:20:42,000 [LAUGHTER] OKAY, HERE'S WHAT I WANT TO SAY. 1683 01:20:42,000 --> 01:20:44,005 [LAUGHTER] OKAY, HERE'S WHAT I WANT TO SAY. 1684 01:20:44,072 --> 01:20:48,000 WE CELEBRATE OUR ANCIENT AND TIMELESS ART FORM IN THIS 1685 01:20:48,000 --> 01:20:48,176 WE CELEBRATE OUR ANCIENT AND TIMELESS ART FORM IN THIS 1686 01:20:48,243 --> 01:20:49,544 INCREDIBLY CHALLENGING TIME. 1687 01:20:49,611 --> 01:20:53,682 -- >> Cynthia: ♪ AND HOW THE END IS NEAR ♪ >> SO LET'S DOUBLE 1688 01:20:53,748 --> 01:20:54,000 DOWN AND GO OUT AND DO MORE GREAT THEATER, LIKE "EUREKA 1689 01:20:54,000 --> 01:21:00,000 DOWN AND GO OUT AND DO MORE GREAT THEATER, LIKE "EUREKA 1690 01:21:00,000 --> 01:21:00,755 DOWN AND GO OUT AND DO MORE GREAT THEATER, LIKE "EUREKA 1691 01:21:00,822 --> 01:21:01,823 DAY." 1692 01:21:02,324 --> 01:21:06,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: IN 2015, A LOT WAS DIFFERENT. 1693 01:21:06,000 --> 01:21:12,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: IN 2015, A LOT WAS DIFFERENT. 1694 01:21:12,000 --> 01:21:12,300 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: IN 2015, A LOT WAS DIFFERENT. 1695 01:21:15,770 --> 01:21:18,000 BARACK OBAMA WAS PRESIDENT. 1696 01:21:18,000 --> 01:21:21,243 BARACK OBAMA WAS PRESIDENT. 1697 01:21:21,309 --> 01:21:24,000 [CHEERS AND APPLAUSE] TIKTOK WASN'T EVEN CALLED TIKTOK YET. 1698 01:21:24,000 --> 01:21:30,000 [CHEERS AND APPLAUSE] TIKTOK WASN'T EVEN CALLED TIKTOK YET. 1699 01:21:30,000 --> 01:21:30,585 [CHEERS AND APPLAUSE] TIKTOK WASN'T EVEN CALLED TIKTOK YET. 1700 01:21:30,652 --> 01:21:35,056 AND I HAD HAIR, AND I WAS BUSY REHEARSING FOR MY BROADWAY DEBUT 1701 01:21:35,123 --> 01:21:36,000 IN "THE COLOR PURPLE." 1702 01:21:36,000 --> 01:21:38,360 IN "THE COLOR PURPLE." 1703 01:21:38,426 --> 01:21:41,563 [APPLAUSE] IN A THEATER A BLOCK SOUTH, A NEW PHENOMENON WAS 1704 01:21:41,630 --> 01:21:42,000 PLAYING TO SOLD-OUT CROWDS AT THE RICHARD RODGERS. 1705 01:21:42,000 --> 01:21:44,532 PLAYING TO SOLD-OUT CROWDS AT THE RICHARD RODGERS. 1706 01:21:44,599 --> 01:21:48,000 LIN-MANUEL MIRANDA HAD CREATED AND STARRED IN SOMETHING SPECIAL 1707 01:21:48,000 --> 01:21:48,570 LIN-MANUEL MIRANDA HAD CREATED AND STARRED IN SOMETHING SPECIAL 1708 01:21:48,637 --> 01:21:54,000 AT THE PUBLIC, AND EVEN BEFORE ITS TRANSFER TO BROADWAY, PEOPLE 1709 01:21:54,000 --> 01:21:54,142 AT THE PUBLIC, AND EVEN BEFORE ITS TRANSFER TO BROADWAY, PEOPLE 1710 01:21:54,209 --> 01:21:55,577 WERE TALKING ABOUT THIS PIECE'S BRILLIANCE. 1711 01:21:55,644 --> 01:21:59,147 STILL, NO ONE COULD HAVE PREDICTED WHAT IT WOULD BECOME. 1712 01:21:59,214 --> 01:22:00,000 "HAMILTON" REINVIGORATED AMERICAN THEATER, NEARLY SWEPT 1713 01:22:00,000 --> 01:22:02,083 "HAMILTON" REINVIGORATED AMERICAN THEATER, NEARLY SWEPT 1714 01:22:02,150 --> 01:22:06,000 THE TONYS, AND CHANGED NOT JUST BROADWAY BUT HOW AMERICANS VIEW 1715 01:22:06,000 --> 01:22:06,054 THE TONYS, AND CHANGED NOT JUST BROADWAY BUT HOW AMERICANS VIEW 1716 01:22:06,121 --> 01:22:12,000 THEIR OWN HISTORY -- OR SO I'M TOLD. 1717 01:22:12,000 --> 01:22:14,462 THEIR OWN HISTORY -- OR SO I'M TOLD. 1718 01:22:14,529 --> 01:22:18,000 [LAUGHTER] THOSE OF US WHO SAW THE SHOW AMIDST ITS 1719 01:22:18,000 --> 01:22:19,000 [LAUGHTER] THOSE OF US WHO SAW THE SHOW AMIDST ITS 1720 01:22:19,067 --> 01:22:24,000 TRANSFORMATION INTO A CULTURAL FORCE WILL NEVER FORGET THAT 1721 01:22:24,000 --> 01:22:24,873 TRANSFORMATION INTO A CULTURAL FORCE WILL NEVER FORGET THAT 1722 01:22:24,939 --> 01:22:27,909 EXPERIENCE, JUST AS THOSE OF US WHO WERE LUCKY ENOUGH TO SHARE 1723 01:22:27,976 --> 01:22:30,000 IN THAT SPECIAL SEASON WILL NEVER FORGET THE EXPLOSION OF 1724 01:22:30,000 --> 01:22:31,046 IN THAT SPECIAL SEASON WILL NEVER FORGET THE EXPLOSION OF 1725 01:22:31,112 --> 01:22:36,000 JOY THAT SPILLED ONTO BROADWAY'S SIDEWALKS, AND IS HERE FOR YOU 1726 01:22:36,000 --> 01:22:38,253 JOY THAT SPILLED ONTO BROADWAY'S SIDEWALKS, AND IS HERE FOR YOU 1727 01:22:38,320 --> 01:22:39,521 NOW. 1728 01:22:39,587 --> 01:22:42,000 PLEASE WELCOME, TEN YEARS LATER, MY FRIENDS, AND THE ORIGINAL 1729 01:22:42,000 --> 01:22:45,226 PLEASE WELCOME, TEN YEARS LATER, MY FRIENDS, AND THE ORIGINAL 1730 01:22:45,293 --> 01:22:46,594 COMPANY OF "HAMILTON." 1731 01:22:46,661 --> 01:22:48,000 [CHEERS AND APPLAUSE] ♪ ♪ >> ♪ AFTER THE WAR I WENT BACK TO NEW 1732 01:22:48,000 --> 01:22:53,835 [CHEERS AND APPLAUSE] ♪ ♪ >> ♪ AFTER THE WAR I WENT BACK TO NEW 1733 01:22:53,902 --> 01:22:54,000 YORK ♪ >> ♪ AFTER THE WAR I WENT BACK TO NEW YORK ♪ >> ♪ I 1734 01:22:54,000 --> 01:22:57,272 YORK ♪ >> ♪ AFTER THE WAR I WENT BACK TO NEW YORK ♪ >> ♪ I 1735 01:22:57,339 --> 01:23:00,000 FINISHED UP MY STUDIES AND I PRACTICED LAW ♪ >> ♪ I PRACTICED 1736 01:23:00,000 --> 01:23:04,379 FINISHED UP MY STUDIES AND I PRACTICED LAW ♪ >> ♪ I PRACTICED 1737 01:23:04,446 --> 01:23:06,000 LAW, BURR WORKED NEXT DOOR ♪ >> ♪ EVEN THOUGH WE STARTED AT THE 1738 01:23:06,000 --> 01:23:06,147 LAW, BURR WORKED NEXT DOOR ♪ >> ♪ EVEN THOUGH WE STARTED AT THE 1739 01:23:06,214 --> 01:23:08,483 VERY SAME TIME ♪ ♪ ALEXANDER HAMILTON BEGAN TO CLIMB ♪ ♪ HOW 1740 01:23:08,550 --> 01:23:12,000 TO ACCOUNT FOR HIS RISE TO THE TOP ♪ ♪ MAN, THE MAN IS NONSTOP 1741 01:23:12,000 --> 01:23:13,722 TO ACCOUNT FOR HIS RISE TO THE TOP ♪ ♪ MAN, THE MAN IS NONSTOP 1742 01:23:13,788 --> 01:23:17,392 ♪ ♪ ♪ >> ♪ I'MA GET A SCHOLARSHIP TO KING'S COLLEGE ♪ 1743 01:23:17,459 --> 01:23:18,000 ♪ I PROBABLY SHOULDN'T BRAG, BUT DAG ♪ ♪ I AMAZE AND ASTONISH ♪ ♪ 1744 01:23:18,000 --> 01:23:20,161 ♪ I PROBABLY SHOULDN'T BRAG, BUT DAG ♪ ♪ I AMAZE AND ASTONISH ♪ ♪ 1745 01:23:20,228 --> 01:23:22,664 THE PROBLEM IS I GOT A LOT OF BRAINS BUT NO POLISH ♪ ♪ I GOTTA 1746 01:23:22,731 --> 01:23:24,000 HOLLER JUST TO BE HEARD ♪ ♪ WITH EVERY WORD I DROP KNOWLEDGE ♪ ♪ 1747 01:23:24,000 --> 01:23:26,735 HOLLER JUST TO BE HEARD ♪ ♪ WITH EVERY WORD I DROP KNOWLEDGE ♪ ♪ 1748 01:23:26,801 --> 01:23:28,970 I'M PAST PATIENTLY WAITIN' ♪ ♪ I'M PASSIONATELY SMASHIN' EVERY 1749 01:23:29,037 --> 01:23:30,000 EXPECTATION ♪ ♪ EVERY ACTION'S AN ACT OF CREATION ♪ ♪ I'M 1750 01:23:30,000 --> 01:23:34,042 EXPECTATION ♪ ♪ EVERY ACTION'S AN ACT OF CREATION ♪ ♪ I'M 1751 01:23:34,109 --> 01:23:35,410 LAUGHIN' IN THE FACE OF CASUALTIES AND SORROW ♪ ♪ FOR 1752 01:23:35,477 --> 01:23:36,000 THE FIRST TIME I'M THINKIN' PAST TOMORROW ♪ >> ♪ AND I AM NOT 1753 01:23:36,000 --> 01:23:37,912 THE FIRST TIME I'M THINKIN' PAST TOMORROW ♪ >> ♪ AND I AM NOT 1754 01:23:37,979 --> 01:23:42,000 THROWING AWAY MY SHOT ♪ ♪ I AM NOT THROWING AWAY MY SHOT ♪ ♪ 1755 01:23:42,000 --> 01:23:42,050 THROWING AWAY MY SHOT ♪ ♪ I AM NOT THROWING AWAY MY SHOT ♪ ♪ 1756 01:23:42,117 --> 01:23:43,952 HEY YO, I'M JUST LIKE MY COUNTRY ♪ ♪ I'M YOUNG, SCRAPPY, AND 1757 01:23:44,018 --> 01:23:47,989 HUNGRY ♪ ♪ AND I'M NOT THROWING AWAY MY ♪ ♪ NOT THROWING AWAY MY 1758 01:23:48,056 --> 01:23:52,193 SHOT ♪ >> ♪ LOOK AROUND, LOOK AROUND AT HOW LUCKY WE ARE ♪ ♪ 1759 01:23:52,260 --> 01:23:54,000 TO BE ALIVE RIGHT NOW ♪ >> ♪ LOOK AROUND, LOOK AROUND AT HOW 1760 01:23:54,000 --> 01:23:54,763 TO BE ALIVE RIGHT NOW ♪ >> ♪ LOOK AROUND, LOOK AROUND AT HOW 1761 01:23:54,829 --> 01:23:58,400 LUCKY WE ARE ♪ ♪ TO BE ALIVE RIGHT NOW ♪ >> ♪ HISTORY IS 1762 01:23:58,466 --> 01:24:00,000 HAPPENING IN MANHATTAN ♪ ♪ AND WE JUST HAPPEN TO BE ♪ ♪ IN THE 1763 01:24:00,000 --> 01:24:01,970 HAPPENING IN MANHATTAN ♪ ♪ AND WE JUST HAPPEN TO BE ♪ ♪ IN THE 1764 01:24:02,036 --> 01:24:05,073 GREATEST CITY IN THE WORLD ♪ >> ♪ IN THE GREATEST CITY IN THE 1765 01:24:05,140 --> 01:24:06,000 WORLD ♪ ♪ WORK, WORK ♪ >> ANGELICA. 1766 01:24:06,000 --> 01:24:09,077 WORLD ♪ ♪ WORK, WORK ♪ >> ANGELICA. 1767 01:24:09,144 --> 01:24:11,079 >> ♪ WORK, WORK ♪ >> ELIZA. 1768 01:24:11,146 --> 01:24:12,000 >> AND PEGGY. 1769 01:24:12,000 --> 01:24:12,447 >> AND PEGGY. 1770 01:24:12,514 --> 01:24:14,682 >> ♪ WORK, WORK ♪ >> ♪ THE SCHUYLER SISTERS ♪ >> ♪ WORK, 1771 01:24:14,749 --> 01:24:17,986 WORK ♪ >> ♪ WE'RE LOOKING FOR A MIND AT WORK ♪ >> ♪ HEY ♪ >> ♪ 1772 01:24:18,052 --> 01:24:22,023 WORK, WORK ♪ >> ♪ HEY ♪ >> ♪ WORK, WORK ♪ >> ♪ HEY ♪ >> ♪ IN 1773 01:24:22,090 --> 01:24:24,000 THE GREATEST CITY ♪ ♪ IN THE GREATEST CITY IN THE WORLD ♪ >> 1774 01:24:24,000 --> 01:24:26,094 THE GREATEST CITY ♪ ♪ IN THE GREATEST CITY IN THE WORLD ♪ >> 1775 01:24:26,161 --> 01:24:30,000 ♪ IN THE GREATEST CITY IN THE WORLD ♪ ♪ ♪ >> ♪ LAFAYETTE ♪ >> 1776 01:24:30,000 --> 01:24:32,700 ♪ IN THE GREATEST CITY IN THE WORLD ♪ ♪ ♪ >> ♪ LAFAYETTE ♪ >> 1777 01:24:32,767 --> 01:24:34,302 ♪ I'M TAKIN' THIS HORSE BY THE REINS ♪ ♪ MAKING REDCOATS REDDER 1778 01:24:34,369 --> 01:24:36,000 WITH BLOODSTAINS ♪ >> ♪ LAFAYETTE ♪ >> ♪ AND I'M NEVER 1779 01:24:36,000 --> 01:24:36,070 WITH BLOODSTAINS ♪ >> ♪ LAFAYETTE ♪ >> ♪ AND I'M NEVER 1780 01:24:36,137 --> 01:24:37,705 GONNA STOP 'TIL I MAKE 'EM DROP ♪ ♪ BURN 'EM UP AND SCATTER THE 1781 01:24:37,772 --> 01:24:40,542 REMAINS, I'M ♪ >> ♪ LAFAYETTE ♪ >> WATCH ME ENGAGIN' 'EM ♪ ♪ 1782 01:24:40,608 --> 01:24:42,000 ESCAPIN' 'EM, ENRAGIN' 'EM ♪ ♪ I'M ♪ >> ♪ LAFAYETTE ♪ >> ♪ NO 1783 01:24:42,000 --> 01:24:43,178 ESCAPIN' 'EM, ENRAGIN' 'EM ♪ ♪ I'M ♪ >> ♪ LAFAYETTE ♪ >> ♪ NO 1784 01:24:43,244 --> 01:24:45,647 ONE HAS MORE RESILIENCE ♪ ♪ OR MATCHES MY PRACTICAL, TACTICAL 1785 01:24:45,713 --> 01:24:48,000 BRILLIANCE ♪ >> REALLY? 1786 01:24:48,000 --> 01:24:48,249 BRILLIANCE ♪ >> REALLY? 1787 01:24:48,316 --> 01:24:53,655 ♪ DA-DA-DA DAT DA ♪ ♪ DAT DA-DA-DA DAYA-DA ♪ ♪ DA-DA DAT 1788 01:24:53,721 --> 01:24:54,000 DAT DAYA DA ♪ ♪ DA-DA-DA DAT DA ♪ ♪ DAT DA-DA-DA DAYA DA ♪ ♪ DA 1789 01:24:54,000 --> 01:25:00,000 DAT DAYA DA ♪ ♪ DA-DA-DA DAT DA ♪ ♪ DAT DA-DA-DA DAYA DA ♪ ♪ DA 1790 01:25:00,000 --> 01:25:00,094 DAT DAYA DA ♪ ♪ DA-DA-DA DAT DA ♪ ♪ DAT DA-DA-DA DAYA DA ♪ ♪ DA 1791 01:25:00,161 --> 01:25:03,064 DA DAT DAT -- ♪ EVERYBODY! 1792 01:25:03,131 --> 01:25:06,000 >> ♪ DA-DA-DA DAT DA ♪ ♪ DAT DA-DA-DA DAYA-DA ♪ ♪ DA-DA DAT 1793 01:25:06,000 --> 01:25:09,003 >> ♪ DA-DA-DA DAT DA ♪ ♪ DAT DA-DA-DA DAYA-DA ♪ ♪ DA-DA DAT 1794 01:25:09,070 --> 01:25:10,939 DAT DAYA DA ♪ >> WE HAD A SPY ON THE INSIDE. 1795 01:25:11,005 --> 01:25:12,000 THAT'S RIGHT. 1796 01:25:12,000 --> 01:25:12,407 THAT'S RIGHT. 1797 01:25:12,474 --> 01:25:14,108 ♪ HERCULES MULLIGAN ♪ >> ♪ A TAILOR SPYIN' ON THE BRITISH 1798 01:25:14,175 --> 01:25:15,877 GOVERNMENT ♪ ♪ I TAKE THEIR MEASUREMENTS, INFORMATION ♪ ♪ 1799 01:25:15,944 --> 01:25:18,000 AND THEN I SMUGGLE IT ♪ >> ♪ UP ♪ >> ♪ TO MY BROTHER'S 1800 01:25:18,000 --> 01:25:18,580 AND THEN I SMUGGLE IT ♪ >> ♪ UP ♪ >> ♪ TO MY BROTHER'S 1801 01:25:18,646 --> 01:25:20,482 REVOLUTIONARY COVENANT ♪ ♪ I'M RUNNIN WITH THE SONS OF LIBERTY 1802 01:25:20,548 --> 01:25:23,084 AND I AM LOVIN' IT ♪ ♪ SEE, THAT'S WHAT HAPPENS WHEN YOU UP 1803 01:25:23,151 --> 01:25:24,000 AGAINST THE RUFFIANS ♪ ♪ WE IN THE NOW, SOMEBODY GOTTA 1804 01:25:24,000 --> 01:25:25,253 AGAINST THE RUFFIANS ♪ ♪ WE IN THE NOW, SOMEBODY GOTTA 1805 01:25:25,320 --> 01:25:28,590 SHOVEL IT ♪ ♪ HERCULES MULLIGAN ♪ ♪ I NEED NO INTRODUCTION ♪ ♪ 1806 01:25:28,656 --> 01:25:30,000 WHEN YOU KNOCK ME DOWN, I GET THE -- BACK UP AGAIN ♪ >> ♪ THE 1807 01:25:30,000 --> 01:25:33,228 WHEN YOU KNOCK ME DOWN, I GET THE -- BACK UP AGAIN ♪ >> ♪ THE 1808 01:25:33,294 --> 01:25:36,000 WORLD TURNED UPSI-- ♪ ♪ ♪ >> ♪ I WANNA BE IN THE ROOM WHERE IT 1809 01:25:36,000 --> 01:25:42,000 WORLD TURNED UPSI-- ♪ ♪ ♪ >> ♪ I WANNA BE IN THE ROOM WHERE IT 1810 01:25:42,000 --> 01:25:42,804 WORLD TURNED UPSI-- ♪ ♪ ♪ >> ♪ I WANNA BE IN THE ROOM WHERE IT 1811 01:25:42,871 --> 01:25:47,742 HAPPENS ♪ >> ♪ THE ROOM WHERE IT HAPPENS ♪ ♪ I WANNA BE IN THE 1812 01:25:47,809 --> 01:25:48,000 ROOM WHERE IT HAPPENS ♪ >> ♪ THE ROOM WHERE IT HAPPENS ♪ ♪ THE 1813 01:25:48,000 --> 01:25:50,078 ROOM WHERE IT HAPPENS ♪ >> ♪ THE ROOM WHERE IT HAPPENS ♪ ♪ THE 1814 01:25:50,144 --> 01:25:52,247 ROOM WHERE IT HAPPENS ♪ >> ♪ WHOA-OH ♪ >> ♪ THE ROOM WHERE IT 1815 01:25:52,313 --> 01:25:54,000 HAPPENS ♪ >> ♪ I WANNA BE IN ♪ >> ♪ I'VE GOT TO BE ♪ >> ♪ I 1816 01:25:54,000 --> 01:25:56,551 HAPPENS ♪ >> ♪ I WANNA BE IN ♪ >> ♪ I'VE GOT TO BE ♪ >> ♪ I 1817 01:25:56,618 --> 01:26:00,000 WANNA BE IN ♪ >> ♪ I'VE GOT TO BE ♪ >> ♪ IN THE ROOM ♪ >> ♪ THE 1818 01:26:00,000 --> 01:26:00,788 WANNA BE IN ♪ >> ♪ I'VE GOT TO BE ♪ >> ♪ IN THE ROOM ♪ >> ♪ THE 1819 01:26:00,855 --> 01:26:03,458 ROOM WHERE IT HAPPENS ♪ ♪ WE DREAM OF A BRAND-NEW START ♪ >> 1820 01:26:03,525 --> 01:26:05,927 ♪ BUT WE DREAM IN THE DARK ♪ ♪ FOR THE MOST PART ♪ >> ♪ DARK AS 1821 01:26:05,994 --> 01:26:06,000 A TOMB WHERE IT HAPPENS ♪ >> ♪ I'VE GOT TO BE ♪ ♪ I'VE GOT TO 1822 01:26:06,000 --> 01:26:12,000 A TOMB WHERE IT HAPPENS ♪ >> ♪ I'VE GOT TO BE ♪ ♪ I'VE GOT TO 1823 01:26:12,000 --> 01:26:12,166 A TOMB WHERE IT HAPPENS ♪ >> ♪ I'VE GOT TO BE ♪ ♪ I'VE GOT TO 1824 01:26:12,233 --> 01:26:15,169 BE ♪ >> ♪ I WANNA BE IN THE ROOM WHERE IT HAPPENS ♪ >> CLICK, 1825 01:26:15,236 --> 01:26:15,970 BOOM. 1826 01:26:16,738 --> 01:26:18,000 ♪ ♪ >> ♪ LET ME TELL YOU WHAT I WISH I'D KNOWN ♪ ♪ WHEN I WAS 1827 01:26:18,000 --> 01:26:19,707 ♪ ♪ >> ♪ LET ME TELL YOU WHAT I WISH I'D KNOWN ♪ ♪ WHEN I WAS 1828 01:26:19,774 --> 01:26:24,000 YOUNG AND DREAMED OF GLORY ♪ ♪ YOU HAVE NO CONTROL ♪ ♪ WHO 1829 01:26:24,000 --> 01:26:24,646 YOUNG AND DREAMED OF GLORY ♪ ♪ YOU HAVE NO CONTROL ♪ ♪ WHO 1830 01:26:24,712 --> 01:26:30,000 LIVES, WHO DIES, WHO TELLS YOUR STORY ♪ ♪ I KNOW THAT WE CAN WIN 1831 01:26:30,000 --> 01:26:30,985 LIVES, WHO DIES, WHO TELLS YOUR STORY ♪ ♪ I KNOW THAT WE CAN WIN 1832 01:26:31,052 --> 01:26:34,722 ♪ ♪ I KNOW THAT GREATNESS LIES IN YOU ♪ ♪ BUT REMEMBER, FROM 1833 01:26:34,789 --> 01:26:36,000 HERE ON IN ♪ ♪ HISTORY HAS ITS EYES ON YOU ♪ >> WHY DO YOU 1834 01:26:36,000 --> 01:26:40,028 HERE ON IN ♪ ♪ HISTORY HAS ITS EYES ON YOU ♪ >> WHY DO YOU 1835 01:26:40,094 --> 01:26:41,863 ASSUME YOU'RE THE SMARTEST IN THE ROOM ♪ >> ♪ LOOK AROUND, 1836 01:26:41,930 --> 01:26:42,000 LOOK AROUND ♪ >> ♪ WHY DO YOU ASSUME YOU'RE THE SMARTEST IN 1837 01:26:42,000 --> 01:26:44,232 LOOK AROUND ♪ >> ♪ WHY DO YOU ASSUME YOU'RE THE SMARTEST IN 1838 01:26:44,299 --> 01:26:46,034 THE ROOM ♪ ♪ WHY DO YOU ASSUME YOU'RE THE SMARTEST IN THE ROOM 1839 01:26:46,100 --> 01:26:48,000 ♪ >> ♪ SATISFIED, SATISFIED ♪ >> ♪ HISTORY HAS ITS EYES ON YOU ♪ 1840 01:26:48,000 --> 01:26:49,070 ♪ >> ♪ SATISFIED, SATISFIED ♪ >> ♪ HISTORY HAS ITS EYES ON YOU ♪ 1841 01:26:49,137 --> 01:26:54,000 ♪ HISTORY HAS ITS EYES ON YOU ♪ >> ♪ I AM NOT THROWIN' AWAY MY ♪ 1842 01:26:54,000 --> 01:26:55,476 ♪ HISTORY HAS ITS EYES ON YOU ♪ >> ♪ I AM NOT THROWIN' AWAY MY ♪ 1843 01:26:55,543 --> 01:27:00,000 HISTORY HAS ITS EYES ON YOU ♪ >> ♪ I AM NOT THROWIN' AWAY MY SHOT 1844 01:27:00,000 --> 01:27:00,882 HISTORY HAS ITS EYES ON YOU ♪ >> ♪ I AM NOT THROWIN' AWAY MY SHOT 1845 01:27:00,949 --> 01:27:03,885 ♪ >> ♪ JUST YOU WAIT ♪ >> ♪ I AM NOT THROWIN' AWAY MY SHOT ♪ >> ♪ 1846 01:27:03,952 --> 01:27:06,000 ALEXANDER HAMILTON ♪ ♪ HAMILTON ♪ ♪ JUST YOU WAIT ♪ >> ♪ I AM 1847 01:27:06,000 --> 01:27:07,422 ALEXANDER HAMILTON ♪ ♪ HAMILTON ♪ ♪ JUST YOU WAIT ♪ >> ♪ I AM 1848 01:27:07,488 --> 01:27:12,000 NOT THROWIN' AWAY MY SHOT ♪ ♪ ♪ [CHEERS AND APPLAUSE] 1849 01:27:12,000 --> 01:27:17,498 NOT THROWIN' AWAY MY SHOT ♪ ♪ ♪ [CHEERS AND APPLAUSE] 1850 01:27:42,223 --> 01:27:48,000 [OVATION CONTINUES] 1851 01:27:48,000 --> 01:27:52,233 [OVATION CONTINUES] 1852 01:27:57,138 --> 01:28:00,000 ♪ ♪ >> Announcer: NEXT, SARA BAREILLES JOINS CYNTHIA ERIVO 1853 01:28:00,000 --> 01:28:01,776 ♪ ♪ >> Announcer: NEXT, SARA BAREILLES JOINS CYNTHIA ERIVO 1854 01:28:01,843 --> 01:28:05,113 FOR AN EMOTIONAL TRIBUTE TO THE SPECIAL FRIENDS WE LOST THIS 1855 01:28:05,179 --> 01:28:06,000 YEAR. 1856 01:28:06,000 --> 01:28:06,080 YEAR. 1857 01:28:06,447 --> 01:28:08,349 AND LATER, MORE NOMINATED PERFORMANCES FROM BROADWAY'S 1858 01:28:10,952 --> 01:28:12,000 BRIGHTEST STARS. 1859 01:28:12,000 --> 01:28:12,887 BRIGHTEST STARS. 1860 01:28:12,954 --> 01:28:13,855 THE TONY AWARDS. 1861 01:28:13,921 --> 01:28:15,923 THIS IS CBS. 1862 01:28:26,467 --> 01:28:27,635 >> Cynthia: WE'RE BACK. 1863 01:28:27,702 --> 01:28:29,904 PLEASE WELCOME A TONY AWARD WINNER AND A TWO-TIME TONY 1864 01:28:29,971 --> 01:28:30,000 NOMINEE, BRYAN CRANSTON AND ALLISON JANNEY. 1865 01:28:30,000 --> 01:28:34,842 NOMINEE, BRYAN CRANSTON AND ALLISON JANNEY. 1866 01:28:34,909 --> 01:28:36,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Bryan: ACTORS ARE -- >> Allison: CLOSER 1867 01:28:36,000 --> 01:28:42,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Bryan: ACTORS ARE -- >> Allison: CLOSER 1868 01:28:42,000 --> 01:28:44,919 [APPLAUSE] ♪ ♪ ♪ ♪ >> Bryan: ACTORS ARE -- >> Allison: CLOSER 1869 01:28:48,623 --> 01:28:54,000 TO THE MIC, AND ENUNCIATE. 1870 01:28:54,000 --> 01:28:54,595 TO THE MIC, AND ENUNCIATE. 1871 01:28:54,662 --> 01:28:55,663 >> Bryan: ENUNCIATE? 1872 01:28:55,730 --> 01:28:59,701 OH, YOU'RE DIRECTING ME. 1873 01:29:00,034 --> 01:29:02,036 >> Bryan: ACTORS ARE AT OUR MOST INVENTIVE AND REVEALING WHEN 1874 01:29:02,103 --> 01:29:06,000 GIVEN THE FREEDOM TO BECOME VULNERABLE. 1875 01:29:06,000 --> 01:29:06,908 GIVEN THE FREEDOM TO BECOME VULNERABLE. 1876 01:29:06,974 --> 01:29:10,645 [LAUGHTER] THERE IS NO GREATER COMFORT THAN TO BE SUPPORTED BY 1877 01:29:10,712 --> 01:29:12,000 DIRECTORS WHO ENCOURAGE US TO TAKE RISKS AND CREATE FLIGHTS OF 1878 01:29:12,000 --> 01:29:18,000 DIRECTORS WHO ENCOURAGE US TO TAKE RISKS AND CREATE FLIGHTS OF 1879 01:29:18,000 --> 01:29:18,686 DIRECTORS WHO ENCOURAGE US TO TAKE RISKS AND CREATE FLIGHTS OF 1880 01:29:18,753 --> 01:29:23,691 FANCY, AS WE FIND OUR OWN WAY TO THE TRUTH OF THE MATERIAL. 1881 01:29:23,758 --> 01:29:24,000 >> Allison: OKAY. 1882 01:29:24,000 --> 01:29:28,096 >> Allison: OKAY. 1883 01:29:28,162 --> 01:29:30,000 [LAUGHTER] IT'S OUR PLEASURE TO PRESENT TWO AWARDS TO SUCH 1884 01:29:30,000 --> 01:29:30,064 [LAUGHTER] IT'S OUR PLEASURE TO PRESENT TWO AWARDS TO SUCH 1885 01:29:30,131 --> 01:29:32,700 VISIONARIES WHO BROUGHT THEIR OWN GENIUS AND INSIGHT TO THE 1886 01:29:32,767 --> 01:29:36,000 WRITTEN WORD, AND WHO HAVE TO PUT UP WITH INDULGENT ACTORS. 1887 01:29:36,000 --> 01:29:37,205 WRITTEN WORD, AND WHO HAVE TO PUT UP WITH INDULGENT ACTORS. 1888 01:29:37,271 --> 01:29:40,208 THE PRODUCTIONS THEY GUIDED ARE LAYERED, COMPLEX, AND IN SOME 1889 01:29:40,274 --> 01:29:42,000 CASES DROP-DEAD HILARIOUS. 1890 01:29:42,000 --> 01:29:42,310 CASES DROP-DEAD HILARIOUS. 1891 01:29:42,376 --> 01:29:48,000 HERE ARE THE NOMINEES FOR BEST DIRECTION OF A PLAY. 1892 01:29:48,000 --> 01:29:48,516 HERE ARE THE NOMINEES FOR BEST DIRECTION OF A PLAY. 1893 01:29:48,583 --> 01:29:50,685 THANK YOU FOR GETTING THAT. 1894 01:29:50,752 --> 01:29:53,755 >> Announcer: KNUD ADAMS, "ENGLISH." 1895 01:29:53,821 --> 01:29:54,000 SAM MENDES, "THE HILLS OF CALIFORNIA." 1896 01:29:54,000 --> 01:29:57,225 SAM MENDES, "THE HILLS OF CALIFORNIA." 1897 01:29:57,291 --> 01:30:00,000 SAM PINKLETON, "OH, MARY!" 1898 01:30:00,000 --> 01:30:01,295 SAM PINKLETON, "OH, MARY!" 1899 01:30:01,362 --> 01:30:06,000 DANYA TAYMOR, "JOHN PROCTOR IS THE VILLAIN." 1900 01:30:06,000 --> 01:30:08,770 DANYA TAYMOR, "JOHN PROCTOR IS THE VILLAIN." 1901 01:30:08,836 --> 01:30:12,000 KIP WILLIAMS, "THE PICTURE OF DORIAN GRAY." 1902 01:30:12,000 --> 01:30:13,541 KIP WILLIAMS, "THE PICTURE OF DORIAN GRAY." 1903 01:30:13,608 --> 01:30:17,478 >> Bryan: AND THE AMERICAN THEATRE WING'S TONY AWARD GOES 1904 01:30:17,545 --> 01:30:18,000 TO... 1905 01:30:18,000 --> 01:30:23,851 TO... 1906 01:30:23,918 --> 01:30:24,000 SAM PINKLETON. 1907 01:30:24,000 --> 01:30:28,222 SAM PINKLETON. 1908 01:30:28,289 --> 01:30:30,000 "OH, MARY!" 1909 01:30:30,000 --> 01:30:31,492 "OH, MARY!" 1910 01:30:31,559 --> 01:30:35,096 [CHEERS AND APPLAUSE] >> Announcer: THIS IS THE FIRST 1911 01:30:35,163 --> 01:30:36,000 TONY WIN FOR SAM PINKLETON, WHO WAS LAST NOMINATED FOR 1912 01:30:36,000 --> 01:30:39,200 TONY WIN FOR SAM PINKLETON, WHO WAS LAST NOMINATED FOR 1913 01:30:39,267 --> 01:30:42,000 CHOREOGRAPHING NATASHA PIERRE AND THE GREAT COMET OF 1812. 1914 01:30:42,000 --> 01:30:47,275 CHOREOGRAPHING NATASHA PIERRE AND THE GREAT COMET OF 1812. 1915 01:30:47,341 --> 01:30:48,000 >> OH, MY GOODNESS! 1916 01:30:48,000 --> 01:30:50,545 >> OH, MY GOODNESS! 1917 01:30:50,611 --> 01:30:53,948 TO EVERY DIRECTOR AND CHOREOGRAPHER IN THIS ROOM, I 1918 01:30:54,015 --> 01:30:54,715 SALUTE YOU. 1919 01:30:55,249 --> 01:30:57,385 I SHARE THIS AWARD WITH DIRECTORS WHO TOOK A CHANCE ON 1920 01:30:57,451 --> 01:31:00,000 ME AS A YOUNG ARTIST. 1921 01:31:00,000 --> 01:31:02,156 ME AS A YOUNG ARTIST. 1922 01:31:02,223 --> 01:31:06,000 I WANT TO THANK MY DAD AND MY MOM, WHO DID NOT STOP A LITTLE 1923 01:31:06,000 --> 01:31:08,362 I WANT TO THANK MY DAD AND MY MOM, WHO DID NOT STOP A LITTLE 1924 01:31:08,429 --> 01:31:10,865 GAY BOY FROM DOING LITTLE GAY THINGS. 1925 01:31:10,932 --> 01:31:12,000 MY HUSBAND, THANK YOU FOR NOT LETTING ME QUIT THEATER. 1926 01:31:12,000 --> 01:31:14,702 MY HUSBAND, THANK YOU FOR NOT LETTING ME QUIT THEATER. 1927 01:31:14,769 --> 01:31:16,771 COLE ESCOLA! 1928 01:31:16,838 --> 01:31:18,000 [APPLAUSE] YOU HAVE TAUGHT ME TO MAKE WHAT YOU LOVE AND NOT WHAT 1929 01:31:18,000 --> 01:31:20,808 [APPLAUSE] YOU HAVE TAUGHT ME TO MAKE WHAT YOU LOVE AND NOT WHAT 1930 01:31:20,875 --> 01:31:22,910 YOU THINK PEOPLE WANT TO SEE. 1931 01:31:22,977 --> 01:31:24,000 I SHARE THIS WITH EVERYONE WHO PUT THEIR FINGER PRINTS ON "OH, 1932 01:31:24,000 --> 01:31:26,881 I SHARE THIS WITH EVERYONE WHO PUT THEIR FINGER PRINTS ON "OH, 1933 01:31:26,948 --> 01:31:27,448 MARY!" 1934 01:31:27,515 --> 01:31:28,749 UPTOWN AND DOWNTOWN. 1935 01:31:28,816 --> 01:31:30,000 THE CAST, THE STAGE MANAGERS, DESIGNERS, THE UNDERSTUDIES, MY 1936 01:31:30,000 --> 01:31:31,152 THE CAST, THE STAGE MANAGERS, DESIGNERS, THE UNDERSTUDIES, MY 1937 01:31:31,219 --> 01:31:33,154 ASSISTANT, MY COCONSPIRATORS, OUR AMAZING PRODUCERS. 1938 01:31:33,221 --> 01:31:35,356 KEVIN, LUCAS, MIKE, CARLY. 1939 01:31:35,423 --> 01:31:36,000 YOU HAVE TRUSTED ARTISTS AND DONE IT WITH DECENCY AND 1940 01:31:36,000 --> 01:31:40,094 YOU HAVE TRUSTED ARTISTS AND DONE IT WITH DECENCY AND 1941 01:31:40,161 --> 01:31:40,494 GENEROSITY. 1942 01:31:40,561 --> 01:31:41,195 THIS CAST. 1943 01:31:41,929 --> 01:31:42,000 I WANT TO THANK THE AUDIENCES WHO HAVE MADE THIS PLAY WHAT IT 1944 01:31:42,000 --> 01:31:44,465 I WANT TO THANK THE AUDIENCES WHO HAVE MADE THIS PLAY WHAT IT 1945 01:31:44,532 --> 01:31:45,533 IS. 1946 01:31:45,600 --> 01:31:48,000 THANK YOU FOR COMING, THANK YOU FOR FEELING JOY. 1947 01:31:48,000 --> 01:31:48,302 THANK YOU FOR COMING, THANK YOU FOR FEELING JOY. 1948 01:31:48,369 --> 01:31:49,637 THIS IS A THING WE CAN DO. 1949 01:31:49,704 --> 01:31:54,000 WE CAN BRING JOY TO PEOPLE AT THE END OF A CRAPPY DAY AND THAT 1950 01:31:54,000 --> 01:31:55,643 WE CAN BRING JOY TO PEOPLE AT THE END OF A CRAPPY DAY AND THAT 1951 01:31:55,710 --> 01:31:56,944 FEELS LIKE A BIG DEAL TO ME. 1952 01:31:57,011 --> 01:32:00,000 I LOVE MAKING THEATER AND I LOVE BEING PART OF THIS COMMUNITY. 1953 01:32:00,000 --> 01:32:01,849 I LOVE MAKING THEATER AND I LOVE BEING PART OF THIS COMMUNITY. 1954 01:32:01,916 --> 01:32:02,316 THANK YOU SO MUCH! 1955 01:32:02,383 --> 01:32:03,985 I LOVE YOU! 1956 01:32:04,051 --> 01:32:06,000 [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Bryan: AND NOW, ONCE MORE, BUT 1957 01:32:06,000 --> 01:32:12,000 [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Bryan: AND NOW, ONCE MORE, BUT 1958 01:32:12,000 --> 01:32:14,061 [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Bryan: AND NOW, ONCE MORE, BUT 1959 01:32:14,795 --> 01:32:16,063 WITH MUSIC. 1960 01:32:16,130 --> 01:32:18,000 HERE ARE THE NOMINEES FOR BEST DIRECTION OF A MUSICAL. 1961 01:32:18,000 --> 01:32:22,203 HERE ARE THE NOMINEES FOR BEST DIRECTION OF A MUSICAL. 1962 01:32:22,270 --> 01:32:24,000 ♪ ♪ >> Announcer: SAHEEM ALI, "BUENA VISTA SOCIAL CLUB." 1963 01:32:24,000 --> 01:32:25,539 ♪ ♪ >> Announcer: SAHEEM ALI, "BUENA VISTA SOCIAL CLUB." 1964 01:32:32,880 --> 01:32:34,181 MICHAEL ARDEN, "MAYBE HAPPY ENDING." 1965 01:32:34,248 --> 01:32:36,000 DAVID CROMER, "DEAD OUTLAW." 1966 01:32:36,000 --> 01:32:38,019 DAVID CROMER, "DEAD OUTLAW." 1967 01:32:38,085 --> 01:32:42,000 CHRISTOPHER GATTELLI, "DEATH BECOMES HER." 1968 01:32:42,000 --> 01:32:43,224 CHRISTOPHER GATTELLI, "DEATH BECOMES HER." 1969 01:32:43,291 --> 01:32:48,000 JAMIE LLOYD, "SUNSET BLVD." 1970 01:32:48,000 --> 01:32:50,765 JAMIE LLOYD, "SUNSET BLVD." 1971 01:32:50,831 --> 01:32:54,000 [APPLAUSE] >> Allison: AND THE TONY AWARD GOES TO... 1972 01:32:54,000 --> 01:32:56,270 [APPLAUSE] >> Allison: AND THE TONY AWARD GOES TO... 1973 01:32:56,337 --> 01:33:00,000 MICHAEL ARDEN. 1974 01:33:00,000 --> 01:33:00,308 MICHAEL ARDEN. 1975 01:33:00,374 --> 01:33:04,812 "MAYBE HAPPY ENDING." 1976 01:33:04,879 --> 01:33:06,000 >> Announcer: DIRECTOR MICHAEL ARDEN HAS BEEN NOMINATED FOR 1977 01:33:06,000 --> 01:33:08,482 >> Announcer: DIRECTOR MICHAEL ARDEN HAS BEEN NOMINATED FOR 1978 01:33:08,549 --> 01:33:09,283 SEVEN CAREER TONY AWARDS. 1979 01:33:09,350 --> 01:33:12,000 HE WON TWO IN 2023. 1980 01:33:12,000 --> 01:33:17,725 HE WON TWO IN 2023. 1981 01:33:17,792 --> 01:33:18,000 [APPLAUSE] ♪ ♪ SAM PINKLETON JUST WON A TONY AWARD. 1982 01:33:18,000 --> 01:33:23,197 [APPLAUSE] ♪ ♪ SAM PINKLETON JUST WON A TONY AWARD. 1983 01:33:23,264 --> 01:33:24,000 THANK YOU TO ALL THE HELPER BOTS WHO SHAPED "MAYBE HAPPY ENDING" 1984 01:33:24,000 --> 01:33:29,036 THANK YOU TO ALL THE HELPER BOTS WHO SHAPED "MAYBE HAPPY ENDING" 1985 01:33:29,103 --> 01:33:30,000 AND MAKE THE IMPOSSIBLE SEEM EFFORTLESS. 1986 01:33:30,000 --> 01:33:30,938 AND MAKE THE IMPOSSIBLE SEEM EFFORTLESS. 1987 01:33:31,005 --> 01:33:32,907 EIGHT TIMES A WEEK AT THE GLASGOW THEATER. 1988 01:33:32,974 --> 01:33:36,000 YOU ARE THE REASON I SENT YOU TONIGHT. 1989 01:33:36,000 --> 01:33:36,110 YOU ARE THE REASON I SENT YOU TONIGHT. 1990 01:33:36,177 --> 01:33:40,214 WILL ARONSON AND HUE PARK WROTE A PERFECT MUSICAL, AND IT DARES 1991 01:33:40,281 --> 01:33:42,000 US TO LOVE WITH RADICAL ABANDONED DESPITE THE FACT THAT 1992 01:33:42,000 --> 01:33:42,783 US TO LOVE WITH RADICAL ABANDONED DESPITE THE FACT THAT 1993 01:33:42,850 --> 01:33:45,753 WE KNOW WE HAVE SHELF LIVES. 1994 01:33:45,820 --> 01:33:48,000 HE REMINDS US THAT COMPASSION IS THE ANTIDOTE FOR ISOLATION, AND 1995 01:33:48,000 --> 01:33:49,290 HE REMINDS US THAT COMPASSION IS THE ANTIDOTE FOR ISOLATION, AND 1996 01:33:49,357 --> 01:33:54,000 THAT EMPATHY IS NOT WEAKNESS, BUT A GIFT AND OUR SHARED 1997 01:33:54,000 --> 01:33:55,429 THAT EMPATHY IS NOT WEAKNESS, BUT A GIFT AND OUR SHARED 1998 01:33:55,496 --> 01:33:56,697 RESPONSIBILITY. 1999 01:33:56,764 --> 01:33:58,799 THE EXPERIENCE OF LIVE THEATER CONFIRMS, NO MATTER HOW 2000 01:33:58,866 --> 01:34:00,000 DIFFERENT WE MAY BE FROM ONE ANOTHER, WE ARE ALL CONNECTED 2001 01:34:00,000 --> 01:34:02,169 DIFFERENT WE MAY BE FROM ONE ANOTHER, WE ARE ALL CONNECTED 2002 01:34:02,236 --> 01:34:05,406 AND WE ARE ALL HERE AND IN IT TOGETHER IN THIS BRIEF BEAUTIFUL 2003 01:34:05,473 --> 01:34:06,000 LIFE. 2004 01:34:06,000 --> 01:34:06,407 LIFE. 2005 01:34:06,474 --> 01:34:09,010 SO I IMPLORE YOU, PLEASE, GO TO THE THEATER. 2006 01:34:09,076 --> 01:34:12,000 WHETHER IT'S A BROADWAY SHOW OR A SCHOOL PLAY, SUPPORT THE ARTS, 2007 01:34:12,000 --> 01:34:12,847 WHETHER IT'S A BROADWAY SHOW OR A SCHOOL PLAY, SUPPORT THE ARTS, 2008 01:34:12,913 --> 01:34:14,315 SUPPORT ARTISTS. 2009 01:34:14,382 --> 01:34:18,000 WE NEED YOU NOW MORE THAN EVER. 2010 01:34:18,000 --> 01:34:18,019 WE NEED YOU NOW MORE THAN EVER. 2011 01:34:18,085 --> 01:34:19,286 "MAYBE HAPPY ENDING" WAS A MONUMENTAL RISK SO MANY PEOPLE 2012 01:34:19,353 --> 01:34:21,122 TOOK, SO TO EVERYONE IN THIS COMMUNITY, AND ARTISTS, I SAY 2013 01:34:21,188 --> 01:34:24,000 KEEP TAKING RISKS, KEEP TELLING STORIES THAT PROBE FOR DEEPER 2014 01:34:24,000 --> 01:34:24,125 KEEP TAKING RISKS, KEEP TELLING STORIES THAT PROBE FOR DEEPER 2015 01:34:24,191 --> 01:34:27,728 TRUTHS AND INSPIRE HOPE, BECAUSE THE DARKER IT GETS THE MORE WE 2016 01:34:27,795 --> 01:34:29,030 NEED YOUR LIGHT. 2017 01:34:29,096 --> 01:34:30,000 AS DADDY SONDHEIM SAID, GIVE US MORE TO SEE, AND IF THERE ARE 2018 01:34:30,000 --> 01:34:36,000 AS DADDY SONDHEIM SAID, GIVE US MORE TO SEE, AND IF THERE ARE 2019 01:34:36,000 --> 01:34:36,537 AS DADDY SONDHEIM SAID, GIVE US MORE TO SEE, AND IF THERE ARE 2020 01:34:36,604 --> 01:34:38,072 ANY QUEER PEOPLE WATCHING TONIGHT... 2021 01:34:38,139 --> 01:34:42,000 [LAUGHTER] HAPPY PRIDE. 2022 01:34:42,000 --> 01:34:42,743 [LAUGHTER] HAPPY PRIDE. 2023 01:34:42,810 --> 01:34:48,000 [CHEERS AND APPLAUSE] ♪ ♪ MUSICAL >> Cynthia: IT'S BEEN A 2024 01:34:48,000 --> 01:34:52,820 [CHEERS AND APPLAUSE] ♪ ♪ MUSICAL >> Cynthia: IT'S BEEN A 2025 01:34:58,993 --> 01:35:00,000 REMARKABLE YEAR ON BROADWAY, BUT IT'S ALSO BEEN A DEVASTATING 2026 01:35:00,000 --> 01:35:03,597 REMARKABLE YEAR ON BROADWAY, BUT IT'S ALSO BEEN A DEVASTATING 2027 01:35:03,664 --> 01:35:05,833 ONE. 2028 01:35:05,900 --> 01:35:06,000 WE LOST CHANGED COLLEAGUES FROM ONSTAGE AND BEHIND THE SCENES. 2029 01:35:06,000 --> 01:35:08,269 WE LOST CHANGED COLLEAGUES FROM ONSTAGE AND BEHIND THE SCENES. 2030 01:35:08,335 --> 01:35:10,771 TO HELP PAY TRIBUTE TO SOME BELOVED MEMBERS OF OUR COMMUNITY 2031 01:35:10,838 --> 01:35:12,000 WHO HAVE PASSED ON, PLEASE WELCOME MY FRIEND SARA 2032 01:35:12,000 --> 01:35:13,174 WHO HAVE PASSED ON, PLEASE WELCOME MY FRIEND SARA 2033 01:35:13,240 --> 01:35:14,041 BAREILLES. 2034 01:35:14,842 --> 01:35:18,000 ♪ ♪ ♪ ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW ♪ ♪ BET YOUR BOTTOM 2035 01:35:18,000 --> 01:35:24,000 ♪ ♪ ♪ ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW ♪ ♪ BET YOUR BOTTOM 2036 01:35:24,000 --> 01:35:24,819 ♪ ♪ ♪ ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW ♪ ♪ BET YOUR BOTTOM 2037 01:35:26,454 --> 01:35:30,000 DOLLAR THAT TOMORROW ♪ ♪ THERE'LL BE SUN ♪ ♪ JUST 2038 01:35:30,000 --> 01:35:36,000 DOLLAR THAT TOMORROW ♪ ♪ THERE'LL BE SUN ♪ ♪ JUST 2039 01:35:36,000 --> 01:35:36,063 DOLLAR THAT TOMORROW ♪ ♪ THERE'LL BE SUN ♪ ♪ JUST 2040 01:35:36,130 --> 01:35:42,000 THINKIN' ABOUT ♪ ♪ TOMORROW ♪ ♪ CLEARS AWAY THE COBWEBS AND THE 2041 01:35:42,000 --> 01:35:43,237 THINKIN' ABOUT ♪ ♪ TOMORROW ♪ ♪ CLEARS AWAY THE COBWEBS AND THE 2042 01:35:43,304 --> 01:35:48,000 SORROW ♪ ♪ 'TIL THERE'S NONE ♪ >> ♪ WHEN I'M STUCK WITH A DAY 2043 01:35:48,000 --> 01:35:52,880 SORROW ♪ ♪ 'TIL THERE'S NONE ♪ >> ♪ WHEN I'M STUCK WITH A DAY 2044 01:35:52,947 --> 01:35:54,000 THAT'S GRAY ♪ ♪ AND LONELY ♪ ♪ I JUST STICK UP MY CHIN ♪ ♪ AND 2045 01:35:54,000 --> 01:35:59,954 THAT'S GRAY ♪ ♪ AND LONELY ♪ ♪ I JUST STICK UP MY CHIN ♪ ♪ AND 2046 01:36:00,020 --> 01:36:06,000 GRIN ♪ ♪ AND SAY ♪ ♪ OH ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW 2047 01:36:06,000 --> 01:36:10,030 GRIN ♪ ♪ AND SAY ♪ ♪ OH ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW 2048 01:36:11,932 --> 01:36:12,000 ♪ ♪ SO YA GOTTA HANG ON 'TIL TOMORROW ♪ ♪ COME WHAT MAY ♪ ♪ 2049 01:36:12,000 --> 01:36:18,000 ♪ ♪ SO YA GOTTA HANG ON 'TIL TOMORROW ♪ ♪ COME WHAT MAY ♪ ♪ 2050 01:36:18,000 --> 01:36:21,942 ♪ ♪ SO YA GOTTA HANG ON 'TIL TOMORROW ♪ ♪ COME WHAT MAY ♪ ♪ 2051 01:36:23,477 --> 01:36:24,000 TOMORROW, TOMORROW ♪ ♪ I LOVE YA, TOMORROW ♪ ♪ YOU'RE ALWAYS A 2052 01:36:24,000 --> 01:36:30,000 TOMORROW, TOMORROW ♪ ♪ I LOVE YA, TOMORROW ♪ ♪ YOU'RE ALWAYS A 2053 01:36:30,000 --> 01:36:33,521 TOMORROW, TOMORROW ♪ ♪ I LOVE YA, TOMORROW ♪ ♪ YOU'RE ALWAYS A 2054 01:36:34,855 --> 01:36:36,000 DAY AWAY ♪ ♪ ♪ ♪ ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW ♪ ♪ 2055 01:36:36,000 --> 01:36:42,000 DAY AWAY ♪ ♪ ♪ ♪ ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW ♪ ♪ 2056 01:36:42,000 --> 01:36:44,832 DAY AWAY ♪ ♪ ♪ ♪ ♪ >> ♪ THE SUN'LL COME OUT ♪ ♪ TOMORROW ♪ ♪ 2057 01:36:54,842 --> 01:37:00,000 BET YOUR BOTTOM DOLLAR THAT TOMORROW ♪ ♪ THERE'LL BE SUN ♪ ♪ 2058 01:37:00,000 --> 01:37:02,449 BET YOUR BOTTOM DOLLAR THAT TOMORROW ♪ ♪ THERE'LL BE SUN ♪ ♪ 2059 01:37:02,516 --> 01:37:06,000 JUST THINKIN' ABOUT ♪ ♪ TOMORROW ♪ ♪ CLEARS AWAY THE COBWEBS AND 2060 01:37:06,000 --> 01:37:09,089 JUST THINKIN' ABOUT ♪ ♪ TOMORROW ♪ ♪ CLEARS AWAY THE COBWEBS AND 2061 01:37:09,156 --> 01:37:12,000 THE SORROW ♪ ♪ 'TIL THERE'S NONE ♪ >> ♪ WHEN I'M STUCK WITH A DAY 2062 01:37:12,000 --> 01:37:18,000 THE SORROW ♪ ♪ 'TIL THERE'S NONE ♪ >> ♪ WHEN I'M STUCK WITH A DAY 2063 01:37:18,000 --> 01:37:19,166 THE SORROW ♪ ♪ 'TIL THERE'S NONE ♪ >> ♪ WHEN I'M STUCK WITH A DAY 2064 01:37:22,036 --> 01:37:24,000 ♪ ♪ THAT'S GRAY AND LONELY ♪ ♪ I JUST STICK OUT MY CHIN ♪ ♪ AND 2065 01:37:24,000 --> 01:37:28,709 ♪ ♪ THAT'S GRAY AND LONELY ♪ ♪ I JUST STICK OUT MY CHIN ♪ ♪ AND 2066 01:37:32,980 --> 01:37:36,000 GRIN ♪ ♪ AND SAY ♪ ♪ TOMORROW, TOMORROW ♪ ♪ I LOVE YA, TOMORROW 2067 01:37:36,000 --> 01:37:42,000 GRIN ♪ ♪ AND SAY ♪ ♪ TOMORROW, TOMORROW ♪ ♪ I LOVE YA, TOMORROW 2068 01:37:42,000 --> 01:37:42,990 GRIN ♪ ♪ AND SAY ♪ ♪ TOMORROW, TOMORROW ♪ ♪ I LOVE YA, TOMORROW 2069 01:37:48,562 --> 01:37:54,000 ♪ ♪ YOU'RE ALWAYS A DAY AWAY ♪ ♪ TOMORROW, TOMORROW ♪ ♪ I LOVE 2070 01:37:54,000 --> 01:37:58,572 ♪ ♪ YOU'RE ALWAYS A DAY AWAY ♪ ♪ TOMORROW, TOMORROW ♪ ♪ I LOVE 2071 01:38:00,441 --> 01:38:06,000 YA, TOMORROW ♪ ♪ YOU'RE ALWAYS A DAY ♪ ♪ AWAY ♪ ♪ ♪ [APPLAUSE] ♪ 2072 01:38:06,000 --> 01:38:10,451 YA, TOMORROW ♪ ♪ YOU'RE ALWAYS A DAY ♪ ♪ AWAY ♪ ♪ ♪ [APPLAUSE] ♪ 2073 01:38:59,900 --> 01:39:00,000 ♪ ♪ [APPLAUSE] >> Cynthia: WE'RE BACK WITH AN ACTRESS CURRENTLY 2074 01:39:00,000 --> 01:39:01,835 ♪ ♪ [APPLAUSE] >> Cynthia: WE'RE BACK WITH AN ACTRESS CURRENTLY 2075 01:39:01,902 --> 01:39:03,437 ON BROADWAY IN "CALL ME IZZY," ALONG WITH LAST YEAR'S LEADING 2076 01:39:03,504 --> 01:39:06,000 ACTRESS IN A PLAY, JEAN SMART AND SARAH PAULSON. 2077 01:39:06,000 --> 01:39:06,073 ACTRESS IN A PLAY, JEAN SMART AND SARAH PAULSON. 2078 01:39:21,955 --> 01:39:23,891 [APPLAUSE] ♪ ♪ ♪ ♪ >> Sarah: IT'S FINE, IT'S A MAN-EATING 2079 01:39:23,957 --> 01:39:24,000 DRESS. 2080 01:39:24,000 --> 01:39:24,391 DRESS. 2081 01:39:24,725 --> 01:39:25,826 >> Jean: YOU STOLE MY JOKE. 2082 01:39:25,893 --> 01:39:28,228 >> Sarah: I DID STEAL YOUR JOKE. 2083 01:39:28,295 --> 01:39:30,000 SIX DEDICATED ARTISTS ARE NOMINATED FOR THIS NEXT AWARD. 2084 01:39:30,000 --> 01:39:30,764 SIX DEDICATED ARTISTS ARE NOMINATED FOR THIS NEXT AWARD. 2085 01:39:34,868 --> 01:39:36,000 WHETHER THEY PLAYED A TV NEWS ICON, A PROMINENT POLITICAL 2086 01:39:36,000 --> 01:39:40,007 WHETHER THEY PLAYED A TV NEWS ICON, A PROMINENT POLITICAL 2087 01:39:40,074 --> 01:39:42,000 FATHER, OR HIS FIERCELY INDEPENDENT SON, A TONY-WINNING 2088 01:39:42,000 --> 01:39:42,076 FATHER, OR HIS FIERCELY INDEPENDENT SON, A TONY-WINNING 2089 01:39:42,142 --> 01:39:45,913 PLAYWRIGHT, AN OUTCAST WITH TELEPATHIC POWERS, OR MARY TODD 2090 01:39:45,979 --> 01:39:48,000 LINCOLN -- [APPLAUSE] THESE ARTISTS INHABITED THEIR ROLES 2091 01:39:48,000 --> 01:39:48,716 LINCOLN -- [APPLAUSE] THESE ARTISTS INHABITED THEIR ROLES 2092 01:39:53,987 --> 01:39:54,000 WITH THE UTMOST COMMITMENT. 2093 01:39:54,000 --> 01:39:55,689 WITH THE UTMOST COMMITMENT. 2094 01:39:55,756 --> 01:39:58,992 >> Jean: BY COMPLETELY IMMERSING THEMSELVES IN THEIR CHARACTERS, 2095 01:39:59,059 --> 01:40:00,000 THESE GIFTED PERFORMERS CAPTIVATED AUDIENCES AND EARNED 2096 01:40:00,000 --> 01:40:00,961 THESE GIFTED PERFORMERS CAPTIVATED AUDIENCES AND EARNED 2097 01:40:01,028 --> 01:40:03,130 THE ADMIRATION OF THEIR PEERS. 2098 01:40:03,197 --> 01:40:06,000 THEIR CHALLENGING WORK HELPED MAKE THIS AN ELECTRIFYING SEASON 2099 01:40:06,000 --> 01:40:06,266 THEIR CHALLENGING WORK HELPED MAKE THIS AN ELECTRIFYING SEASON 2100 01:40:06,333 --> 01:40:08,469 ON BROADWAY. 2101 01:40:08,535 --> 01:40:11,472 HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY AN ACTOR IN A 2102 01:40:11,538 --> 01:40:12,000 LEADING ROLE IN A PLAY. 2103 01:40:12,000 --> 01:40:13,874 LEADING ROLE IN A PLAY. 2104 01:40:13,941 --> 01:40:18,000 >> Announcer: GEORGE CLOONEY, "GOOD NIGHT, AND GOOD LUCK." 2105 01:40:18,000 --> 01:40:18,479 >> Announcer: GEORGE CLOONEY, "GOOD NIGHT, AND GOOD LUCK." 2106 01:40:18,545 --> 01:40:22,082 COLE ESCOLA, "OH, MARY!" 2107 01:40:22,149 --> 01:40:24,000 JON MICHAEL HILL, "PURPOSE." 2108 01:40:24,000 --> 01:40:26,186 JON MICHAEL HILL, "PURPOSE." 2109 01:40:26,253 --> 01:40:30,000 DANIEL DAE KIM, "YELLOW FACE." 2110 01:40:30,000 --> 01:40:30,023 DANIEL DAE KIM, "YELLOW FACE." 2111 01:40:30,090 --> 01:40:35,796 HARRY LENNIX, "PURPOSE." 2112 01:40:35,863 --> 01:40:36,000 LOUIS McCARTNEY, "STRANGER THINGS: THE FIRST SHADOW." 2113 01:40:36,000 --> 01:40:41,135 LOUIS McCARTNEY, "STRANGER THINGS: THE FIRST SHADOW." 2114 01:40:41,201 --> 01:40:42,000 ♪ ♪ >> Sarah: AND THE AMERICAN THEATRE WING'S TONY AWARD GOES 2115 01:40:42,000 --> 01:40:45,506 ♪ ♪ >> Sarah: AND THE AMERICAN THEATRE WING'S TONY AWARD GOES 2116 01:40:45,572 --> 01:40:48,000 TO... 2117 01:40:48,000 --> 01:40:48,008 TO... 2118 01:40:48,075 --> 01:40:52,746 COLE ESCOLA, "OH, MARY!" 2119 01:40:52,813 --> 01:40:54,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: COLE ESCOLA EARNS THE 2120 01:40:54,000 --> 01:41:00,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: COLE ESCOLA EARNS THE 2121 01:41:00,000 --> 01:41:02,856 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: COLE ESCOLA EARNS THE 2122 01:41:03,257 --> 01:41:06,000 TONY AWARD FOR THEIR REIMAGINING OF MARY TODD LINCOLN AS A 2123 01:41:06,000 --> 01:41:08,328 TONY AWARD FOR THEIR REIMAGINING OF MARY TODD LINCOLN AS A 2124 01:41:08,395 --> 01:41:12,000 WANNABE CABARET STAR. 2125 01:41:12,000 --> 01:41:16,537 WANNABE CABARET STAR. 2126 01:41:16,603 --> 01:41:18,000 [CHEERS AND APPLAUSE] >> THANK YOU. 2127 01:41:18,000 --> 01:41:21,642 [CHEERS AND APPLAUSE] >> THANK YOU. 2128 01:41:21,708 --> 01:41:22,075 THANK YOU. 2129 01:41:22,142 --> 01:41:24,000 OH, MY GOD. 2130 01:41:24,000 --> 01:41:25,979 OH, MY GOD. 2131 01:41:26,046 --> 01:41:27,815 WOW. 2132 01:41:27,881 --> 01:41:30,000 JULIE HARRIS HAS A TONY FOR PLAYING MARY TODD LINCOLN. 2133 01:41:30,000 --> 01:41:33,854 JULIE HARRIS HAS A TONY FOR PLAYING MARY TODD LINCOLN. 2134 01:41:33,921 --> 01:41:34,421 SORRY. 2135 01:41:34,888 --> 01:41:36,000 I WANT TO THANK THE OTHER NOMINEES. 2136 01:41:36,000 --> 01:41:39,660 I WANT TO THANK THE OTHER NOMINEES. 2137 01:41:39,726 --> 01:41:42,000 GEORGE AND JOHN AND HARRY AND DANIEL AND LOUIS. 2138 01:41:42,000 --> 01:41:42,396 GEORGE AND JOHN AND HARRY AND DANIEL AND LOUIS. 2139 01:41:42,463 --> 01:41:44,431 IT'S AN HONOR TO BE IN YOUR COMPANY. 2140 01:41:44,498 --> 01:41:47,634 MORE THAN THAT, IT'S BEEN A SINCERE PLEASURE SPENDING TIME 2141 01:41:47,701 --> 01:41:48,000 WITH YOU OVER THESE WARM SALADS AT ALL THESE LUNCHEONS. 2142 01:41:48,000 --> 01:41:53,974 WITH YOU OVER THESE WARM SALADS AT ALL THESE LUNCHEONS. 2143 01:41:54,041 --> 01:41:58,779 [LAUGHTER] I HAVE TO THANK -- OH, FIRST OF ALL, HI, MOM. 2144 01:41:58,846 --> 01:42:00,000 I LOVE YOU. 2145 01:42:00,000 --> 01:42:00,047 I LOVE YOU. 2146 01:42:00,113 --> 01:42:03,016 I'LL CALL YOU WHEN I CAN. 2147 01:42:03,083 --> 01:42:03,784 23 SECONDS. 2148 01:42:04,451 --> 01:42:06,000 SAM PINKLETON AND THE PRODUCERS, LUCAS McMAHON, CARLY, MICHAEL, 2149 01:42:06,000 --> 01:42:10,057 SAM PINKLETON AND THE PRODUCERS, LUCAS McMAHON, CARLY, MICHAEL, 2150 01:42:10,123 --> 01:42:11,825 KEVIN, THE CAST. 2151 01:42:11,892 --> 01:42:12,000 CONRAD, JAMES, BIANCA, TONY, THE EXTENDED CAST, AND MOST 2152 01:42:12,000 --> 01:42:15,863 CONRAD, JAMES, BIANCA, TONY, THE EXTENDED CAST, AND MOST 2153 01:42:15,929 --> 01:42:18,000 IMPORTANTLY, THE MOST IMPORTANT PEOPLE IN MY LIFE, MY FRIENDS 2154 01:42:18,000 --> 01:42:18,065 IMPORTANTLY, THE MOST IMPORTANT PEOPLE IN MY LIFE, MY FRIENDS 2155 01:42:18,131 --> 01:42:19,833 ARE HERE TONIGHT. 2156 01:42:19,900 --> 01:42:23,637 JEFFREY, JEN, THEN COME EVERYONE WATCHING AT HOME CHRISTIAN, 2157 01:42:23,704 --> 01:42:24,000 DAKOTA, THE WHOLE GANG. 2158 01:42:24,000 --> 01:42:25,439 DAKOTA, THE WHOLE GANG. 2159 01:42:25,506 --> 01:42:26,707 JOHN, CLAUDIA. 2160 01:42:26,773 --> 01:42:30,000 AND FROM GRINDR, AND AMY SAID AS HE ALWAYS REMIND ME HOW 2161 01:42:30,000 --> 01:42:32,379 AND FROM GRINDR, AND AMY SAID AS HE ALWAYS REMIND ME HOW 2162 01:42:32,446 --> 01:42:34,781 IMPORTANT SHE IS TO ME, AND SHE IS. 2163 01:42:34,848 --> 01:42:36,000 THANK YOU VERY MUCH, GOOD NIGHT. 2164 01:42:36,000 --> 01:42:41,488 THANK YOU VERY MUCH, GOOD NIGHT. 2165 01:42:41,555 --> 01:42:42,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: AND NOW, A TONY AWARD 2166 01:42:42,000 --> 01:42:48,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: AND NOW, A TONY AWARD 2167 01:42:48,000 --> 01:42:51,598 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: AND NOW, A TONY AWARD 2168 01:42:52,299 --> 01:42:54,000 WINNER FOR HER PERFORMANCE AS ANGELICA SCHUYLER IN "HAMILTON" 2169 01:42:54,000 --> 01:43:00,000 WINNER FOR HER PERFORMANCE AS ANGELICA SCHUYLER IN "HAMILTON" 2170 01:43:00,000 --> 01:43:02,276 WINNER FOR HER PERFORMANCE AS ANGELICA SCHUYLER IN "HAMILTON" 2171 01:43:03,877 --> 01:43:06,000 -- WEK WWERK -- RENEE ELISEGOLDSBERRY. 2172 01:43:06,000 --> 01:43:12,000 -- WEK WWERK -- RENEE ELISEGOLDSBERRY. 2173 01:43:12,000 --> 01:43:13,120 -- WEK WWERK -- RENEE ELISEGOLDSBERRY. 2174 01:43:13,186 --> 01:43:15,222 >> Renee: AS A PROUD GRADUATE OF CARNEGIE MELLON UNIVERSITY, I AM 2175 01:43:15,289 --> 01:43:17,190 SO HAPPY THAT CMU AND THE TONY AWARDS COCREATED THE EXCELLENCE 2176 01:43:17,257 --> 01:43:18,000 IN THEATER EDUCATION AWARD, WHICH RECOGNIZES ARTS EDUCATORS 2177 01:43:18,000 --> 01:43:18,825 IN THEATER EDUCATION AWARD, WHICH RECOGNIZES ARTS EDUCATORS 2178 01:43:18,892 --> 01:43:19,826 NATIONWIDE. 2179 01:43:20,227 --> 01:43:22,930 EARLIER, THIS YEAR'S AWARD WAS PRESENTED TO EDWIN ROBINSON, 2180 01:43:22,996 --> 01:43:24,000 THEATER ARTS TEACHER OF BOYS AND GIRLS HIGH SCHOOL IN BROOKLYN, 2181 01:43:24,000 --> 01:43:24,731 THEATER ARTS TEACHER OF BOYS AND GIRLS HIGH SCHOOL IN BROOKLYN, 2182 01:43:24,798 --> 01:43:26,133 NEW YORK. 2183 01:43:26,199 --> 01:43:30,000 [APPLAUSE] CONGRATULATIONS, AND THANK YOU FOR INSPIRING THE NEXT 2184 01:43:30,000 --> 01:43:30,304 [APPLAUSE] CONGRATULATIONS, AND THANK YOU FOR INSPIRING THE NEXT 2185 01:43:30,370 --> 01:43:36,000 GENERATION OF TONY WINNERS. 2186 01:43:36,000 --> 01:43:38,679 GENERATION OF TONY WINNERS. 2187 01:43:38,745 --> 01:43:40,581 SUBMISSIONS ARE OPEN FOR NEXT YEAR'S AWARD, SO YOU CAN TELL US 2188 01:43:40,647 --> 01:43:42,000 ABOUT A THEATER EDUCATOR WHO MADE A DIFFERENCE IN YOUR LIFE. 2189 01:43:42,000 --> 01:43:42,816 ABOUT A THEATER EDUCATOR WHO MADE A DIFFERENCE IN YOUR LIFE. 2190 01:43:42,883 --> 01:43:46,653 AND NOW, OUR NEXT NOMINEE FOR BEST MUSICAL. 2191 01:43:46,720 --> 01:43:48,000 PLEASE WELCOME THE COMPANY OF "DEAD OUTLAW." 2192 01:43:48,000 --> 01:43:50,857 PLEASE WELCOME THE COMPANY OF "DEAD OUTLAW." 2193 01:43:50,924 --> 01:43:54,000 [APPLAUSE] >> I WANT TO TELL YOU THE TRUE STORY OF THE DEAD 2194 01:43:54,000 --> 01:43:59,199 [APPLAUSE] >> I WANT TO TELL YOU THE TRUE STORY OF THE DEAD 2195 01:44:02,569 --> 01:44:06,000 OUTLAW ELMER McCURDY. 2196 01:44:06,000 --> 01:44:06,139 OUTLAW ELMER McCURDY. 2197 01:44:06,206 --> 01:44:08,475 TO BEGIN, IT'S 1911. 2198 01:44:08,542 --> 01:44:11,244 WE'RE IN PAWHUSKA, OKLAHOMA. 2199 01:44:11,311 --> 01:44:12,000 A SMALL GROUP OF MEN SIT AROUND A CAMPFIRE, UNDER A NIGHTTIME 2200 01:44:12,000 --> 01:44:14,581 A SMALL GROUP OF MEN SIT AROUND A CAMPFIRE, UNDER A NIGHTTIME 2201 01:44:14,648 --> 01:44:18,000 SKY, AND ONE OF 'EM STARTS TO SING. 2202 01:44:18,000 --> 01:44:18,619 SKY, AND ONE OF 'EM STARTS TO SING. 2203 01:44:18,685 --> 01:44:24,000 >> ♪ WHEN THE STARS ARE BRIGHT LIKE THESE STARS ♪ ♪ SO THEY 2204 01:44:24,000 --> 01:44:24,658 >> ♪ WHEN THE STARS ARE BRIGHT LIKE THESE STARS ♪ ♪ SO THEY 2205 01:44:24,725 --> 01:44:30,000 ALMOST HURT YOUR EYES ♪ ♪ IT'S LIKE MAYBE GOD IS SINGING YOU A 2206 01:44:30,000 --> 01:44:34,768 ALMOST HURT YOUR EYES ♪ ♪ IT'S LIKE MAYBE GOD IS SINGING YOU A 2207 01:44:35,135 --> 01:44:36,000 SONG ♪ ♪ SINGING YOU A SONG ♪ ♪ WHEN THE WIND IS WARM ♪ ♪ LIKE 2208 01:44:36,000 --> 01:44:42,000 SONG ♪ ♪ SINGING YOU A SONG ♪ ♪ WHEN THE WIND IS WARM ♪ ♪ LIKE 2209 01:44:42,000 --> 01:44:45,112 SONG ♪ ♪ SINGING YOU A SONG ♪ ♪ WHEN THE WIND IS WARM ♪ ♪ LIKE 2210 01:44:48,749 --> 01:44:54,000 THIS WIND ♪ ♪ IT REMINDS YOU WHO YOU ARE ♪ ♪ THE DEW, IT APPEARS 2211 01:44:54,000 --> 01:44:58,792 THIS WIND ♪ ♪ IT REMINDS YOU WHO YOU ARE ♪ ♪ THE DEW, IT APPEARS 2212 01:44:59,059 --> 01:45:00,000 ♪ ♪ JUST LIKE GRATEFUL TEARS ♪ ♪ I'M HERE ♪ ♪ OOH, I'M HERE ♪ ♪ 2213 01:45:00,000 --> 01:45:06,000 ♪ ♪ JUST LIKE GRATEFUL TEARS ♪ ♪ I'M HERE ♪ ♪ OOH, I'M HERE ♪ ♪ 2214 01:45:06,000 --> 01:45:09,069 ♪ ♪ JUST LIKE GRATEFUL TEARS ♪ ♪ I'M HERE ♪ ♪ OOH, I'M HERE ♪ ♪ 2215 01:45:09,936 --> 01:45:12,000 I'M HERE ♪ ♪ I'M HERE ♪ [TRAIN WHISTLE] ALL RIGHT, BOYS. 2216 01:45:12,000 --> 01:45:18,000 I'M HERE ♪ ♪ I'M HERE ♪ [TRAIN WHISTLE] ALL RIGHT, BOYS. 2217 01:45:18,000 --> 01:45:19,913 I'M HERE ♪ ♪ I'M HERE ♪ [TRAIN WHISTLE] ALL RIGHT, BOYS. 2218 01:45:22,549 --> 01:45:23,917 LET'S GO ROB THAT [BLEEP] TRAIN. 2219 01:45:23,984 --> 01:45:24,000 ♪ ♪ ♪ ♪ >> ♪ YOU'RE BORN WITH NOTHIN' ♪ ♪ YOUR CHEEKS ARE 2220 01:45:24,000 --> 01:45:30,000 ♪ ♪ ♪ ♪ >> ♪ YOU'RE BORN WITH NOTHIN' ♪ ♪ YOUR CHEEKS ARE 2221 01:45:30,000 --> 01:45:32,125 ♪ ♪ ♪ ♪ >> ♪ YOU'RE BORN WITH NOTHIN' ♪ ♪ YOUR CHEEKS ARE 2222 01:45:32,192 --> 01:45:34,828 APPLE DUMPLINGS ♪ ♪ THE AIR, THE WATER ♪ ♪ THERE'S SOMETHING MORE 2223 01:45:34,895 --> 01:45:36,000 YOU'RE WANTING ♪ ♪ THE MILK, THE SUGAR ♪ ♪ OUTSIDE YOU THERE'S A 2224 01:45:36,000 --> 01:45:38,965 YOU'RE WANTING ♪ ♪ THE MILK, THE SUGAR ♪ ♪ OUTSIDE YOU THERE'S A 2225 01:45:39,032 --> 01:45:41,702 NAME, AND ♪ ♪ YOU CAME WITH NOTHIN' ♪ ♪ YOU'LL LEAVE HERE 2226 01:45:41,768 --> 01:45:42,000 JUST THE SAME, BUT -- ♪ >> ♪ BETWEEN THE DARK AND THE DARK IS 2227 01:45:42,000 --> 01:45:44,805 JUST THE SAME, BUT -- ♪ >> ♪ BETWEEN THE DARK AND THE DARK IS 2228 01:45:44,871 --> 01:45:47,240 ♪ ♪ THE VOICE YOU'RE ALWAYS HEARIN' ♪ ♪ SOME CRAZY 2229 01:45:47,307 --> 01:45:48,000 AUCTIONEER IS YELLING AT YOU AND ♪ ♪ YOU WALK ♪ ♪ YOU RUN ♪ ♪ YOU 2230 01:45:48,000 --> 01:45:51,311 AUCTIONEER IS YELLING AT YOU AND ♪ ♪ YOU WALK ♪ ♪ YOU RUN ♪ ♪ YOU 2231 01:45:51,378 --> 01:45:54,000 FLEE THE DARK AND SEE THE SUN ♪ ♪ AND EVERY BRICK YOU EVER LAID 2232 01:45:54,000 --> 01:45:54,081 FLEE THE DARK AND SEE THE SUN ♪ ♪ AND EVERY BRICK YOU EVER LAID 2233 01:45:54,147 --> 01:45:58,418 WILL CRUMBLE AWAY ♪ ♪ YOUR MAMA'S DEAD ♪ >> ♪ YOUR DADDY'S 2234 01:45:58,485 --> 01:46:00,000 DEAD ♪ >> ♪ YOUR BROTHER'S DEAD ♪ >> ♪ AND SO ARE YOU ♪ >> ♪ ABE 2235 01:46:00,000 --> 01:46:02,789 DEAD ♪ >> ♪ YOUR BROTHER'S DEAD ♪ >> ♪ AND SO ARE YOU ♪ >> ♪ ABE 2236 01:46:02,856 --> 01:46:06,000 LINCOLN'S DEAD ♪ >> ♪ FRANK JAMES IS DEAD ♪ >> ♪ YOUR MAMA'S 2237 01:46:06,000 --> 01:46:06,727 LINCOLN'S DEAD ♪ >> ♪ FRANK JAMES IS DEAD ♪ >> ♪ YOUR MAMA'S 2238 01:46:06,793 --> 01:46:11,865 DEAD ♪ >> ♪ AND SO ARE YOU ♪ ♪ AND SO ARE YOU ♪ ♪ WHOO ♪ >> NOW 2239 01:46:11,932 --> 01:46:12,000 IT'S 1976 AND WE'RE IN A DARK RIDE ON THE LONG BEACH PIER, 2240 01:46:12,000 --> 01:46:16,036 IT'S 1976 AND WE'RE IN A DARK RIDE ON THE LONG BEACH PIER, 2241 01:46:16,103 --> 01:46:18,000 WHERE A TV CREW IS SET-DRESSING AN EPISODE OF "THE SIX MILLION 2242 01:46:18,000 --> 01:46:19,439 WHERE A TV CREW IS SET-DRESSING AN EPISODE OF "THE SIX MILLION 2243 01:46:19,506 --> 01:46:20,707 DOLLAR MAN." 2244 01:46:20,774 --> 01:46:23,410 AND A TEAMSTER HOLDING A LIGHT IS DRAWN TO WHAT LOOKS LIKE THE 2245 01:46:23,477 --> 01:46:24,000 PUPPET OF A SHRIVELED MUMMY, HANGING FROM A NOOSE, AND WHEN 2246 01:46:24,000 --> 01:46:27,581 PUPPET OF A SHRIVELED MUMMY, HANGING FROM A NOOSE, AND WHEN 2247 01:46:27,647 --> 01:46:28,882 THE ARM BROKE OFF IN HIS HAND... 2248 01:46:28,949 --> 01:46:30,000 HE SAW A WHITE SHINE OF BONE. 2249 01:46:30,000 --> 01:46:30,283 HE SAW A WHITE SHINE OF BONE. 2250 01:46:30,350 --> 01:46:31,718 >> THIS IS A MAN. 2251 01:46:31,785 --> 01:46:32,953 THIS IS A MAN! 2252 01:46:33,019 --> 01:46:35,021 SOMEBODY HELP ME CUT HIM DOWN! 2253 01:46:35,088 --> 01:46:36,000 ♪ ♪ >> ♪ YOUR ADOLESCENCE ♪ ♪ WAS JUST UNOPENED PRESENTS ♪ ♪ 2254 01:46:36,000 --> 01:46:39,559 ♪ ♪ >> ♪ YOUR ADOLESCENCE ♪ ♪ WAS JUST UNOPENED PRESENTS ♪ ♪ 2255 01:46:39,626 --> 01:46:42,000 YOU DRANK THE LIQUOR ♪ ♪ IT MADE IT ALL GO QUICKER ♪ ♪ THOSE DEAD 2256 01:46:42,000 --> 01:46:43,363 YOU DRANK THE LIQUOR ♪ ♪ IT MADE IT ALL GO QUICKER ♪ ♪ THOSE DEAD 2257 01:46:43,430 --> 01:46:47,734 ANCESTORS ♪ ♪ YOU HAD TO MAKE AN EXIT ♪ ♪ YOU FOUND THE BOTTLE ♪ 2258 01:46:47,801 --> 01:46:48,000 ♪ THEN YOU CRUMBLED AWAY ♪ ♪ YOUR MAMA'S DEAD ♪ ♪ JOHN 2259 01:46:48,000 --> 01:46:51,004 ♪ THEN YOU CRUMBLED AWAY ♪ ♪ YOUR MAMA'S DEAD ♪ ♪ JOHN 2260 01:46:51,071 --> 01:46:54,000 GOTTI'S DEAD ♪ ♪ DILLINGER'S DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ 2261 01:46:54,000 --> 01:46:55,709 GOTTI'S DEAD ♪ ♪ DILLINGER'S DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ 2262 01:46:55,776 --> 01:47:00,000 BALZAC IS DEAD ♪ ♪ TUPAC IS DEAD ♪ ♪ ANNE FRANK IS DEAD ♪ ♪ AND 2263 01:47:00,000 --> 01:47:01,148 BALZAC IS DEAD ♪ ♪ TUPAC IS DEAD ♪ ♪ ANNE FRANK IS DEAD ♪ ♪ AND 2264 01:47:01,214 --> 01:47:05,986 SO ARE YOU ♪ ♪ I'VE BEEN A PILGRIM ON THE ROAD FROM COAST 2265 01:47:06,052 --> 01:47:10,524 TO COAST ♪ ♪ I'VE LOOKED AROUND AND ALL I SEEN WAS HUNGRY GHOSTS 2266 01:47:10,590 --> 01:47:12,000 ♪ ♪ GETTING AND SPENDING ON THE GRAVEL ROAD THROUGH HELL ♪ ♪ I 2267 01:47:12,000 --> 01:47:14,528 ♪ ♪ GETTING AND SPENDING ON THE GRAVEL ROAD THROUGH HELL ♪ ♪ I 2268 01:47:14,594 --> 01:47:18,000 KNOW THE DRILL, 'CAUSE I'M ONE OF THEM, AS WELL ♪ ♪ ♪ >> SHOCK 2269 01:47:18,000 --> 01:47:20,333 KNOW THE DRILL, 'CAUSE I'M ONE OF THEM, AS WELL ♪ ♪ ♪ >> SHOCK 2270 01:47:20,400 --> 01:47:23,937 AND HORROR IN LONG BEACH TODAY AS MUMMIFIED HUMAN REMAINS WERE 2271 01:47:24,004 --> 01:47:26,773 REMOVED FROM AN AMUSEMENT PARK RIDE ON THE -- >> LOCAL TEAMSTER 2272 01:47:26,840 --> 01:47:30,000 FOUND THAT WHAT HE'D BEEN TOLD WAS A PUPPET WAS IN FACT THE 2273 01:47:30,000 --> 01:47:30,377 FOUND THAT WHAT HE'D BEEN TOLD WAS A PUPPET WAS IN FACT THE 2274 01:47:30,443 --> 01:47:33,480 BODY -- >> COUNTY CORONER'S OFFICE, WHO WILL TRY TO 2275 01:47:33,547 --> 01:47:36,000 DETERMINE WHO THIS MAN WAS, HOW HE DIED, AND HOW NO ONE WAS 2276 01:47:36,000 --> 01:47:36,283 DETERMINE WHO THIS MAN WAS, HOW HE DIED, AND HOW NO ONE WAS 2277 01:47:36,349 --> 01:47:39,019 AWARE OF HIM, EVEN THOUGH HE'D BEEN, ACCORDING TO EMPLOYEES, 2278 01:47:39,085 --> 01:47:41,188 "HANGING THERE FOR YEARS." 2279 01:47:41,254 --> 01:47:42,000 ♪ ♪ >> ♪ YOUR MAMA'S DEAD ♪ ♪ YOUR DADDY'S DEAD ♪ ♪ THEY'RE 2280 01:47:42,000 --> 01:47:45,559 ♪ ♪ >> ♪ YOUR MAMA'S DEAD ♪ ♪ YOUR DADDY'S DEAD ♪ ♪ THEY'RE 2281 01:47:45,625 --> 01:47:48,000 ALL JUST DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ LOOK AT THEM DEAD ♪ ♪ LOOK 2282 01:47:48,000 --> 01:47:50,797 ALL JUST DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ LOOK AT THEM DEAD ♪ ♪ LOOK 2283 01:47:50,864 --> 01:47:54,000 AT ME DEAD ♪ ♪ LOOK AT YOU DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ ♪ ♪ ♪ 2284 01:47:54,000 --> 01:48:00,000 AT ME DEAD ♪ ♪ LOOK AT YOU DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ ♪ ♪ ♪ 2285 01:48:00,000 --> 01:48:00,874 AT ME DEAD ♪ ♪ LOOK AT YOU DEAD ♪ ♪ AND SO ARE YOU ♪ ♪ ♪ ♪ ♪ 2286 01:48:03,944 --> 01:48:06,000 [CHEERS AND APPLAUSE] 2287 01:48:06,000 --> 01:48:12,000 [CHEERS AND APPLAUSE] 2288 01:48:12,000 --> 01:48:13,954 [CHEERS AND APPLAUSE] 2289 01:48:16,890 --> 01:48:18,000 ♪ ♪ >> Announcer: NEXT, AUDRA McDONALD WITH A PERFORMANCE FROM 2290 01:48:18,000 --> 01:48:23,463 ♪ ♪ >> Announcer: NEXT, AUDRA McDONALD WITH A PERFORMANCE FROM 2291 01:48:23,530 --> 01:48:24,000 "GYPSY," AND THE AWARD FOR BEST REVIVAL OF A MUSICAL. 2292 01:48:24,000 --> 01:48:29,302 "GYPSY," AND THE AWARD FOR BEST REVIVAL OF A MUSICAL. 2293 01:48:29,369 --> 01:48:30,000 PLUS, THE COMPANY OF "OPERATION MINCEMEAT." 2294 01:48:30,000 --> 01:48:31,338 PLUS, THE COMPANY OF "OPERATION MINCEMEAT." 2295 01:48:31,404 --> 01:48:32,839 THE TONY AWARDS. 2296 01:48:32,906 --> 01:48:36,000 THIS IS CBS. 2297 01:48:36,000 --> 01:48:39,779 THIS IS CBS. 2298 01:48:39,846 --> 01:48:41,481 >> I KNOW, "DON'T TEXT IN THE THEATER." 2299 01:48:41,548 --> 01:48:42,000 THIS TIME, IT'S ENCOURAGED. 2300 01:48:42,000 --> 01:48:42,716 THIS TIME, IT'S ENCOURAGED. 2301 01:48:42,782 --> 01:48:44,784 AMEX IS GIVING YOU AN OPPORTUNITY TO BE PART OF 2302 01:48:44,851 --> 01:48:46,620 BROADWAY'S BIGGEST NIGHT HERE AT THE TONYS. 2303 01:48:46,686 --> 01:48:48,000 THERE'S STILL TIME, UNTIL 11:59 EASTERN TONIGHT. 2304 01:48:48,000 --> 01:48:48,488 THERE'S STILL TIME, UNTIL 11:59 EASTERN TONIGHT. 2305 01:48:48,555 --> 01:48:49,923 JUST TELL US WHICH CHARACTER FROM THIS YEAR'S TONY-NOMINATED 2306 01:48:49,990 --> 01:48:51,658 SHOWS YOU'D TRADE PLACES WITH, AND WHY. 2307 01:48:51,725 --> 01:48:52,425 NATALIE S. 2308 01:48:53,026 --> 01:48:53,860 WANTS TO TRADE PLACES WITH SMASH'S IVY LYNN AND EMPLOY SOME 2309 01:48:53,927 --> 01:48:54,000 METHOD ACTING AT HER OFFICE. 2310 01:48:54,000 --> 01:48:55,362 METHOD ACTING AT HER OFFICE. 2311 01:48:55,428 --> 01:48:56,596 AND LUCY T. 2312 01:48:56,663 --> 01:48:59,766 WOULD LOVE TO SCOPE OUT WHAT'S INSIDE MAMA ROSE'S PURSE. 2313 01:48:59,833 --> 01:49:00,000 TO GET STARTED, TEXT THE WORD "FANFARE" TO THE NUMBER ON YOUR 2314 01:49:00,000 --> 01:49:01,468 TO GET STARTED, TEXT THE WORD "FANFARE" TO THE NUMBER ON YOUR 2315 01:49:01,534 --> 01:49:03,770 SCREEN FOR AN OPPORTUNITY TO WIN A GRAND PRIZE PACKAGE, INCLUDING 2316 01:49:03,837 --> 01:49:05,705 TICKETS TO NEXT YEAR'S TONY AWARDS, COURTESY OF AMEX, 2317 01:49:05,772 --> 01:49:06,000 BRINGING FANS CLOSER TO THE THEATER THEY LOVE. 2318 01:49:06,000 --> 01:49:08,508 BRINGING FANS CLOSER TO THE THEATER THEY LOVE. 2319 01:49:09,943 --> 01:49:12,000 I'LL BE BACK AFTER THIS TO PRESENT BEST REVIVAL OF A 2320 01:49:12,000 --> 01:49:13,546 I'LL BE BACK AFTER THIS TO PRESENT BEST REVIVAL OF A 2321 01:49:13,613 --> 01:49:15,615 MUSICAL WITH LEA MICHELE, ON THE TONY AWARDS. 2322 01:49:18,985 --> 01:49:22,022 >> Announcer: SPONSORED BY AMERICAN EXPRESS, THE OFFICIAL 2323 01:49:22,088 --> 01:49:24,000 PAYMENTS PARTNER OF THE TONY AWARDS. 2324 01:49:24,000 --> 01:49:24,090 PAYMENTS PARTNER OF THE TONY AWARDS. 2325 01:49:40,407 --> 01:49:42,000 ♪ ♪ [APPLAUSE] ♪ ♪ >> IT'S THE MOST BROADLY OF ALL BROADWAY 2326 01:49:42,000 --> 01:49:42,342 ♪ ♪ [APPLAUSE] ♪ ♪ >> IT'S THE MOST BROADLY OF ALL BROADWAY 2327 01:49:42,409 --> 01:49:47,113 "GYPSY" IS THE STORY OF ROSE, THE ULTIMATE STAGE MATTER 2328 01:49:47,180 --> 01:49:48,000 DETERMINED HER DAUGHTER GETS A . 2329 01:49:48,000 --> 01:49:49,749 DETERMINED HER DAUGHTER GETS A . 2330 01:49:49,816 --> 01:49:52,419 AND SHE'LL DO IT IN A MATTER THE COST TO HERSELF AND EVERYONE 2331 01:49:52,485 --> 01:49:54,000 AROUND HER. 2332 01:49:54,000 --> 01:49:54,487 AROUND HER. 2333 01:49:54,554 --> 01:49:57,557 >> SHE'S GOING TO BE A STAR! 2334 01:49:57,624 --> 01:49:59,926 >> IF IT KILLS YOU AND HER! 2335 01:49:59,993 --> 01:50:00,000 >> HER UNSTOPPABLE SPIRIT MAKES "GYPSY" THE ICONIC FABLE OF BOTH 2336 01:50:00,000 --> 01:50:04,297 >> HER UNSTOPPABLE SPIRIT MAKES "GYPSY" THE ICONIC FABLE OF BOTH 2337 01:50:04,364 --> 01:50:05,765 BROADWAY AND AMERICA ITSELF. 2338 01:50:05,832 --> 01:50:06,000 READY OR NOT, HERE COMES MAMA! 2339 01:50:06,000 --> 01:50:12,000 READY OR NOT, HERE COMES MAMA! 2340 01:50:12,000 --> 01:50:13,006 READY OR NOT, HERE COMES MAMA! 2341 01:50:13,073 --> 01:50:18,000 [APPLAUSE] ♪ ♪ >> WHAT I BEEN HOLDING DOWN IN ME, IF I EVER 2342 01:50:18,000 --> 01:50:23,083 [APPLAUSE] ♪ ♪ >> WHAT I BEEN HOLDING DOWN IN ME, IF I EVER 2343 01:50:32,692 --> 01:50:36,000 LET IT OUT -- THERE WOULDN'T BE SIGNS BIG ENOUGH. 2344 01:50:36,000 --> 01:50:36,229 LET IT OUT -- THERE WOULDN'T BE SIGNS BIG ENOUGH. 2345 01:50:36,296 --> 01:50:39,799 THERE WOULDN'T BE LIGHTS BRIGHT ENOUGH. 2346 01:50:39,866 --> 01:50:42,000 HERE SHE IS, BOYS! 2347 01:50:42,000 --> 01:50:42,702 HERE SHE IS, BOYS! 2348 01:50:42,769 --> 01:50:45,205 HERE SHE IS, WORLD! 2349 01:50:45,271 --> 01:50:46,539 HERE'S ROSE! 2350 01:50:46,606 --> 01:50:48,000 ♪ ♪ ♪ CURTAIN UP ♪ ♪ LIGHT THE LIGHTS ♪ PLAY IT, BOYS. 2351 01:50:48,000 --> 01:50:54,000 ♪ ♪ ♪ CURTAIN UP ♪ ♪ LIGHT THE LIGHTS ♪ PLAY IT, BOYS. 2352 01:50:54,000 --> 01:50:56,616 ♪ ♪ ♪ CURTAIN UP ♪ ♪ LIGHT THE LIGHTS ♪ PLAY IT, BOYS. 2353 01:50:59,919 --> 01:51:00,000 ♪ YOU EITHER GOT IT ♪ ♪ OR YOU AIN'T ♪ ♪ AND, BOYS, I GOT IT ♪ 2354 01:51:00,000 --> 01:51:06,000 ♪ YOU EITHER GOT IT ♪ ♪ OR YOU AIN'T ♪ ♪ AND, BOYS, I GOT IT ♪ 2355 01:51:06,000 --> 01:51:07,927 ♪ YOU EITHER GOT IT ♪ ♪ OR YOU AIN'T ♪ ♪ AND, BOYS, I GOT IT ♪ 2356 01:51:07,994 --> 01:51:11,998 ♪ SOME PEOPLE GOT IT AND MAKE IT PAY ♪ ♪ SOME PEOPLE CAN'T EVEN 2357 01:51:12,065 --> 01:51:17,504 GIVE IT AWAY ♪ ♪ THIS PEOPLE'S GOT IT ♪ ♪ AND THIS PEOPLE'S 2358 01:51:17,570 --> 01:51:18,000 SPREADIN' IT AROUND ♪ ♪ YOU EITHER HAVE IT ♪ ♪ OR YOU'VE HAD 2359 01:51:18,000 --> 01:51:24,000 SPREADIN' IT AROUND ♪ ♪ YOU EITHER HAVE IT ♪ ♪ OR YOU'VE HAD 2360 01:51:24,000 --> 01:51:26,880 SPREADIN' IT AROUND ♪ ♪ YOU EITHER HAVE IT ♪ ♪ OR YOU'VE HAD 2361 01:51:26,946 --> 01:51:30,000 IT ♪ HELLO, EVERYBODY! 2362 01:51:30,000 --> 01:51:30,517 IT ♪ HELLO, EVERYBODY! 2363 01:51:30,583 --> 01:51:31,484 MY NAME IS ROSE. 2364 01:51:31,551 --> 01:51:32,786 WHAT'S YOURS? 2365 01:51:32,986 --> 01:51:35,922 ♪ HOLD YOUR HATS AND HALLELUJAH ♪ ♪ MAMA'S GONNA SHOW IT TO YA ♪ 2366 01:51:49,369 --> 01:51:54,000 ♪ ♪ ♪ ♪ READY OR NOT, HERE COMES MAMA! 2367 01:51:54,000 --> 01:51:55,308 ♪ ♪ ♪ ♪ READY OR NOT, HERE COMES MAMA! 2368 01:51:55,375 --> 01:51:59,579 ♪ MAMA'S TALKIN' LOUD ♪ ♪ MAMA'S DOIN' FINE ♪ ♪ MAMA'S GETTIN' 2369 01:51:59,646 --> 01:52:00,000 HOT ♪ ♪ MAMA'S GOIN' STRONG ♪ ♪ MAMA'S MOVIN' ON ♪ ♪ MAMA'S ALL 2370 01:52:00,000 --> 01:52:04,317 HOT ♪ ♪ MAMA'S GOIN' STRONG ♪ ♪ MAMA'S MOVIN' ON ♪ ♪ MAMA'S ALL 2371 01:52:04,384 --> 01:52:06,000 ALONE ♪ ♪ MAMA DOESN'T CARE ♪ ♪ MAMA'S LETTIN' LOOSE ♪ ♪ MAMA'S 2372 01:52:06,000 --> 01:52:06,319 ALONE ♪ ♪ MAMA DOESN'T CARE ♪ ♪ MAMA'S LETTIN' LOOSE ♪ ♪ MAMA'S 2373 01:52:06,386 --> 01:52:10,323 GOT THE STUFF ♪ ♪ MAMA'S LETTIN' GO ♪ ♪ MAMA'S GOTTA MOVE ♪ ♪ 2374 01:52:10,390 --> 01:52:12,000 MAMA -- ♪ ♪ MAMA'S GOTTA LET GO ♪ ♪ ♪ ♪ WHY DID I DO IT ♪ ♪ WHAT 2375 01:52:12,000 --> 01:52:18,000 MAMA -- ♪ ♪ MAMA'S GOTTA LET GO ♪ ♪ ♪ ♪ WHY DID I DO IT ♪ ♪ WHAT 2376 01:52:18,000 --> 01:52:20,400 MAMA -- ♪ ♪ MAMA'S GOTTA LET GO ♪ ♪ ♪ ♪ WHY DID I DO IT ♪ ♪ WHAT 2377 01:52:40,353 --> 01:52:42,000 DID IT GET ME ♪ ♪ SCRAP BOOKS FULL OF ME IN THE BACKGROUND ♪ ♪ 2378 01:52:42,000 --> 01:52:46,326 DID IT GET ME ♪ ♪ SCRAP BOOKS FULL OF ME IN THE BACKGROUND ♪ ♪ 2379 01:52:46,392 --> 01:52:48,000 GIVE 'EM LOVE AND WHAT DOES IT GET YOU ♪ ♪ WHAT DOES IT GET YOU 2380 01:52:48,000 --> 01:52:50,897 GIVE 'EM LOVE AND WHAT DOES IT GET YOU ♪ ♪ WHAT DOES IT GET YOU 2381 01:52:50,964 --> 01:52:54,000 ♪ ♪ ONE QUICK LOOK AS EACH OF 'EM LEAVES YOU ♪ ♪ ALL YOUR LIFE 2382 01:52:54,000 --> 01:52:55,268 ♪ ♪ ONE QUICK LOOK AS EACH OF 'EM LEAVES YOU ♪ ♪ ALL YOUR LIFE 2383 01:52:55,335 --> 01:52:57,837 AND WHAT DOES IT GET YOU ♪ ♪ THANKS A LOT AND OUT WITH THE 2384 01:52:57,904 --> 01:53:00,000 GARBAGE ♪ ♪ THEY TAKE BOWS AND YOU'RE BATTIN' ZERO ♪ ♪ I HAD A 2385 01:53:00,000 --> 01:53:06,000 GARBAGE ♪ ♪ THEY TAKE BOWS AND YOU'RE BATTIN' ZERO ♪ ♪ I HAD A 2386 01:53:06,000 --> 01:53:07,914 GARBAGE ♪ ♪ THEY TAKE BOWS AND YOU'RE BATTIN' ZERO ♪ ♪ I HAD A 2387 01:53:09,682 --> 01:53:12,000 DREAM ♪ ♪ I DREAMED IT FOR YOU ♪ ♪ JUNE ♪ ♪ IT WASN'T FOR ME ♪ ♪ 2388 01:53:12,000 --> 01:53:18,000 DREAM ♪ ♪ I DREAMED IT FOR YOU ♪ ♪ JUNE ♪ ♪ IT WASN'T FOR ME ♪ ♪ 2389 01:53:18,000 --> 01:53:18,158 DREAM ♪ ♪ I DREAMED IT FOR YOU ♪ ♪ JUNE ♪ ♪ IT WASN'T FOR ME ♪ ♪ 2390 01:53:18,224 --> 01:53:24,000 HERBIE ♪ ♪ AND IF IT WASN'T FOR ME ♪ ♪ THEN WHERE WOULD YOU BE, 2391 01:53:24,000 --> 01:53:24,330 HERBIE ♪ ♪ AND IF IT WASN'T FOR ME ♪ ♪ THEN WHERE WOULD YOU BE, 2392 01:53:24,397 --> 01:53:30,000 MISS GYPSY ROSE LEE?! 2393 01:53:30,000 --> 01:53:32,705 MISS GYPSY ROSE LEE?! 2394 01:53:32,772 --> 01:53:36,000 ♪ ♪ WELL, SOMEONE TELL ME ♪ ♪ WHEN IS IT MY TURN ♪ ♪ DON'T I 2395 01:53:36,000 --> 01:53:40,146 ♪ ♪ WELL, SOMEONE TELL ME ♪ ♪ WHEN IS IT MY TURN ♪ ♪ DON'T I 2396 01:53:40,213 --> 01:53:42,000 GET A DREAM FOR MYSELF ♪ ♪ STARTIN' NOW IT'S GONNA BE MY 2397 01:53:42,000 --> 01:53:42,715 GET A DREAM FOR MYSELF ♪ ♪ STARTIN' NOW IT'S GONNA BE MY 2398 01:53:42,782 --> 01:53:47,887 TURN ♪ ♪ GANGWAY, WORLD, GET OFF O' MY RUNWAY ♪ ♪ STARTIN' NOW, I 2399 01:53:47,954 --> 01:53:48,000 ♪ ♪ BAT A THOUSAND ♪ ♪ THIS TIME, BOYS ♪ ♪ I'M TAKIN' THE 2400 01:53:48,000 --> 01:53:52,926 ♪ ♪ BAT A THOUSAND ♪ ♪ THIS TIME, BOYS ♪ ♪ I'M TAKIN' THE 2401 01:53:52,992 --> 01:53:54,000 BOWS AND ♪ ♪ EV'RYTHING'S COMING UP ROSE ♪ ♪ EV'RYTHING'S COMING 2402 01:53:54,000 --> 01:54:00,000 BOWS AND ♪ ♪ EV'RYTHING'S COMING UP ROSE ♪ ♪ EV'RYTHING'S COMING 2403 01:54:00,000 --> 01:54:00,366 BOWS AND ♪ ♪ EV'RYTHING'S COMING UP ROSE ♪ ♪ EV'RYTHING'S COMING 2404 01:54:00,433 --> 01:54:06,000 UP ROSES ♪ ♪ THIS TIME FOR ME ♪ ♪ FOR ME ♪ ♪ FOR ♪ ♪ ME ♪ ♪ ♪ 2405 01:54:06,000 --> 01:54:10,443 UP ROSES ♪ ♪ THIS TIME FOR ME ♪ ♪ FOR ME ♪ ♪ FOR ♪ ♪ ME ♪ ♪ ♪ 2406 01:54:26,192 --> 01:54:30,000 [CHEERS AND APPLAUSE] 2407 01:54:30,000 --> 01:54:36,000 [CHEERS AND APPLAUSE] 2408 01:54:36,000 --> 01:54:36,202 [CHEERS AND APPLAUSE] 2409 01:54:49,482 --> 01:54:52,085 >> Announcer: AND NOW PLEASE WELCOME TWO STARS WHO ARE COMING 2410 01:54:52,151 --> 01:54:54,000 BACK TO BROADWAY THIS FALL IN THE FIRST-EVER REVIVAL OF 2411 01:54:54,000 --> 01:54:56,189 BACK TO BROADWAY THIS FALL IN THE FIRST-EVER REVIVAL OF 2412 01:54:56,256 --> 01:55:00,000 "CHESS," LEA MICHELE AND TONY AWARD WINNER AARON TVEIT. 2413 01:55:00,000 --> 01:55:00,693 "CHESS," LEA MICHELE AND TONY AWARD WINNER AARON TVEIT. 2414 01:55:00,760 --> 01:55:06,000 [APPLAUSE] ♪ ♪ >> Aaron: WOW. 2415 01:55:06,000 --> 01:55:09,769 [APPLAUSE] ♪ ♪ >> Aaron: WOW. 2416 01:55:09,836 --> 01:55:12,000 THROUGH REVIVALS, WE'VE HAD BOTH THE PLEASURE OF SHARING 2417 01:55:12,000 --> 01:55:12,572 THROUGH REVIVALS, WE'VE HAD BOTH THE PLEASURE OF SHARING 2418 01:55:12,639 --> 01:55:14,007 BROADWAY'S MUSICAL PAST WITH NEW AUDIENCES. 2419 01:55:14,073 --> 01:55:16,342 THIS SEASON MORE THAN 14 MILLION THEATERGOERS CAME TO NEW YORK TO 2420 01:55:16,409 --> 01:55:17,844 SEE A SHOW. 2421 01:55:17,910 --> 01:55:18,000 >> Lea: AND ACROSS THE COUNTRY NEARLY 15 MILLION FANS ATTENDED 2422 01:55:18,000 --> 01:55:21,681 >> Lea: AND ACROSS THE COUNTRY NEARLY 15 MILLION FANS ATTENDED 2423 01:55:21,748 --> 01:55:23,883 BROADWAY LEAGUE PRODUCTIONS ON TOUR. 2424 01:55:23,950 --> 01:55:24,000 WE'VE SHARED PERFORMANCES FROM THE THRILLING REVIVALS THAT 2425 01:55:24,000 --> 01:55:26,252 WE'VE SHARED PERFORMANCES FROM THE THRILLING REVIVALS THAT 2426 01:55:26,319 --> 01:55:27,854 ENLIVENED THE SEASON WITH THEIR FRESH INTERPRETATIONS. 2427 01:55:27,920 --> 01:55:30,000 ONCE AGAIN, HERE ARE THE NOMINEES. 2428 01:55:30,000 --> 01:55:35,261 ONCE AGAIN, HERE ARE THE NOMINEES. 2429 01:55:35,328 --> 01:55:36,000 >> Announcer: "FLOYD COLLINS." 2430 01:55:36,000 --> 01:55:40,099 >> Announcer: "FLOYD COLLINS." 2431 01:55:40,166 --> 01:55:42,000 "GYPSY." 2432 01:55:42,000 --> 01:55:46,205 "GYPSY." 2433 01:55:46,272 --> 01:55:48,000 "PIRATES! 2434 01:55:48,000 --> 01:55:48,374 "PIRATES! 2435 01:55:48,441 --> 01:55:53,112 THE PENZANCE MUSICAL." 2436 01:55:53,179 --> 01:55:54,000 "SUNSET BLVD." 2437 01:55:54,000 --> 01:56:00,000 "SUNSET BLVD." 2438 01:56:00,000 --> 01:56:03,222 "SUNSET BLVD." 2439 01:56:03,790 --> 01:56:06,000 >> Aaron: AND THE TONY AWARD GOES TO... 2440 01:56:06,000 --> 01:56:06,993 >> Aaron: AND THE TONY AWARD GOES TO... 2441 01:56:07,060 --> 01:56:08,461 "SUNSET BLVD." 2442 01:56:08,528 --> 01:56:12,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: ACCEPTING THE AWARD 2443 01:56:12,000 --> 01:56:18,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: ACCEPTING THE AWARD 2444 01:56:18,000 --> 01:56:18,571 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: ACCEPTING THE AWARD 2445 01:56:18,838 --> 01:56:23,743 FOR "SUNSET BLVD.," PRODUCER JAMIE LLOYD AND COMPOSER, 2446 01:56:23,810 --> 01:56:24,000 ORCHESTRATOR ANDREW LLOYD WEBBER. 2447 01:56:24,000 --> 01:56:29,649 ORCHESTRATOR ANDREW LLOYD WEBBER. 2448 01:56:29,716 --> 01:56:30,000 [APPLAUSE] ♪ ♪ 2449 01:56:30,000 --> 01:56:36,000 [APPLAUSE] ♪ ♪ 2450 01:56:36,000 --> 01:56:39,726 [APPLAUSE] ♪ ♪ 2451 01:56:53,206 --> 01:56:54,000 >> THANK YOU SO MUCH. 2452 01:56:54,000 --> 01:56:54,407 >> THANK YOU SO MUCH. 2453 01:56:54,474 --> 01:57:00,000 ON BEHALF OF THE JAMIE LLOYD COMPANY AND ADAM SPEERS, HARRIS, 2454 01:57:00,000 --> 01:57:01,214 ON BEHALF OF THE JAMIE LLOYD COMPANY AND ADAM SPEERS, HARRIS, 2455 01:57:01,280 --> 01:57:06,000 WE WOULD JUST LIKE TO THANK YOU ALL SO MUCH FOR THIS EXCEPTIONAL 2456 01:57:06,000 --> 01:57:07,120 WE WOULD JUST LIKE TO THANK YOU ALL SO MUCH FOR THIS EXCEPTIONAL 2457 01:57:07,186 --> 01:57:08,321 HONOR. 2458 01:57:08,388 --> 01:57:11,758 WE THANK EVERYBODY INVOLVED IN "SUNSET BLVD." 2459 01:57:11,824 --> 01:57:12,000 ONSTAGE, BACKSTAGE COME IN THE ORCHESTRA, AND VARIOUS OFFICES 2460 01:57:12,000 --> 01:57:14,627 ONSTAGE, BACKSTAGE COME IN THE ORCHESTRA, AND VARIOUS OFFICES 2461 01:57:14,694 --> 01:57:18,000 AROUND THE CITY. 2462 01:57:18,000 --> 01:57:24,000 AROUND THE CITY. 2463 01:57:24,000 --> 01:57:24,270 AROUND THE CITY. 2464 01:57:24,337 --> 01:57:30,000 AND OF COURSE LORD ANDREW LLOYD WEBBER. 2465 01:57:30,000 --> 01:57:32,779 AND OF COURSE LORD ANDREW LLOYD WEBBER. 2466 01:57:32,845 --> 01:57:36,000 [APPLAUSE] 2467 01:57:36,000 --> 01:57:42,000 [APPLAUSE] 2468 01:57:42,000 --> 01:57:42,855 [APPLAUSE] 2469 01:57:44,490 --> 01:57:48,000 >> IT'S JUST FANTASTIC FOR ME TO SEE THE OLD SHOWS WE THOUGHT, 2470 01:57:48,000 --> 01:57:49,228 >> IT'S JUST FANTASTIC FOR ME TO SEE THE OLD SHOWS WE THOUGHT, 2471 01:57:49,295 --> 01:57:54,000 REWORKED, AND WITH THE FANTASTIC LEAD OF NICOLE, OF COURSE. 2472 01:57:54,000 --> 01:57:54,500 REWORKED, AND WITH THE FANTASTIC LEAD OF NICOLE, OF COURSE. 2473 01:57:54,567 --> 01:57:58,971 I LIKE TO SAY THANK YOU TO ONE PERSON WITHOUT WHOM THIS WOULD 2474 01:57:59,038 --> 01:58:00,000 BE POSSIBLE, MY PRODUCER AND PARTNER NOW, MICHAEL HARRISON. 2475 01:58:00,000 --> 01:58:02,408 BE POSSIBLE, MY PRODUCER AND PARTNER NOW, MICHAEL HARRISON. 2476 01:58:02,475 --> 01:58:06,000 THANK YOU VERY MUCH. 2477 01:58:06,000 --> 01:58:09,248 THANK YOU VERY MUCH. 2478 01:58:09,315 --> 01:58:12,000 [APPLAUSE] ♪ ♪ >> Cynthia: WHAT A SHOW WE'VE HAD SO FAR. 2479 01:58:12,000 --> 01:58:18,000 [APPLAUSE] ♪ ♪ >> Cynthia: WHAT A SHOW WE'VE HAD SO FAR. 2480 01:58:18,000 --> 01:58:18,458 [APPLAUSE] ♪ ♪ >> Cynthia: WHAT A SHOW WE'VE HAD SO FAR. 2481 01:58:18,524 --> 01:58:22,094 IF YOU HAVE FEEDBACK AT HOME IN REAL TIME, PLEASE EMAIL NEIL 2482 01:58:22,161 --> 01:58:24,000 PATRICK HARRIS. 2483 01:58:24,000 --> 01:58:25,998 PATRICK HARRIS. 2484 01:58:26,065 --> 01:58:30,000 [LAUGHTER] HE ISN'T HERE, BUT I'M SURE HE'D LOVE TO KNOW WHAT 2485 01:58:30,000 --> 01:58:31,103 [LAUGHTER] HE ISN'T HERE, BUT I'M SURE HE'D LOVE TO KNOW WHAT 2486 01:58:31,170 --> 01:58:33,706 YOU THOUGHT. 2487 01:58:33,773 --> 01:58:36,000 DANIELLE, IT'S GOOD TO SEE YOU! 2488 01:58:36,000 --> 01:58:36,943 DANIELLE, IT'S GOOD TO SEE YOU! 2489 01:58:37,009 --> 01:58:40,279 THANK YOU, THANK YOU. 2490 01:58:40,346 --> 01:58:42,000 I THINK THAT WE REALLY NEED A "COLOR PURPLE" UNION, AND I WISH 2491 01:58:42,000 --> 01:58:43,583 I THINK THAT WE REALLY NEED A "COLOR PURPLE" UNION, AND I WISH 2492 01:58:43,649 --> 01:58:47,753 THERE WAS SOMEONE ELSE WHO COULD REALLY HELP US FACILITATE THAT. 2493 01:58:47,820 --> 01:58:48,000 WHO COULD THAT BE A QUESTION MARK. 2494 01:58:48,000 --> 01:58:50,890 WHO COULD THAT BE A QUESTION MARK. 2495 01:58:50,957 --> 01:58:54,000 [LAUGHTER AND APPLAUSE] HELLO. 2496 01:58:54,000 --> 01:58:59,665 [LAUGHTER AND APPLAUSE] HELLO. 2497 01:58:59,732 --> 01:59:00,000 AS A CHANGE OF PACE, I THOUGHT CHECK UNDER YOUR CHAIR. 2498 01:59:00,000 --> 01:59:05,705 AS A CHANGE OF PACE, I THOUGHT CHECK UNDER YOUR CHAIR. 2499 01:59:05,771 --> 01:59:06,000 [LAUGHTER] GOT IT, THAT'S RIGHT. 2500 01:59:06,000 --> 01:59:12,000 [LAUGHTER] GOT IT, THAT'S RIGHT. 2501 01:59:12,000 --> 01:59:13,779 [LAUGHTER] GOT IT, THAT'S RIGHT. 2502 01:59:13,846 --> 01:59:18,000 HAVE A LOOK. 2503 01:59:18,000 --> 01:59:20,386 HAVE A LOOK. 2504 01:59:20,453 --> 01:59:22,688 >> OH MY -- THANK YOU SO MUCH. 2505 01:59:22,755 --> 01:59:24,000 >> Cynthia: WHAT'S THAT OTHER THING AND THEY ARE YOU GET A 2506 01:59:24,000 --> 01:59:26,259 >> Cynthia: WHAT'S THAT OTHER THING AND THEY ARE YOU GET A 2507 01:59:26,325 --> 01:59:26,759 CAR. 2508 01:59:27,560 --> 01:59:30,000 [LAUGHTER AND APPLAUSE] OBVIOUSLY IT COMES WITH SNACKS, 2509 01:59:30,000 --> 01:59:34,700 [LAUGHTER AND APPLAUSE] OBVIOUSLY IT COMES WITH SNACKS, 2510 01:59:34,767 --> 01:59:36,000 BUT YOU NEEDED IT, TOO. 2511 01:59:36,000 --> 01:59:36,636 BUT YOU NEEDED IT, TOO. 2512 01:59:36,702 --> 01:59:40,106 YOU DESERVE IT, TOO. 2513 01:59:40,172 --> 01:59:42,000 THERE SNACKS HERE. 2514 01:59:42,000 --> 01:59:44,744 THERE SNACKS HERE. 2515 01:59:44,810 --> 01:59:45,678 HARIBO, JUNIOR MEANTS. 2516 01:59:45,745 --> 01:59:48,000 SHARE IT WITH GAYLE AND YOUR NEIGHBORS. 2517 01:59:48,000 --> 01:59:50,516 SHARE IT WITH GAYLE AND YOUR NEIGHBORS. 2518 01:59:50,583 --> 01:59:52,451 WE DON'T WANT TO SEE THEM HANGRY. 2519 01:59:52,518 --> 01:59:54,000 WE DON'T NEED HANGRY PEOPLE HERE. 2520 01:59:54,000 --> 01:59:56,355 WE DON'T NEED HANGRY PEOPLE HERE. 2521 01:59:56,422 --> 01:59:57,323 YES? 2522 01:59:57,390 --> 01:59:58,024 GOOD. 2523 01:59:58,090 --> 01:59:59,292 I HOPE YOU ENJOY YOUR GIFT. 2524 01:59:59,358 --> 02:00:00,000 SHE LOVES THE CAR, EVERYONE. 2525 02:00:00,000 --> 02:00:01,561 SHE LOVES THE CAR, EVERYONE. 2526 02:00:01,627 --> 02:00:03,062 SHE LOVES THE CAR. 2527 02:00:03,129 --> 02:00:06,000 [APPLAUSE] LET'S KEEP IT MOVING. 2528 02:00:06,000 --> 02:00:06,432 [APPLAUSE] LET'S KEEP IT MOVING. 2529 02:00:06,499 --> 02:00:08,734 PLEASE WELCOME CECILY STRONG. 2530 02:00:08,801 --> 02:00:12,000 [APPLAUSE] ♪ ♪ >> Cecily: IF A HOLLYWOOD EXECUTIVE WERE 2531 02:00:12,000 --> 02:00:18,000 [APPLAUSE] ♪ ♪ >> Cecily: IF A HOLLYWOOD EXECUTIVE WERE 2532 02:00:18,000 --> 02:00:18,811 [APPLAUSE] ♪ ♪ >> Cecily: IF A HOLLYWOOD EXECUTIVE WERE 2533 02:00:20,813 --> 02:00:22,615 PITCHING THE FINAL NOMINATED MUSICAL, THEY'D SAY, "IT'S 2534 02:00:22,682 --> 02:00:24,000 'SAVING PRIVATE RYAN' MEETS 'WEEKEND AT BERNIE'S.'" 2535 02:00:24,000 --> 02:00:24,650 'SAVING PRIVATE RYAN' MEETS 'WEEKEND AT BERNIE'S.'" 2536 02:00:24,717 --> 02:00:26,686 THEN THEY'D PROBABLY GET FIRED. 2537 02:00:26,752 --> 02:00:30,000 BUT THIS IS BROADWAY. 2538 02:00:30,000 --> 02:00:30,489 BUT THIS IS BROADWAY. 2539 02:00:30,556 --> 02:00:33,025 TO THOSE WATCHING IN HOLLYWOOD, BROADWAY IS THE PLACE GEORGE 2540 02:00:33,092 --> 02:00:34,493 CLOONEY HAS BEEN OFF PLAYING IN. 2541 02:00:34,560 --> 02:00:36,000 LIKE A SECOND LAKE COMO. 2542 02:00:36,000 --> 02:00:39,732 LIKE A SECOND LAKE COMO. 2543 02:00:39,799 --> 02:00:42,000 [LAUGHTER] THIS INGENIOUS MUSICAL COMEDY ABOUT ONE OF THE 2544 02:00:42,000 --> 02:00:43,636 [LAUGHTER] THIS INGENIOUS MUSICAL COMEDY ABOUT ONE OF THE 2545 02:00:43,703 --> 02:00:47,373 MOST OUTRAGEOUS MILITARY SCHEMES EVER ATTEMPTED WILL MAKE YOU 2546 02:00:47,440 --> 02:00:48,000 LAUGH, THEN CRY, THEN LAUGH AGAIN, UNTIL YOU'RE YOUR SHIRT 2547 02:00:48,000 --> 02:00:51,944 LAUGH, THEN CRY, THEN LAUGH AGAIN, UNTIL YOU'RE YOUR SHIRT 2548 02:00:52,011 --> 02:00:53,312 IS SOAKING WET AND YOU'RE NOT EXACTLY SURE WHY. 2549 02:00:53,379 --> 02:00:54,000 VERY SIMILAR TO WHAT I GO THROUGH DAILY AS THE MOTHER OF A 2550 02:00:54,000 --> 02:00:54,747 VERY SIMILAR TO WHAT I GO THROUGH DAILY AS THE MOTHER OF A 2551 02:00:54,814 --> 02:00:57,617 9-WEEK-OLD. 2552 02:00:57,683 --> 02:00:59,552 PLEASE WELCOME THE BRILLIANT COMPANY AND AUTHORS OF 2553 02:00:59,619 --> 02:01:00,000 "OPERATION MINCEMEAT." 2554 02:01:00,000 --> 02:01:06,000 "OPERATION MINCEMEAT." 2555 02:01:06,000 --> 02:01:06,726 "OPERATION MINCEMEAT." 2556 02:01:06,792 --> 02:01:12,000 [APPLAUSE] ♪ ♪ >> ♪ SO YOU DREAMT OF BEING A PILOT ♪ ♪ BUT 2557 02:01:12,000 --> 02:01:16,802 [APPLAUSE] ♪ ♪ >> ♪ SO YOU DREAMT OF BEING A PILOT ♪ ♪ BUT 2558 02:01:19,572 --> 02:01:23,042 YOU NEVER GOT TO FLY ♪ ♪ SO YOU DREAMT OF SAILING THE SEVEN SEAS 2559 02:01:23,109 --> 02:01:24,000 ♪ ♪ BUT NEVER GOT TO TRY ♪ ♪ WELL, LET NAVY LADS GET SOAKING 2560 02:01:24,000 --> 02:01:27,013 ♪ ♪ BUT NEVER GOT TO TRY ♪ ♪ WELL, LET NAVY LADS GET SOAKING 2561 02:01:27,079 --> 02:01:30,000 ♪ ♪ WE'LL ALL STAY NICE AND DRY ♪ ♪ WE'LL SHOUT TO ALL THE 2562 02:01:30,000 --> 02:01:34,320 ♪ ♪ WE'LL ALL STAY NICE AND DRY ♪ ♪ WE'LL SHOUT TO ALL THE 2563 02:01:34,387 --> 02:01:36,000 SOLDIERS, JUMP ♪ ♪ AND HEAR THEM SHOUT HOW HIGH ♪ ♪ FOR WE ARE 2564 02:01:36,000 --> 02:01:38,157 SOLDIERS, JUMP ♪ ♪ AND HEAR THEM SHOUT HOW HIGH ♪ ♪ FOR WE ARE 2565 02:01:38,224 --> 02:01:41,727 MADE TO GIVE THE ORDERS ♪ ♪ WHILE LESSER MEN TAKE HEED ♪ ♪ 2566 02:01:41,794 --> 02:01:42,000 FOR SOME WERE BORN TO FOLLOW ♪ ♪ BUT WE WERE BORN TO LEAD ♪ 2567 02:01:42,000 --> 02:01:46,799 FOR SOME WERE BORN TO FOLLOW ♪ ♪ BUT WE WERE BORN TO LEAD ♪ 2568 02:01:46,866 --> 02:01:48,000 LADIES AND GENTLEMEN, WELCOME TO MI5! 2569 02:01:48,000 --> 02:01:49,802 LADIES AND GENTLEMEN, WELCOME TO MI5! 2570 02:01:49,869 --> 02:01:52,838 >> ♪ YOU'RE SURE TO SAVE THE NATION ♪ >> ♪ NANNY TOLD ME IN 2571 02:01:52,905 --> 02:01:54,000 MY COT ♪ >> ♪ FOR YOUR FATHER GAVE YOU COURAGE ♪ >> ♪ ALSO 2572 02:01:54,000 --> 02:01:55,574 MY COT ♪ >> ♪ FOR YOUR FATHER GAVE YOU COURAGE ♪ >> ♪ ALSO 2573 02:01:55,641 --> 02:01:59,612 PONIES ♪ >> ♪ AND THAT YACHT ♪ >> ♪ MY CENTURIES OF BREEDING ♪ 2574 02:01:59,679 --> 02:02:00,000 ♪ I KNOW THEY'LL FAIL ME NOT ♪ ♪ FOR FORTUNE FAVORS BRAVERY ♪ ♪ 2575 02:02:00,000 --> 02:02:03,949 ♪ I KNOW THEY'LL FAIL ME NOT ♪ ♪ FOR FORTUNE FAVORS BRAVERY ♪ ♪ 2576 02:02:04,016 --> 02:02:06,000 AND A FORTUNE'S WHAT I'VE GOT ♪ ♪ OH YES, SOME BOYS GO TO BATTLE 2577 02:02:06,000 --> 02:02:08,087 AND A FORTUNE'S WHAT I'VE GOT ♪ ♪ OH YES, SOME BOYS GO TO BATTLE 2578 02:02:08,154 --> 02:02:12,000 ♪ ♪ BUT WE'RE A DIFFERENT BREED ♪ ♪ FOR SOME WERE BORN TO FOLLOW 2579 02:02:12,000 --> 02:02:12,792 ♪ ♪ BUT WE'RE A DIFFERENT BREED ♪ ♪ FOR SOME WERE BORN TO FOLLOW 2580 02:02:12,858 --> 02:02:18,000 ♪ ♪ BUT WE WERE BORN TO LEAD ♪ ♪ WE ARE THE MASTERS ♪ ♪ WE ARE 2581 02:02:18,000 --> 02:02:19,331 ♪ ♪ BUT WE WERE BORN TO LEAD ♪ ♪ WE ARE THE MASTERS ♪ ♪ WE ARE 2582 02:02:19,398 --> 02:02:21,867 THE CLEVER MEN ♪ ♪ WHO HOLD THE REINS ♪ ♪ FOR WHO NEEDS GUNS ♪ ♪ 2583 02:02:21,934 --> 02:02:24,000 WHEN YOU'VE GOT BRAINS ♪ ♪ YOU'LL SEE ♪ ♪ FOREVER AFTER ♪ ♪ 2584 02:02:24,000 --> 02:02:25,571 WHEN YOU'VE GOT BRAINS ♪ ♪ YOU'LL SEE ♪ ♪ FOREVER AFTER ♪ ♪ 2585 02:02:25,638 --> 02:02:29,008 WHEN ALL THIS WAR IS DONE ♪ ♪ AND FADES TO DUST ♪ ♪ THE WORLD 2586 02:02:29,075 --> 02:02:30,000 WILL TURN AND SAY TO US ♪ ♪ THAT WE WERE BORN TO LEAD ♪ >> ♪ WHEN 2587 02:02:30,000 --> 02:02:34,580 WILL TURN AND SAY TO US ♪ ♪ THAT WE WERE BORN TO LEAD ♪ >> ♪ WHEN 2588 02:02:34,647 --> 02:02:36,000 I WAS A YOUNG EXPLORER ♪ >> ♪ YES ♪ >> ♪ I DISCOVERED A NEW 2589 02:02:36,000 --> 02:02:37,616 I WAS A YOUNG EXPLORER ♪ >> ♪ YES ♪ >> ♪ I DISCOVERED A NEW 2590 02:02:37,683 --> 02:02:39,151 BREED OF TROUT ♪ >> ♪ WHAT? 2591 02:02:39,218 --> 02:02:41,253 ♪ >> ♪ IT LEAPT INTO MY KAYAK AND JUST BRIEFLY KNOCKED ME OUT 2592 02:02:41,320 --> 02:02:42,000 ♪ >> ♪ SORRY, WHAT? 2593 02:02:42,000 --> 02:02:42,621 ♪ >> ♪ SORRY, WHAT? 2594 02:02:42,688 --> 02:02:45,024 ♪ >> ♪ THE FEELING WAS QUITE MAGICAL ♪ ♪ WHEN IT SLAPPED ME 2595 02:02:45,091 --> 02:02:48,000 ON THE MOUTH ♪ ♪ IT MADE THE LOCAL PAPERS ♪ ♪ RARE FISH 2596 02:02:48,000 --> 02:02:49,095 ON THE MOUTH ♪ ♪ IT MADE THE LOCAL PAPERS ♪ ♪ RARE FISH 2597 02:02:49,161 --> 02:02:53,332 ATTACKS BOY SCOUT ♪ ♪ IT'S STILL MY PROUDEST MOMENT ♪ ♪ OF THAT I 2598 02:02:53,399 --> 02:02:54,000 HAVE NO DOUBT ♪ ♪ FOR SOME WERE BORN TO FOLLOW ♪ ♪ BUT I WAS 2599 02:02:54,000 --> 02:02:58,637 HAVE NO DOUBT ♪ ♪ FOR SOME WERE BORN TO FOLLOW ♪ ♪ BUT I WAS 2600 02:02:58,704 --> 02:03:00,000 BORN TO FIND TROUT ♪ >> MORNING MILITARY DECEPTION, NOW THE NEXT 2601 02:03:00,000 --> 02:03:03,676 BORN TO FIND TROUT ♪ >> MORNING MILITARY DECEPTION, NOW THE NEXT 2602 02:03:03,743 --> 02:03:05,978 ALLIED INVASION TARGET IS SICILY. 2603 02:03:06,045 --> 02:03:11,784 AND WITH THE HELP OF MI5, IT'LL BE OURS FOR THE TAKING. 2604 02:03:11,851 --> 02:03:12,000 ♪ SICILY COULD TURN THE TIDE OF THE WAR ♪ ♪ BUT WE CAN'T JUST 2605 02:03:12,000 --> 02:03:14,453 ♪ SICILY COULD TURN THE TIDE OF THE WAR ♪ ♪ BUT WE CAN'T JUST 2606 02:03:14,520 --> 02:03:16,655 ROCK UP AND KNOCK UPON THE DOOR ♪ ♪ FOR EACH MAN WE'VE GOT 2607 02:03:16,722 --> 02:03:18,000 THEY'VE GOT TEN MORE ♪ >> ♪ WE'D BE SLAUGHTERED BEFORE WE EVEN 2608 02:03:18,000 --> 02:03:19,091 THEY'VE GOT TEN MORE ♪ >> ♪ WE'D BE SLAUGHTERED BEFORE WE EVEN 2609 02:03:19,158 --> 02:03:22,061 REACH THE SHORE ♪ >> ♪ WE NEED A WAY TO REDUCE THE DANGER ♪ ♪ TIP 2610 02:03:22,128 --> 02:03:24,000 THE ODDS IN OUR FAVOR ♪ ♪ GO TO GREAT LENGTHS TO DRAIN THE 2611 02:03:24,000 --> 02:03:24,897 THE ODDS IN OUR FAVOR ♪ ♪ GO TO GREAT LENGTHS TO DRAIN THE 2612 02:03:24,964 --> 02:03:27,500 STRENGTH ♪ ♪ OF THE SICILIAN DEFENSE ♪ ♪ BY MISDIRECTING 2613 02:03:27,566 --> 02:03:30,000 THEIR DEAR DICTATOR ♪ ♪ GOTTA MAKE HITLER BELIEVE ♪ ♪ SICILY 2614 02:03:30,000 --> 02:03:30,803 THEIR DEAR DICTATOR ♪ ♪ GOTTA MAKE HITLER BELIEVE ♪ ♪ SICILY 2615 02:03:30,870 --> 02:03:32,838 ISN'T WHERE WE'RE GONNA BE ♪ ♪ GOTTA PROCEED WITH SOME 2616 02:03:32,905 --> 02:03:35,574 DISHONESTY ♪ ♪ GOTTA DECEIVE, 'CAUSE WHAT I WANNA SEE ♪ ♪ IS 2617 02:03:35,641 --> 02:03:36,000 HUNDREDS OF THOUSANDS OF GERMANS GETTING OFF OUR PROPERTY ♪ ♪ SO 2618 02:03:36,000 --> 02:03:38,410 HUNDREDS OF THOUSANDS OF GERMANS GETTING OFF OUR PROPERTY ♪ ♪ SO 2619 02:03:38,477 --> 02:03:40,846 I NEED YOUR BRAINS ♪ ♪ TO FIGURE OUT HOW WE SELL A FAKE CAMPAIGN 2620 02:03:40,913 --> 02:03:42,000 ♪ ♪ FIND ME A STRATEGY ♪ ♪ USE YOUR GRAY MATTER TO TACTICALLY 2621 02:03:42,000 --> 02:03:43,783 ♪ ♪ FIND ME A STRATEGY ♪ ♪ USE YOUR GRAY MATTER TO TACTICALLY 2622 02:03:43,849 --> 02:03:46,318 SCATTER ♪ ♪ THE ENEMY TO THE BREEZE ♪ ♪ THEN ONCE THE ISLAND 2623 02:03:46,385 --> 02:03:48,000 IS UNATTENDED ♪ ♪ ONCE THE BEACHES ARE UNDEFENDED ♪ ♪ WE 2624 02:03:48,000 --> 02:03:50,222 IS UNATTENDED ♪ ♪ ONCE THE BEACHES ARE UNDEFENDED ♪ ♪ WE 2625 02:03:50,289 --> 02:03:52,792 SEND OUR BOYS IN, THEN WE DESTROY THEM ♪ ♪ THAT'S HOW 2626 02:03:52,858 --> 02:03:54,000 SICILIY IS APPREHENDED ♪ ♪ WHAT THIS COUNTRY NEEDS IS A GENIUS 2627 02:03:54,000 --> 02:03:56,962 SICILIY IS APPREHENDED ♪ ♪ WHAT THIS COUNTRY NEEDS IS A GENIUS 2628 02:03:57,029 --> 02:04:00,000 PLAN ♪ >> ♪ WHAT THIS COUNTRY NEEDS IS A GENIUS MAN ♪ >> ♪ BUT 2629 02:04:00,000 --> 02:04:00,599 PLAN ♪ >> ♪ WHAT THIS COUNTRY NEEDS IS A GENIUS MAN ♪ >> ♪ BUT 2630 02:04:00,666 --> 02:04:04,136 WE WERE BORN TO LEAD ♪ >> ♪ OH, BROTHERS! 2631 02:04:04,203 --> 02:04:04,970 ♪ ♪ LET'S GET WINNING! 2632 02:04:05,037 --> 02:04:06,000 ♪ ♪ MY MIND SHALL SET US FREE! 2633 02:04:06,000 --> 02:04:06,605 ♪ ♪ MY MIND SHALL SET US FREE! 2634 02:04:06,672 --> 02:04:10,142 ♪ ♪ GONNA WIN THE WAR, CHAMPAGNE GALORE ♪ ♪ WHILE I FLICK THE HUN 2635 02:04:10,209 --> 02:04:12,000 THE "V" ♪ ♪ I'LL DEFINITELY GET A KNIGHTHOOD ♪ ♪ AND A VICTORIA 2636 02:04:12,000 --> 02:04:13,813 THE "V" ♪ ♪ I'LL DEFINITELY GET A KNIGHTHOOD ♪ ♪ AND A VICTORIA 2637 02:04:13,879 --> 02:04:17,149 CROSS OR THREE ♪ ♪ LOOK UP "VICTORY" IN THE DICTIONARY ♪ ♪ 2638 02:04:17,216 --> 02:04:18,000 THERE'S A PICTURE THERE OF ME ♪ ♪ WE ARE THE FINEST MINDS IN 2639 02:04:18,000 --> 02:04:20,319 THERE'S A PICTURE THERE OF ME ♪ ♪ WE ARE THE FINEST MINDS IN 2640 02:04:20,386 --> 02:04:24,000 ENGLAND ♪ ♪ ON THAT, WE ARE AGREED ♪ ♪ FOR SOME WERE BORN TO 2641 02:04:24,000 --> 02:04:24,723 ENGLAND ♪ ♪ ON THAT, WE ARE AGREED ♪ ♪ FOR SOME WERE BORN TO 2642 02:04:24,790 --> 02:04:30,000 FOLLOW ♪ >> ♪ SOME WERE BORN TO FOLLOW ♪ ♪ BUT WE WERE BORN TO 2643 02:04:30,000 --> 02:04:32,264 FOLLOW ♪ >> ♪ SOME WERE BORN TO FOLLOW ♪ ♪ BUT WE WERE BORN TO 2644 02:04:32,331 --> 02:04:36,000 LEAD ♪ ♪ ♪ [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: LATER, OPRAH 2645 02:04:36,000 --> 02:04:42,000 LEAD ♪ ♪ ♪ [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: LATER, OPRAH 2646 02:04:42,000 --> 02:04:42,341 LEAD ♪ ♪ ♪ [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: LATER, OPRAH 2647 02:04:48,547 --> 02:04:51,851 WINFREY PRESENTS LEAD ACTRESS IN A MUSICAL, AND LIN-MANUEL 2648 02:04:51,917 --> 02:04:54,000 MIRANDA PRESENTS BEST MUSICAL. 2649 02:04:54,000 --> 02:04:55,521 MIRANDA PRESENTS BEST MUSICAL. 2650 02:04:55,588 --> 02:04:58,824 AND NEXT, A PERFORMANCE FROM "REAL WOMEN HAVE CURVES." 2651 02:04:58,891 --> 02:05:00,000 THE TONY AWARDS. 2652 02:05:00,000 --> 02:05:00,292 THE TONY AWARDS. 2653 02:05:00,359 --> 02:05:02,361 THIS IS CBS. 2654 02:05:16,375 --> 02:05:17,610 ♪ ♪ [APPLAUSE] >> Cynthia: WE'RE BACK. 2655 02:05:17,676 --> 02:05:18,000 AND NOW, AN ACTRESS WHO MADE HER BROADWAY DEBUT THIS SEASON IN 2656 02:05:18,000 --> 02:05:21,146 AND NOW, AN ACTRESS WHO MADE HER BROADWAY DEBUT THIS SEASON IN 2657 02:05:21,213 --> 02:05:23,282 "CABARET," AULI'I CRAVALHO. 2658 02:05:23,349 --> 02:05:24,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Auli'i: SET IN 1987 LOS ANGELES, AND 2659 02:05:24,000 --> 02:05:30,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Auli'i: SET IN 1987 LOS ANGELES, AND 2660 02:05:30,000 --> 02:05:33,359 [APPLAUSE] ♪ ♪ ♪ ♪ >> Auli'i: SET IN 1987 LOS ANGELES, AND 2661 02:05:42,001 --> 02:05:46,772 NOMINATED TONIGHT FOR BEST ORIGINAL SCORE, "REAL WOMEN HAVE 2662 02:05:46,839 --> 02:05:48,000 CURVES" FOLLOWS 18-YEAR-OLD ANA GARCIA, THE DAUGHTER OF MEXICAN 2663 02:05:48,000 --> 02:05:50,276 CURVES" FOLLOWS 18-YEAR-OLD ANA GARCIA, THE DAUGHTER OF MEXICAN 2664 02:05:50,342 --> 02:05:51,477 IMMIGRANTS. 2665 02:05:51,710 --> 02:05:54,000 SHE DREAMS OF ATTENDING COLUMBIA UNIVERSITY TO STUDY JOURNALISM, 2666 02:05:54,000 --> 02:05:54,647 SHE DREAMS OF ATTENDING COLUMBIA UNIVERSITY TO STUDY JOURNALISM, 2667 02:05:54,713 --> 02:05:58,717 BUT HER MOTHER, CARMEN, WANTS HER TO JOIN THE FAMILY BUSINESS. 2668 02:05:58,784 --> 02:06:00,000 JUGGLING TWO JOBS FOR THE SUMMER, WORKING AT A LOCAL 2669 02:06:00,000 --> 02:06:01,153 JUGGLING TWO JOBS FOR THE SUMMER, WORKING AT A LOCAL 2670 02:06:01,220 --> 02:06:04,757 NEWSPAPER AND THE FAMILY SEWING FACTORY, ANA STRUGGLES TO HONOR 2671 02:06:04,823 --> 02:06:06,000 HER FAMILY WHILE REACHING FOR HER OWN AMERICAN DREAM. 2672 02:06:06,000 --> 02:06:07,826 HER FAMILY WHILE REACHING FOR HER OWN AMERICAN DREAM. 2673 02:06:07,893 --> 02:06:10,729 NOW, TO PERFORM "JUGGLIN'," PLEASE WELCOME THE COMPANY OF 2674 02:06:10,796 --> 02:06:12,000 "REAL WOMEN HAVE CURVES." 2675 02:06:12,000 --> 02:06:16,468 "REAL WOMEN HAVE CURVES." 2676 02:06:16,535 --> 02:06:18,000 [APPLAUSE] ♪ ♪ >> WATCH AND LEARN. 2677 02:06:18,000 --> 02:06:24,000 [APPLAUSE] ♪ ♪ >> WATCH AND LEARN. 2678 02:06:24,000 --> 02:06:25,311 [APPLAUSE] ♪ ♪ >> WATCH AND LEARN. 2679 02:06:25,377 --> 02:06:30,000 >> ♪ LOOK HOW SHE MOVES ♪ ♪ NOT BREAKIN' A SWEAT ♪ ♪ GRACEFULLY 2680 02:06:30,000 --> 02:06:32,384 >> ♪ LOOK HOW SHE MOVES ♪ ♪ NOT BREAKIN' A SWEAT ♪ ♪ GRACEFULLY 2681 02:06:32,451 --> 02:06:34,853 SMOOTH ♪ ♪ PERFORMING HER OWN DUET ♪ >> ♪ JUGGLIN', JUGGLIN', 2682 02:06:34,920 --> 02:06:36,000 JUGGLIN', JUGGLIN', JUGGLIN' ♪ >> ♪ MAYBE I CAN CATCH HER 2683 02:06:36,000 --> 02:06:38,123 JUGGLIN', JUGGLIN', JUGGLIN' ♪ >> ♪ MAYBE I CAN CATCH HER 2684 02:06:38,190 --> 02:06:42,000 RHYTHM ♪ ♪ GOTTA LEARN TO SYNCOPATE ♪ ♪ COULD IT REALLY BE 2685 02:06:42,000 --> 02:06:43,362 RHYTHM ♪ ♪ GOTTA LEARN TO SYNCOPATE ♪ ♪ COULD IT REALLY BE 2686 02:06:43,429 --> 02:06:45,931 THAT HARD TO TRY AND COORDINATE? 2687 02:06:45,998 --> 02:06:48,000 ♪ >> ♪ COORDINATE ♪ ♪ COORDINATE ♪ >> I'LL LEARN TO SEW, RIGHT 2688 02:06:48,000 --> 02:06:50,135 ♪ >> ♪ COORDINATE ♪ ♪ COORDINATE ♪ >> I'LL LEARN TO SEW, RIGHT 2689 02:06:50,202 --> 02:06:51,503 AFTER I RUN TO THIS INTERVIEW! 2690 02:06:51,570 --> 02:06:52,338 >> THAT STUPID PAPER! 2691 02:06:52,404 --> 02:06:54,000 SHE'S ALWAYS RUNNING AROUND! 2692 02:06:54,000 --> 02:06:55,874 SHE'S ALWAYS RUNNING AROUND! 2693 02:06:55,941 --> 02:06:56,608 >> JUST LIKE MY BOYS. 2694 02:06:56,675 --> 02:06:57,676 DOCTOR SAY THEY GOT THE A.D.D. 2695 02:06:57,743 --> 02:06:58,410 >> QUE? 2696 02:06:58,477 --> 02:06:59,178 >> OH, HALF THE SCHOOL GOT IT. 2697 02:06:59,244 --> 02:07:00,000 IT'S GOING AROUND. 2698 02:07:00,000 --> 02:07:03,315 IT'S GOING AROUND. 2699 02:07:03,382 --> 02:07:04,683 >> EVERY TIME YOU GO TO THE DOCTOR, YOU LEAVE WITH A 2700 02:07:04,750 --> 02:07:05,351 PRESCRIPTION. 2701 02:07:05,417 --> 02:07:06,000 DO THEY THINK WE'RE RICH? 2702 02:07:06,000 --> 02:07:06,418 DO THEY THINK WE'RE RICH? 2703 02:07:06,485 --> 02:07:07,319 >> OH, I AM RICH! 2704 02:07:07,386 --> 02:07:09,321 I ONLY WORK THREE JOBS BECAUSE I LIKE IT! 2705 02:07:09,388 --> 02:07:11,690 >> ♪ FOUR JOBS, IF YOU COUNT YOUR KIDS ♪ >> ♪ FIVE, IF YOU 2706 02:07:11,757 --> 02:07:12,000 COUT YOUR HUSBAND ♪ >> ♪ SIX, IF YOU COUNT YOUR LOVER ♪ >> ♪ HOW 2707 02:07:12,000 --> 02:07:15,861 COUT YOUR HUSBAND ♪ >> ♪ SIX, IF YOU COUNT YOUR LOVER ♪ >> ♪ HOW 2708 02:07:15,928 --> 02:07:17,329 YOU KNOW ABOUT FLACA'S BROTHER? 2709 02:07:17,396 --> 02:07:18,000 ♪ [LAUGHTER] >> ♪ HUSTLIN', HUSTLIN', HUSTLIN', HUSTLIN', 2710 02:07:18,000 --> 02:07:21,633 ♪ [LAUGHTER] >> ♪ HUSTLIN', HUSTLIN', HUSTLIN', HUSTLIN', 2711 02:07:21,700 --> 02:07:24,000 HUSTLIN' ♪ ♪ HUSTLIN', HUSTLIN', HUSTLIN' ♪ ♪ HUSTLIN', HUSTLIN' 2712 02:07:24,000 --> 02:07:28,340 HUSTLIN' ♪ ♪ HUSTLIN', HUSTLIN', HUSTLIN' ♪ ♪ HUSTLIN', HUSTLIN' 2713 02:07:28,407 --> 02:07:30,000 ♪ ♪ KEEPIN' ALL THE BALLS IN THE AIR ♪ ♪ DON'T LET 'EM DROP, 2714 02:07:30,000 --> 02:07:30,876 ♪ ♪ KEEPIN' ALL THE BALLS IN THE AIR ♪ ♪ DON'T LET 'EM DROP, 2715 02:07:30,943 --> 02:07:35,314 'CAUSE AY, CARAMBA ♪ ♪ EVERYBODY COUNTIN' ON US ♪ ♪ GETTIN' IT 2716 02:07:35,381 --> 02:07:36,000 DONE ♪ ♪ MAKIN' IT WORK ♪ ♪ THE GRIND DON'T STOP ♪ >> ANA, I 2717 02:07:36,000 --> 02:07:39,418 DONE ♪ ♪ MAKIN' IT WORK ♪ ♪ THE GRIND DON'T STOP ♪ >> ANA, I 2718 02:07:39,485 --> 02:07:40,319 NEED THAT STORY! 2719 02:07:40,386 --> 02:07:42,000 >> ANA, WE NEED YOU! 2720 02:07:42,000 --> 02:07:42,187 >> ANA, WE NEED YOU! 2721 02:07:42,254 --> 02:07:43,422 >> ON IT! 2722 02:07:43,722 --> 02:07:45,024 >> ♪ THE GRIND DON'T STOP ♪ ♪ DON'T LET THE BALL DROP ♪ >> ♪ 2723 02:07:45,090 --> 02:07:48,000 HOW THE HELL DO THEY GET THROUGH IT? 2724 02:07:48,000 --> 02:07:48,827 HOW THE HELL DO THEY GET THROUGH IT? 2725 02:07:48,894 --> 02:07:51,030 ♪ ♪ I CAN BARELY STAY AWAKE ♪ ♪ FEELS IMPOSSIBLE TO DO IT ♪ ♪ 2726 02:07:51,096 --> 02:07:53,165 HOW WILL I COORDINATE? 2727 02:07:53,232 --> 02:07:54,000 ♪ >> ♪ COORDINATE ♪ >> ♪ COORDINATE ♪ >> ♪ THE GRIND 2728 02:07:54,000 --> 02:07:56,235 ♪ >> ♪ COORDINATE ♪ >> ♪ COORDINATE ♪ >> ♪ THE GRIND 2729 02:07:56,301 --> 02:07:58,270 DON'T STOP ♪ ♪ DON'T LET THE BALL DROP ♪ ♪ THE GRIND DON'T 2730 02:07:58,337 --> 02:08:00,000 STOP ♪ ♪ DON'T LET THE BALL DROP ♪ ♪ THE GRIND DON'T STOP ♪ ♪ 2731 02:08:00,000 --> 02:08:00,706 STOP ♪ ♪ DON'T LET THE BALL DROP ♪ ♪ THE GRIND DON'T STOP ♪ ♪ 2732 02:08:00,773 --> 02:08:03,876 DON'T LET THE BALL DROP ♪ ♪ THE GRIND DON'T STOP ♪ ♪ DON'T LET 2733 02:08:03,942 --> 02:08:06,000 THE BALL DROP ♪ >> THIS, INTERNS, IS HOW YOU WRITE A 2734 02:08:06,000 --> 02:08:07,713 THE BALL DROP ♪ >> THIS, INTERNS, IS HOW YOU WRITE A 2735 02:08:07,780 --> 02:08:08,614 STORY. 2736 02:08:08,680 --> 02:08:11,417 GOOD WORK, ANA GARCIA. 2737 02:08:11,483 --> 02:08:12,000 >> ♪ JUGGLIN', JUGGLIN', JUGGLIN', JUGGLIN', JUGGLIN' ♪ 2738 02:08:12,000 --> 02:08:14,453 >> ♪ JUGGLIN', JUGGLIN', JUGGLIN', JUGGLIN', JUGGLIN' ♪ 2739 02:08:14,520 --> 02:08:17,122 >> ♪ I THINK I'M GETTIN' THE HANG OF IT 7 >> ♪ JUGGLIN', 2740 02:08:17,189 --> 02:08:18,000 JUGGLIN', JUGGLIN', JUGGLIN', JUGGLIN' ♪ >> ♪ I FINALLY FEEL 2741 02:08:18,000 --> 02:08:19,491 JUGGLIN', JUGGLIN', JUGGLIN', JUGGLIN' ♪ >> ♪ I FINALLY FEEL 2742 02:08:19,558 --> 02:08:21,927 IN THE GROOVE ♪ >> ♪ JU-JU-JUGGLIN', 2743 02:08:21,994 --> 02:08:24,000 JU-JU-JU-JUGGLIN' ♪ >> ♪ I THINK I'M STARTIN' TO GET IT ♪ >> ♪ 2744 02:08:24,000 --> 02:08:26,031 JU-JU-JU-JUGGLIN' ♪ >> ♪ I THINK I'M STARTIN' TO GET IT ♪ >> ♪ 2745 02:08:26,098 --> 02:08:27,766 JU-JU-JUGGLIN', JU-JU-JU-JUGGLIN' ♪ ♪ 2746 02:08:27,833 --> 02:08:30,000 JU-JU-JUGGLIN' JU-JU-JU-JUGGLIN' ♪ >> ♪ I THINK I'M LEARNIN' THE 2747 02:08:30,000 --> 02:08:30,536 JU-JU-JUGGLIN' JU-JU-JU-JUGGLIN' ♪ >> ♪ I THINK I'M LEARNIN' THE 2748 02:08:30,602 --> 02:08:34,773 MOVES ♪ >> ♪ JU-JU-JUGGLIN', JU-JU-JU-JUGGLIN' ♪ >> ♪ THE 2749 02:08:34,840 --> 02:08:36,000 GRIND DON'T STOP ♪ ♪ DON'T LET THE BALL DROP ♪ ♪ THE GRIND 2750 02:08:36,000 --> 02:08:36,442 GRIND DON'T STOP ♪ ♪ DON'T LET THE BALL DROP ♪ ♪ THE GRIND 2751 02:08:36,508 --> 02:08:39,244 DON'T STOP ♪ ♪ DON'T LET THE BALL DROP ♪ >> ♪ DO IT, DO IT ♪ 2752 02:08:39,311 --> 02:08:41,780 >> ♪ THE GRIND DON'T STOP ♪ >> ♪ DO IT, DO IT ♪ >> ♪ DON'T LET 2753 02:08:41,847 --> 02:08:42,000 THE BALL DROP ♪ >> ♪ DO IT ♪ >> ♪ THE GRIND DON'T STOP ♪ ♪ DON'T 2754 02:08:42,000 --> 02:08:46,318 THE BALL DROP ♪ >> ♪ DO IT ♪ >> ♪ THE GRIND DON'T STOP ♪ ♪ DON'T 2755 02:08:46,385 --> 02:08:48,000 LET THE BALL DROP ♪ [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Announcer: 2756 02:08:48,000 --> 02:08:54,000 LET THE BALL DROP ♪ [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Announcer: 2757 02:08:54,000 --> 02:08:56,395 LET THE BALL DROP ♪ [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Announcer: 2758 02:09:03,535 --> 02:09:06,000 PLEASE WELCOME THREE-TIME TONY HOST, OSCAR-WINNER, AND TONY 2759 02:09:06,000 --> 02:09:06,638 PLEASE WELCOME THREE-TIME TONY HOST, OSCAR-WINNER, AND TONY 2760 02:09:06,705 --> 02:09:09,475 NOMINEE, ARIANA DeBOSE. 2761 02:09:09,541 --> 02:09:12,000 [APPLAUSE] ♪ ♪ >> Ariana: WHAT A NIGHT. 2762 02:09:12,000 --> 02:09:18,000 [APPLAUSE] ♪ ♪ >> Ariana: WHAT A NIGHT. 2763 02:09:18,000 --> 02:09:19,551 [APPLAUSE] ♪ ♪ >> Ariana: WHAT A NIGHT. 2764 02:09:25,324 --> 02:09:27,526 IT'S SO WONDERFUL TO BE BACK HERE AT RADIO CITY MUSIC HALL TO 2765 02:09:27,593 --> 02:09:30,000 CELEBRATE THE INSANELY TALENTED PEOPLE IN OUR COMMUNITY. 2766 02:09:30,000 --> 02:09:30,996 CELEBRATE THE INSANELY TALENTED PEOPLE IN OUR COMMUNITY. 2767 02:09:31,063 --> 02:09:36,000 I'M THRILLED FOR MY MANY FRIENDS WHO ARE IN THIS NEXT CATEGORY. 2768 02:09:36,000 --> 02:09:38,770 I'M THRILLED FOR MY MANY FRIENDS WHO ARE IN THIS NEXT CATEGORY. 2769 02:09:38,837 --> 02:09:40,839 THERE IS NO BETTER REASON TO COME TO BROADWAY THAN TO BE 2770 02:09:40,906 --> 02:09:42,000 INSPIRED BY THE FANTASTICALLY MOVING ARTISTRY THEY BROUGHT, 2771 02:09:42,000 --> 02:09:42,508 INSPIRED BY THE FANTASTICALLY MOVING ARTISTRY THEY BROUGHT, 2772 02:09:42,574 --> 02:09:46,778 AND CONTINUE TO BRING, TO THE SEASON. 2773 02:09:46,845 --> 02:09:48,000 SO HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY AN ACTOR IN 2774 02:09:48,000 --> 02:09:49,148 SO HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY AN ACTOR IN 2775 02:09:49,214 --> 02:09:53,385 A LEADING ROLE IN A MUSICAL. 2776 02:09:53,452 --> 02:09:54,000 ♪ ♪ >> Announcer: DARREN CRISS, "MAYBE HAPPY ENDING." 2777 02:09:54,000 --> 02:09:57,256 ♪ ♪ >> Announcer: DARREN CRISS, "MAYBE HAPPY ENDING." 2778 02:09:57,322 --> 02:10:00,000 ANDREW DURAND, "DEAD OUTLAW." 2779 02:10:00,000 --> 02:10:00,626 ANDREW DURAND, "DEAD OUTLAW." 2780 02:10:00,692 --> 02:10:04,563 TOM FRANCIS, "SUNSET BLVD." 2781 02:10:04,630 --> 02:10:06,000 JONATHAN GROFF, "JUST IN TIME." 2782 02:10:06,000 --> 02:10:09,034 JONATHAN GROFF, "JUST IN TIME." 2783 02:10:09,101 --> 02:10:12,000 JAMES MONROE IGLEHART, "A WONDERFUL WORLD: THE LOUIS 2784 02:10:12,000 --> 02:10:14,173 JAMES MONROE IGLEHART, "A WONDERFUL WORLD: THE LOUIS 2785 02:10:14,239 --> 02:10:16,441 ARMSTRONG MUSICAL." 2786 02:10:16,508 --> 02:10:18,000 JEREMY JORDAN, "FLOYD COLLINS." 2787 02:10:18,000 --> 02:10:23,582 JEREMY JORDAN, "FLOYD COLLINS." 2788 02:10:23,649 --> 02:10:24,000 ♪ ♪ >> Ariana: AND THE TONY AWARD GOES TO... 2789 02:10:24,000 --> 02:10:30,000 ♪ ♪ >> Ariana: AND THE TONY AWARD GOES TO... 2790 02:10:30,000 --> 02:10:33,692 ♪ ♪ >> Ariana: AND THE TONY AWARD GOES TO... 2791 02:10:33,892 --> 02:10:36,000 DARREN CRISS. 2792 02:10:36,000 --> 02:10:36,094 DARREN CRISS. 2793 02:10:36,161 --> 02:10:39,731 [CHEERS AND APPLAUSE] MUSIC OF THE . 2794 02:10:39,798 --> 02:10:42,000 >> Announcer: FOR HIS PERFORMANCE AS ABANDON HELPER 2795 02:10:42,000 --> 02:10:46,104 >> Announcer: FOR HIS PERFORMANCE AS ABANDON HELPER 2796 02:10:46,171 --> 02:10:48,000 ROBOT, OLIVER, DARREN CRISS EARNS HIS FIRST NOMINATION AND 2797 02:10:48,000 --> 02:10:49,608 ROBOT, OLIVER, DARREN CRISS EARNS HIS FIRST NOMINATION AND 2798 02:10:49,675 --> 02:10:53,779 TONY WIN. 2799 02:10:53,845 --> 02:10:54,000 >> WHOO! 2800 02:10:54,000 --> 02:10:54,346 >> WHOO! 2801 02:10:54,413 --> 02:10:55,013 WHAT A NIGHT! 2802 02:10:55,080 --> 02:10:57,516 I WILL GET RIGHT INTO IT. 2803 02:10:57,583 --> 02:11:00,000 THANK YOU TO THE AMERICAN THEATRE WING AND TO THE DRAMA 2804 02:11:00,000 --> 02:11:00,052 THANK YOU TO THE AMERICAN THEATRE WING AND TO THE DRAMA 2805 02:11:00,118 --> 02:11:03,055 LEAGUE FOR THIS TREMENDOUS HONOR AND FOR THIS MARVELOUS CEREMONY. 2806 02:11:03,121 --> 02:11:06,000 I HAVE SUCH IMMENSE PRIDE TO GET TO BE PART OF THIS NOTABLY 2807 02:11:06,000 --> 02:11:06,792 I HAVE SUCH IMMENSE PRIDE TO GET TO BE PART OF THIS NOTABLY 2808 02:11:06,858 --> 02:11:12,000 DIVERSE AND EXQUISITE BROADWAY SEASON THIS YEAR AND TO GET TO 2809 02:11:12,000 --> 02:11:12,297 DIVERSE AND EXQUISITE BROADWAY SEASON THIS YEAR AND TO GET TO 2810 02:11:12,364 --> 02:11:15,267 BE AMONG THIS INDUSTRY'S FINEST, NAMELY MY FELLOW LEADING LADS. 2811 02:11:15,334 --> 02:11:18,000 THEY PUT US IN A CATEGORY TOGETHER, BUT YOU BOYS ARE ALL 2812 02:11:18,000 --> 02:11:18,570 THEY PUT US IN A CATEGORY TOGETHER, BUT YOU BOYS ARE ALL 2813 02:11:18,637 --> 02:11:21,073 IN A CATEGORY OF YOUR VERY OWN. 2814 02:11:21,139 --> 02:11:24,000 I SHARE THIS WITH ONE OF THE BEST LEADING ACTRESS IS IN A 2815 02:11:24,000 --> 02:11:24,176 I SHARE THIS WITH ONE OF THE BEST LEADING ACTRESS IS IN A 2816 02:11:24,243 --> 02:11:27,179 BROADWAY MUSICAL THE SEASON, HELEN J. 2817 02:11:27,246 --> 02:11:28,513 SHEN. 2818 02:11:28,580 --> 02:11:30,000 [APPLAUSE] I AM SO OF YOU AND YOUR BROADWAY DEBUT FOR THE 2819 02:11:30,000 --> 02:11:32,884 [APPLAUSE] I AM SO OF YOU AND YOUR BROADWAY DEBUT FOR THE 2820 02:11:32,951 --> 02:11:33,552 BOOKS. 2821 02:11:33,619 --> 02:11:34,820 THIS IS WHERE YOU BELONG. 2822 02:11:34,886 --> 02:11:36,000 A LOT OF HUMANS GOT ME HERE, SO THANK YOU, MOM, THANK YOU TO 2823 02:11:36,000 --> 02:11:39,691 A LOT OF HUMANS GOT ME HERE, SO THANK YOU, MOM, THANK YOU TO 2824 02:11:39,758 --> 02:11:42,000 CRAIG AT THE YOUNG CONSERVATORY, FOR SHEPHERDING ME, SEND FOR 2825 02:11:42,000 --> 02:11:42,494 CRAIG AT THE YOUNG CONSERVATORY, FOR SHEPHERDING ME, SEND FOR 2826 02:11:42,561 --> 02:11:46,365 SHEPHERDING ME, SE SO MANY PEOPLE. 2827 02:11:46,431 --> 02:11:48,000 THANK YOU TO ALL OF THE ROBOTS THAT MADE THE HAPPY ENDING 2828 02:11:48,000 --> 02:11:50,302 THANK YOU TO ALL OF THE ROBOTS THAT MADE THE HAPPY ENDING 2829 02:11:50,369 --> 02:11:51,370 POSSIBLE. 2830 02:11:51,637 --> 02:11:54,000 I WILL TELL YOU ABOUT THAT LATER, BUT THE REAL HERO FOR 2831 02:11:54,000 --> 02:11:55,440 I WILL TELL YOU ABOUT THAT LATER, BUT THE REAL HERO FOR 2832 02:11:55,507 --> 02:12:00,000 THIS REMARKABLE JOURNEY IS MY WIFE, MIA, WHO TOOK A MASSIVE 2833 02:12:00,000 --> 02:12:00,279 THIS REMARKABLE JOURNEY IS MY WIFE, MIA, WHO TOOK A MASSIVE 2834 02:12:00,345 --> 02:12:04,650 SWING ON ALLOWING ME TO DO THIS AND TO ALLOW THIS CRAZY PEOPLE 2835 02:12:04,716 --> 02:12:06,000 IN OUR LIFE TO MAKE THIS LOGISTICALLY POSSIBLE AND FOR 2836 02:12:06,000 --> 02:12:07,252 IN OUR LIFE TO MAKE THIS LOGISTICALLY POSSIBLE AND FOR 2837 02:12:07,319 --> 02:12:12,000 BEARING THE BRUNT OF RAISING TWO TINY FRIENDS UNDER THREE SO THAT 2838 02:12:12,000 --> 02:12:13,325 BEARING THE BRUNT OF RAISING TWO TINY FRIENDS UNDER THREE SO THAT 2839 02:12:13,392 --> 02:12:17,396 I COULD RAISE A SINGING ROBOT AT THE THEATER EIGHT TIMES A WEEK. 2840 02:12:17,462 --> 02:12:18,000 YOU ARE THE VERY PEDESTAL THAT UPHOLDS THE SHINY SPINNY BIT IN 2841 02:12:18,000 --> 02:12:24,000 YOU ARE THE VERY PEDESTAL THAT UPHOLDS THE SHINY SPINNY BIT IN 2842 02:12:24,000 --> 02:12:24,369 YOU ARE THE VERY PEDESTAL THAT UPHOLDS THE SHINY SPINNY BIT IN 2843 02:12:24,436 --> 02:12:26,938 OUR LIVES, AND YOUR LOVE AND SUPPORT FOR ME AND OUR BEAUTIFUL 2844 02:12:27,005 --> 02:12:30,000 CHILDREN COMBINED WITH THE MIRACLE WORKING AT SOMETHING AS 2845 02:12:30,000 --> 02:12:30,642 CHILDREN COMBINED WITH THE MIRACLE WORKING AT SOMETHING AS 2846 02:12:30,709 --> 02:12:32,477 MAGICAL AS "MAYBE HAPPY ENDING" HAS BEEN AND WILL ALWAYS BE 2847 02:12:32,544 --> 02:12:33,779 AWARD ENOUGH. 2848 02:12:33,845 --> 02:12:36,000 THIS IS ABOUT LOVE AND MEMORIES SO I WOULD LIKE TO DEDICATE THIS 2849 02:12:36,000 --> 02:12:36,148 THIS IS ABOUT LOVE AND MEMORIES SO I WOULD LIKE TO DEDICATE THIS 2850 02:12:36,214 --> 02:12:38,250 IN LOVING MEMORY TO ONE OF THE GREATEST ROLE MODELS I EVER HAD 2851 02:12:38,317 --> 02:12:42,000 IN ONE OF THE BEST FRIEND I EVER HAD, AND THAT IS MY FATHER, 2852 02:12:42,000 --> 02:12:42,454 IN ONE OF THE BEST FRIEND I EVER HAD, AND THAT IS MY FATHER, 2853 02:12:42,521 --> 02:12:44,423 BILL, AND MY BROTHER, CHUCK. 2854 02:12:44,489 --> 02:12:46,692 CONGRATULATIONS TO YOU ON YOUR ACHIEVEMENTS. 2855 02:12:46,758 --> 02:12:48,000 EVERYONE OUT THERE, BREAK A LEG, AND I'M GOING TO CELEBRATE WITH 2856 02:12:48,000 --> 02:12:49,361 EVERYONE OUT THERE, BREAK A LEG, AND I'M GOING TO CELEBRATE WITH 2857 02:12:49,428 --> 02:12:54,000 MY FAVORITE KIND OF PEOPLE TO PARTY WITH, THEATER PEOPLE! 2858 02:12:54,000 --> 02:12:56,168 MY FAVORITE KIND OF PEOPLE TO PARTY WITH, THEATER PEOPLE! 2859 02:12:56,234 --> 02:13:00,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: NEXT, OPRAH WINFREY 2860 02:13:00,000 --> 02:13:06,000 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: NEXT, OPRAH WINFREY 2861 02:13:06,000 --> 02:13:06,244 [CHEERS AND APPLAUSE] ♪ ♪ >> Announcer: NEXT, OPRAH WINFREY 2862 02:13:07,446 --> 02:13:09,481 AND LIN-MANUEL MIRANDA PRESENT THE FINAL AWARDS. 2863 02:13:09,548 --> 02:13:10,916 ONLY THE ACCOUNTANTS FROM DELOITTE KNOW THE WINNERS. 2864 02:13:10,982 --> 02:13:11,883 THE TONY AWARDS. 2865 02:13:11,950 --> 02:13:12,000 THIS IS CBS. 2866 02:13:12,000 --> 02:13:13,952 THIS IS CBS. 2867 02:13:25,497 --> 02:13:28,367 ♪ ♪ >> Cynthia: WE'RE BACK WITH TONY AWARD WINNING PRODUCER OF 2868 02:13:28,433 --> 02:13:29,434 "THE COLOR PURPLE," MY FRIEND, OPRAH WINFREY. 2869 02:13:29,501 --> 02:13:30,000 [CHEERS AND APPLAUSE] ♪ ♪ 2870 02:13:30,000 --> 02:13:36,000 [CHEERS AND APPLAUSE] ♪ ♪ 2871 02:13:36,000 --> 02:13:39,511 [CHEERS AND APPLAUSE] ♪ ♪ 2872 02:13:48,186 --> 02:13:54,000 >> Oprah: OUR CELEBRATION OF THIS ASTOUNDING YEAR IN LIVE 2873 02:13:54,000 --> 02:13:56,261 >> Oprah: OUR CELEBRATION OF THIS ASTOUNDING YEAR IN LIVE 2874 02:13:56,328 --> 02:14:00,000 THEATER TURNS TO THE WOMEN WHOSE WORK SPARKED LIVELY 2875 02:14:00,000 --> 02:14:01,500 THEATER TURNS TO THE WOMEN WHOSE WORK SPARKED LIVELY 2876 02:14:01,566 --> 02:14:06,000 CONVERSATIONS AMONG THEATER FANS. 2877 02:14:06,000 --> 02:14:07,272 CONVERSATIONS AMONG THEATER FANS. 2878 02:14:07,339 --> 02:14:10,142 A LOT OF TALKING GOING ON. 2879 02:14:10,208 --> 02:14:12,000 [LAUGHTER] THEIR PASSIONATELY DISCUSSED PERFORMANCES DREW 2880 02:14:12,000 --> 02:14:14,413 [LAUGHTER] THEIR PASSIONATELY DISCUSSED PERFORMANCES DREW 2881 02:14:14,479 --> 02:14:17,949 AUDIENCES OF ALL AGES FROM FAR BEYOND TIMES SQUARE TO SEE THEM 2882 02:14:18,016 --> 02:14:22,888 IN PERSON. 2883 02:14:22,954 --> 02:14:24,000 THEY INCLUDE TWO ARTISTS WHO HAVE BEEN EMBRACED FOR THEIR 2884 02:14:24,000 --> 02:14:25,624 THEY INCLUDE TWO ARTISTS WHO HAVE BEEN EMBRACED FOR THEIR 2885 02:14:25,690 --> 02:14:30,000 ELECTRIFYING BROADWAY DEBUTS, DAZZLING PAST TONY NOMINEES, AND 2886 02:14:30,000 --> 02:14:32,731 ELECTRIFYING BROADWAY DEBUTS, DAZZLING PAST TONY NOMINEES, AND 2887 02:14:32,798 --> 02:14:36,000 THE MOST AWARDED PERFORMER IN TONY HISTORY. 2888 02:14:36,000 --> 02:14:40,405 THE MOST AWARDED PERFORMER IN TONY HISTORY. 2889 02:14:40,472 --> 02:14:42,000 [APPLAUSE] HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY AN 2890 02:14:42,000 --> 02:14:45,177 [APPLAUSE] HERE ARE THE NOMINEES FOR BEST PERFORMANCE BY AN 2891 02:14:45,243 --> 02:14:48,000 ACTRESS IN A LEADING ROLE IN A MUSICAL. 2892 02:14:48,000 --> 02:14:49,581 ACTRESS IN A LEADING ROLE IN A MUSICAL. 2893 02:14:49,648 --> 02:14:53,351 ♪ ♪ >> Announcer: MEGAN HILTY, "DEATH BECOMES HER." 2894 02:14:56,621 --> 02:14:57,556 AUDRA MCDONALD, "GYPSY." 2895 02:14:57,622 --> 02:14:59,858 JASMINE AMY ROGERS, "BOOP! 2896 02:14:59,925 --> 02:15:00,000 THE MUSICAL." 2897 02:15:00,000 --> 02:15:01,560 THE MUSICAL." 2898 02:15:01,626 --> 02:15:06,000 NICOLE SCHERZINGER, "SUNSET BLVD." 2899 02:15:06,000 --> 02:15:06,198 NICOLE SCHERZINGER, "SUNSET BLVD." 2900 02:15:06,264 --> 02:15:12,000 JENNIFER SIMARD, "DEATH BECOMES HER." 2901 02:15:12,000 --> 02:15:12,971 JENNIFER SIMARD, "DEATH BECOMES HER." 2902 02:15:13,038 --> 02:15:18,000 [APPLAUSE] >> Oprah: AND THE TONY AWARD GOES TO... 2903 02:15:18,000 --> 02:15:18,910 [APPLAUSE] >> Oprah: AND THE TONY AWARD GOES TO... 2904 02:15:18,977 --> 02:15:22,013 FOR BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A 2905 02:15:22,080 --> 02:15:24,000 MUSICAL... 2906 02:15:24,000 --> 02:15:29,888 MUSICAL... 2907 02:15:29,955 --> 02:15:30,000 NICOLE SCHERZINGER! 2908 02:15:30,000 --> 02:15:32,157 NICOLE SCHERZINGER! 2909 02:15:32,224 --> 02:15:36,000 [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Announcer: NICOLE SCHERZINGER 2910 02:15:36,000 --> 02:15:42,000 [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Announcer: NICOLE SCHERZINGER 2911 02:15:42,000 --> 02:15:42,234 [CHEERS AND APPLAUSE] ♪ ♪ ♪ ♪ >> Announcer: NICOLE SCHERZINGER 2912 02:15:46,771 --> 02:15:48,000 WINS HER FIRST TONY AWARD FOR HER PERFORMANCE AS FADING 2913 02:15:48,000 --> 02:15:50,742 WINS HER FIRST TONY AWARD FOR HER PERFORMANCE AS FADING 2914 02:15:50,809 --> 02:15:54,000 HOLLYWOOD STAR NORMA DESMOND. 2915 02:15:54,000 --> 02:16:00,000 HOLLYWOOD STAR NORMA DESMOND. 2916 02:16:00,000 --> 02:16:00,819 HOLLYWOOD STAR NORMA DESMOND. 2917 02:16:03,522 --> 02:16:06,000 [CHEERS AND APPLAUSE] >> OKAY, Y'ALL SIT DOWN, BECAUSE THEY 2918 02:16:06,000 --> 02:16:12,000 [CHEERS AND APPLAUSE] >> OKAY, Y'ALL SIT DOWN, BECAUSE THEY 2919 02:16:12,000 --> 02:16:13,532 [CHEERS AND APPLAUSE] >> OKAY, Y'ALL SIT DOWN, BECAUSE THEY 2920 02:16:15,133 --> 02:16:18,000 SAID WE ONLY HAVE 90 SECONDS. 2921 02:16:18,000 --> 02:16:18,837 SAID WE ONLY HAVE 90 SECONDS. 2922 02:16:18,904 --> 02:16:24,000 [LAUGHTER] FIRST OF ALL, I JUST HAVE TO THANK GOD, FOR CARRYING 2923 02:16:24,000 --> 02:16:28,947 [LAUGHTER] FIRST OF ALL, I JUST HAVE TO THANK GOD, FOR CARRYING 2924 02:16:29,381 --> 02:16:30,000 ME EVERY STEP OF THE WAY. 2925 02:16:30,000 --> 02:16:33,385 ME EVERY STEP OF THE WAY. 2926 02:16:33,451 --> 02:16:36,000 I GIVE YOU ALL THE GLORY. 2927 02:16:36,000 --> 02:16:38,690 I GIVE YOU ALL THE GLORY. 2928 02:16:38,757 --> 02:16:42,000 OKAY, LOOK, Y'ALL KNOW THIS BROADER SCHEDULE IS HARD CORE. 2929 02:16:42,000 --> 02:16:47,065 OKAY, LOOK, Y'ALL KNOW THIS BROADER SCHEDULE IS HARD CORE. 2930 02:16:47,132 --> 02:16:48,000 I GOTS TO KEEP IT REAL. 2931 02:16:48,000 --> 02:16:48,900 I GOTS TO KEEP IT REAL. 2932 02:16:48,967 --> 02:16:51,636 I'M HONORED TO BE RECOGNIZED ALONGSIDE THESE EXCEPTIONAL 2933 02:16:51,703 --> 02:16:52,571 WARRIOR WOMEN IN THIS CATEGORY. 2934 02:16:52,637 --> 02:16:54,000 I WANT TO THANK YOU ALL SO MUCH. 2935 02:16:54,000 --> 02:16:54,339 I WANT TO THANK YOU ALL SO MUCH. 2936 02:16:54,406 --> 02:16:56,207 THIS IS GOING TO GO REALLY FAST. 2937 02:16:56,274 --> 02:17:00,000 FOR MAKING THIS LITTLE HAWAIIAN UKRAINIAN FILIPINO GIRL'S DREAM 2938 02:17:00,000 --> 02:17:01,179 FOR MAKING THIS LITTLE HAWAIIAN UKRAINIAN FILIPINO GIRL'S DREAM 2939 02:17:01,246 --> 02:17:01,780 COME TRUE. 2940 02:17:01,846 --> 02:17:03,081 SO PROUD TO REPRESENT. 2941 02:17:03,148 --> 02:17:06,000 I WANT TO THANK MY MOM, WHO HAD ME AT 18 AND GAVE EVERYTHING UP 2942 02:17:06,000 --> 02:17:06,651 I WANT TO THANK MY MOM, WHO HAD ME AT 18 AND GAVE EVERYTHING UP 2943 02:17:06,718 --> 02:17:07,953 FOR ME. 2944 02:17:08,019 --> 02:17:12,000 MY DAD, MY SISTER, MY PAPA WHO INSTILLED IN ME AN UNSHAKABLE 2945 02:17:12,000 --> 02:17:15,627 MY DAD, MY SISTER, MY PAPA WHO INSTILLED IN ME AN UNSHAKABLE 2946 02:17:15,694 --> 02:17:16,428 FAITH. 2947 02:17:16,928 --> 02:17:18,000 MY OHANA, A 5,000 OF YOU, YOU DIDN'T KNOW I LOVE YOU. 2948 02:17:18,000 --> 02:17:20,332 MY OHANA, A 5,000 OF YOU, YOU DIDN'T KNOW I LOVE YOU. 2949 02:17:20,398 --> 02:17:23,735 TO MY FIANCE, TOM, WHO BELIEVES IN YOU AND I FORGET TO BELIEVE 2950 02:17:23,802 --> 02:17:24,000 IN MYSELF. 2951 02:17:24,000 --> 02:17:25,737 IN MYSELF. 2952 02:17:25,804 --> 02:17:27,038 ANDREW LLOYD WEBBER. 2953 02:17:27,105 --> 02:17:28,473 IT HAPPENED, AND TRUE. 2954 02:17:28,540 --> 02:17:30,000 IT HAS BEEN SUCH AN HONOR TO BE ABLE TO CREATE WITH YOU THE PAST 2955 02:17:30,000 --> 02:17:31,042 IT HAS BEEN SUCH AN HONOR TO BE ABLE TO CREATE WITH YOU THE PAST 2956 02:17:31,109 --> 02:17:33,411 15 YEARS. 2957 02:17:33,478 --> 02:17:36,000 [LISTING NAMES] YOU SO MUCH FOR LETTING ME EVERY SINGLE NIGHT. 2958 02:17:36,000 --> 02:17:42,000 [LISTING NAMES] YOU SO MUCH FOR LETTING ME EVERY SINGLE NIGHT. 2959 02:17:42,000 --> 02:17:42,087 [LISTING NAMES] YOU SO MUCH FOR LETTING ME EVERY SINGLE NIGHT. 2960 02:17:42,153 --> 02:17:43,822 AND EVERY PERFORMANCE. 2961 02:17:43,888 --> 02:17:47,325 YOU ARE EXTERIOR CAST, CREW, PRODUCERS, CREATIVES, I'M 2962 02:17:47,392 --> 02:17:48,000 FOREVER GRATEFUL FOR YOU, AND WE KILLED THAT MATINEE TODAY. 2963 02:17:48,000 --> 02:17:51,696 FOREVER GRATEFUL FOR YOU, AND WE KILLED THAT MATINEE TODAY. 2964 02:17:51,763 --> 02:17:52,397 LITERALLY. 2965 02:17:52,464 --> 02:17:54,000 IT'S NO JOKE, THIS SCHEDULE. 2966 02:17:54,000 --> 02:17:55,467 IT'S NO JOKE, THIS SCHEDULE. 2967 02:17:55,533 --> 02:17:57,869 LITERALLY. 2968 02:17:57,936 --> 02:18:00,000 AND JOE, I LOVE YOU. 2969 02:18:00,000 --> 02:18:00,705 AND JOE, I LOVE YOU. 2970 02:18:00,772 --> 02:18:02,240 MYLA, JENNY, CRUSH. 2971 02:18:02,307 --> 02:18:03,541 [LISTING NAMES] ALL THE OTHER BILLION HUMAN FRIENDS WHO 2972 02:18:03,608 --> 02:18:05,043 SUPPORT ME, YOU KNOW WHO YOU ARE. 2973 02:18:05,110 --> 02:18:06,000 JAMIE LLOYD, YOU SAW IN ME WHAT NO ONE ELSE DID. 2974 02:18:06,000 --> 02:18:08,713 JAMIE LLOYD, YOU SAW IN ME WHAT NO ONE ELSE DID. 2975 02:18:08,780 --> 02:18:12,000 YOU HAVE GIVEN US ALL NEW WAYS TO DREAM AND YOU HAVE CHANGED MY 2976 02:18:12,000 --> 02:18:14,519 YOU HAVE GIVEN US ALL NEW WAYS TO DREAM AND YOU HAVE CHANGED MY 2977 02:18:14,586 --> 02:18:15,720 LIFE FOREVER. 2978 02:18:15,787 --> 02:18:17,022 LISTEN, I'M ALMOST DONE. 2979 02:18:17,088 --> 02:18:18,000 GROWING UP I ALWAYS FELT LIKE I DIDN'T BELONG, BUT YOU ALL HAVE 2980 02:18:18,000 --> 02:18:21,192 GROWING UP I ALWAYS FELT LIKE I DIDN'T BELONG, BUT YOU ALL HAVE 2981 02:18:21,259 --> 02:18:24,000 MADE ME FEEL LIKE I BELONG, AND I HAVE COME HOME AT LAST. 2982 02:18:24,000 --> 02:18:28,900 MADE ME FEEL LIKE I BELONG, AND I HAVE COME HOME AT LAST. 2983 02:18:28,967 --> 02:18:30,000 [APPLAUSE] SO IF THERE'S ANYONE OUT THERE WHO FEELS LIKE THEY 2984 02:18:30,000 --> 02:18:34,706 [APPLAUSE] SO IF THERE'S ANYONE OUT THERE WHO FEELS LIKE THEY 2985 02:18:34,773 --> 02:18:36,000 DON'T BELONG, OR YOUR TIME HASN'T COME, DON'T GIVE UP. 2986 02:18:36,000 --> 02:18:39,878 DON'T BELONG, OR YOUR TIME HASN'T COME, DON'T GIVE UP. 2987 02:18:39,944 --> 02:18:42,000 JUST KEEP ON GIVING AND GIVING, BECAUSE THE WORLD NEEDS YOUR 2988 02:18:42,000 --> 02:18:44,149 JUST KEEP ON GIVING AND GIVING, BECAUSE THE WORLD NEEDS YOUR 2989 02:18:44,215 --> 02:18:45,717 LOVE AND YOUR LIGHT NOW MORE THAN EVER. 2990 02:18:45,784 --> 02:18:48,000 THIS IS A TESTAMENT THAT LOVES ALWAYS WINS. 2991 02:18:48,000 --> 02:18:51,189 THIS IS A TESTAMENT THAT LOVES ALWAYS WINS. 2992 02:18:51,256 --> 02:18:51,656 THANK YOU SO MUCH. 2993 02:18:51,723 --> 02:18:54,000 GOD BESS YOU. 2994 02:18:54,000 --> 02:18:56,494 GOD BESS YOU. 2995 02:18:56,561 --> 02:19:00,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME FOUR-TIME TONY 2996 02:19:00,000 --> 02:19:06,000 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME FOUR-TIME TONY 2997 02:19:06,000 --> 02:19:06,571 [APPLAUSE] ♪ ♪ ♪ ♪ >> Cynthia: PLEASE WELCOME FOUR-TIME TONY 2998 02:19:07,539 --> 02:19:12,000 AWARD WINNER LIN-MANUEL MIRANDA. 2999 02:19:12,000 --> 02:19:14,345 AWARD WINNER LIN-MANUEL MIRANDA. 3000 02:19:14,412 --> 02:19:16,381 >> Lin: IT'S FINALLY HERE, THE MOST EAGERLY ANTICIPATED MOMENT 3001 02:19:16,448 --> 02:19:18,000 OF THE NIGHT, WHEN THIS STAGE IS RUSHED BY PRODUCERS. 3002 02:19:18,000 --> 02:19:21,486 OF THE NIGHT, WHEN THIS STAGE IS RUSHED BY PRODUCERS. 3003 02:19:21,553 --> 02:19:23,655 [LAUGHTER] THROUGHOUT THE EVENING, WE'VE ENJOYED 3004 02:19:23,722 --> 02:19:24,000 PERFORMANCES FROM THE SHOW WAS NOMINATED FOR OUR FINAL AWARD. 3005 02:19:24,000 --> 02:19:25,724 PERFORMANCES FROM THE SHOW WAS NOMINATED FOR OUR FINAL AWARD. 3006 02:19:25,790 --> 02:19:30,000 ONCE AGAIN, HERE ARE THE NOMINEES FOR BEST MUSICAL. 3007 02:19:30,000 --> 02:19:30,695 ONCE AGAIN, HERE ARE THE NOMINEES FOR BEST MUSICAL. 3008 02:19:30,762 --> 02:19:35,633 >> Announcer: "BUENA VISTA SOCIAL CLUB." 3009 02:19:35,700 --> 02:19:36,000 "DEAD OUTLAW." 3010 02:19:36,000 --> 02:19:42,000 "DEAD OUTLAW." 3011 02:19:42,000 --> 02:19:43,375 "DEAD OUTLAW." 3012 02:19:43,441 --> 02:19:47,912 "DEATH BECOMES HER." 3013 02:19:47,979 --> 02:19:48,000 "MAYBE HAPPY ENDING." 3014 02:19:48,000 --> 02:19:54,000 "MAYBE HAPPY ENDING." 3015 02:19:54,000 --> 02:19:56,788 "MAYBE HAPPY ENDING." 3016 02:19:56,855 --> 02:20:00,000 "OPERATION MINCEMEAT: A NEW MUSICAL." 3017 02:20:00,000 --> 02:20:04,896 "OPERATION MINCEMEAT: A NEW MUSICAL." 3018 02:20:04,963 --> 02:20:06,000 [APPLAUSE] >> Lin: AND THE TONY AWARD GOES TO... 3019 02:20:06,000 --> 02:20:12,000 [APPLAUSE] >> Lin: AND THE TONY AWARD GOES TO... 3020 02:20:12,000 --> 02:20:14,939 [APPLAUSE] >> Lin: AND THE TONY AWARD GOES TO... 3021 02:20:15,006 --> 02:20:17,575 "MAYBE HAPPY ENDING." 3022 02:20:17,642 --> 02:20:18,000 [CHEERS AND APPLAUSE] >> Announcer: ACCEPTING THE AWARD 3023 02:20:18,000 --> 02:20:22,714 [CHEERS AND APPLAUSE] >> Announcer: ACCEPTING THE AWARD 3024 02:20:22,781 --> 02:20:24,000 FOR "MAYBE HAPPY ENDING," PRODUCER JEFFREY RICHARDS. 3025 02:20:24,000 --> 02:20:30,000 FOR "MAYBE HAPPY ENDING," PRODUCER JEFFREY RICHARDS. 3026 02:20:30,000 --> 02:20:32,824 FOR "MAYBE HAPPY ENDING," PRODUCER JEFFREY RICHARDS. 3027 02:20:33,258 --> 02:20:36,000 [APPLAUSE] ♪ ♪ >> WE ARE SO HONORED TO RECEIVE THIS AWARD, 3028 02:20:36,000 --> 02:20:42,000 [APPLAUSE] ♪ ♪ >> WE ARE SO HONORED TO RECEIVE THIS AWARD, 3029 02:20:42,000 --> 02:20:43,234 [APPLAUSE] ♪ ♪ >> WE ARE SO HONORED TO RECEIVE THIS AWARD, 3030 02:20:51,342 --> 02:20:54,000 FOR THIS MAGICAL, MELODICAL, HEARTFELT, THRILLING SHOW THAT'S 3031 02:20:54,000 --> 02:20:57,582 FOR THIS MAGICAL, MELODICAL, HEARTFELT, THRILLING SHOW THAT'S 3032 02:20:57,649 --> 02:21:00,000 BEEN TELLING AUDIENCES AT THE BELASCO THEATER SINCE LAST FALL. 3033 02:21:00,000 --> 02:21:00,351 BEEN TELLING AUDIENCES AT THE BELASCO THEATER SINCE LAST FALL. 3034 02:21:00,418 --> 02:21:04,789 AND I WANT TO SALUTE PEOPLE YOU'VE ALREADY SALUTED TONIGHT. 3035 02:21:04,856 --> 02:21:06,000 OUR AUTHORS, WILL ARONSON AND HUE PARK, OUR BRILLIANT 3036 02:21:06,000 --> 02:21:09,527 OUR AUTHORS, WILL ARONSON AND HUE PARK, OUR BRILLIANT 3037 02:21:09,594 --> 02:21:10,795 DIRECTOR, MICHAEL ARDEN. 3038 02:21:10,862 --> 02:21:12,000 HUE PARK, AS HE IS MENTIONED MORE THAN ONCE, IS STILL SINGLE. 3039 02:21:12,000 --> 02:21:16,034 HUE PARK, AS HE IS MENTIONED MORE THAN ONCE, IS STILL SINGLE. 3040 02:21:16,100 --> 02:21:18,000 [LAUGHTER] AND ALSO I WANT TO THANK ALL OF THE WONDERFUL 3041 02:21:18,000 --> 02:21:19,437 [LAUGHTER] AND ALSO I WANT TO THANK ALL OF THE WONDERFUL 3042 02:21:19,504 --> 02:21:24,000 PRODUCERS WHO JOINED TO MAKE THIS SHOW HAPPEN AND ESPECIALLY 3043 02:21:24,000 --> 02:21:24,275 PRODUCERS WHO JOINED TO MAKE THIS SHOW HAPPEN AND ESPECIALLY 3044 02:21:24,342 --> 02:21:30,000 OUR GENERAL MANAGEMENT WHO HAVE GUIDED US THROUGH THIS ENTIRE 3045 02:21:30,000 --> 02:21:34,352 OUR GENERAL MANAGEMENT WHO HAVE GUIDED US THROUGH THIS ENTIRE 3046 02:21:36,154 --> 02:21:36,621 SEASON. 3047 02:21:37,522 --> 02:21:38,756 >> I JUST WANT TO SAY THIS IS FOR ALL THE AUDIENCES THROUGH 3048 02:21:38,823 --> 02:21:39,891 ALL THE WORLD THEY CAME TO SEE LIVE THEATER THIS YEAR, AND MORE 3049 02:21:39,958 --> 02:21:42,000 PORTLY FOR OUR FRIENDS, FAMILIES, SPOUSES WORKING AT 3050 02:21:42,000 --> 02:21:43,194 PORTLY FOR OUR FRIENDS, FAMILIES, SPOUSES WORKING AT 3051 02:21:43,261 --> 02:21:45,530 HOME, LIKE MY HUSBAND JASON HAS HELD ME WHEN I BATTERIES WERE 3052 02:21:45,597 --> 02:21:47,332 LOW AND PUT UP WITH THIS OBSOLETE MODEL. 3053 02:21:47,398 --> 02:21:48,000 WE COULD NOT DO IT WITHOUT OUR SUPPORT SYSTEMS. 3054 02:21:48,000 --> 02:21:49,901 WE COULD NOT DO IT WITHOUT OUR SUPPORT SYSTEMS. 3055 02:21:49,968 --> 02:21:54,000 WE LOVE YOU, WE SEE YOU, WE THANK YOU. 3056 02:21:54,000 --> 02:21:54,906 WE LOVE YOU, WE SEE YOU, WE THANK YOU. 3057 02:21:54,973 --> 02:21:55,607 GOOD NIGHT. 3058 02:21:55,673 --> 02:22:00,000 [CHEERS AND APPLAUSE] ♪ ♪ 3059 02:22:00,000 --> 02:22:05,683 [CHEERS AND APPLAUSE] ♪ ♪ 3060 02:22:08,152 --> 02:22:12,000 ♪ ♪ >> Cynthia: CONGRATULATIONS TO "MAYBE HAPPY ENDING," AND 3061 02:22:12,000 --> 02:22:18,000 ♪ ♪ >> Cynthia: CONGRATULATIONS TO "MAYBE HAPPY ENDING," AND 3062 02:22:18,000 --> 02:22:18,162 ♪ ♪ >> Cynthia: CONGRATULATIONS TO "MAYBE HAPPY ENDING," AND 3063 02:22:20,765 --> 02:22:22,000 CONGRATULATIONS TO EVERYONE TONIGHT. 3064 02:22:22,066 --> 02:22:23,701 IT'S BEEN AN AMAZING NIGHT, BUT NOW IT'S TIME TO GO, SO THERE'S 3065 02:22:27,672 --> 02:22:30,000 ♪ ♪ ♪ AND I AM TELLING YOU ♪ ♪ I AM GOING ♪ ♪ THIS WAS THE BEST 3066 02:22:30,000 --> 02:22:36,000 ♪ ♪ ♪ AND I AM TELLING YOU ♪ ♪ I AM GOING ♪ ♪ THIS WAS THE BEST 3067 02:22:36,000 --> 02:22:37,715 ♪ ♪ ♪ AND I AM TELLING YOU ♪ ♪ I AM GOING ♪ ♪ THIS WAS THE BEST 3068 02:22:38,716 --> 02:22:42,000 TIME I'LL EVER KNOW ♪ ♪ JUST ONE LOOK BACK AND THEN IT'S TIME TO 3069 02:22:42,000 --> 02:22:45,390 TIME I'LL EVER KNOW ♪ ♪ JUST ONE LOOK BACK AND THEN IT'S TIME TO 3070 02:22:45,456 --> 02:22:48,000 GO ♪ ♪ THE EVENING STARTED WHEN SARAH SNOOK WON ♪ ♪ THEN A TONY 3071 02:22:48,000 --> 02:22:54,000 GO ♪ ♪ THE EVENING STARTED WHEN SARAH SNOOK WON ♪ ♪ THEN A TONY 3072 02:22:54,000 --> 02:22:55,466 GO ♪ ♪ THE EVENING STARTED WHEN SARAH SNOOK WON ♪ ♪ THEN A TONY 3073 02:22:56,701 --> 02:23:00,000 FOR "PURPOSE" BUT WE'D JUST BEGUN ♪ COLE CAUSED QUITE A 3074 02:23:00,000 --> 02:23:06,000 FOR "PURPOSE" BUT WE'D JUST BEGUN ♪ COLE CAUSED QUITE A 3075 02:23:06,000 --> 02:23:06,711 FOR "PURPOSE" BUT WE'D JUST BEGUN ♪ COLE CAUSED QUITE A 3076 02:23:10,481 --> 02:23:12,000 SCENE ♪ 3077 02:23:12,000 --> 02:23:13,017 SCENE ♪ 3078 02:23:14,519 --> 02:23:18,000 ♪ BROADWAY'S NEW QUEEN ♪ ♪ AND I AM TELLING YOU ♪ ♪ SOON, I'M 3079 02:23:18,000 --> 02:23:24,000 ♪ BROADWAY'S NEW QUEEN ♪ ♪ AND I AM TELLING YOU ♪ ♪ SOON, I'M 3080 02:23:24,000 --> 02:23:24,562 ♪ BROADWAY'S NEW QUEEN ♪ ♪ AND I AM TELLING YOU ♪ ♪ SOON, I'M 3081 02:23:24,829 --> 02:23:30,000 GOING ♪ ♪ AND THIS NIGHT WAS SO GAY! 3082 02:23:30,000 --> 02:23:30,535 GOING ♪ ♪ AND THIS NIGHT WAS SO GAY! 3083 02:23:30,601 --> 02:23:32,437 ♪ ♪ SO, SO, SO, SO GAY ♪ ♪ "OH, MARY!" 3084 02:23:32,503 --> 02:23:36,000 THAT'S BROADWAY ♪ ♪ I'M DONE HOSTING, BUT START TOASTING ♪ ♪ 3085 02:23:36,000 --> 02:23:36,708 THAT'S BROADWAY ♪ ♪ I'M DONE HOSTING, BUT START TOASTING ♪ ♪ 3086 02:23:36,774 --> 02:23:42,000 'CAUSE YOU, AND YOU, AND YOU ♪ ♪ YOU WON A TONY ♪ 3087 02:23:42,000 --> 02:23:46,784 'CAUSE YOU, AND YOU, AND YOU ♪ ♪ YOU WON A TONY ♪ 3088 02:23:50,388 --> 02:23:54,000 ♪ THIS WAS THE TONYS ♪ ♪ TONYS ♪ ♪ THIS WAS THE TONYS ♪ ♪ ♪ 3089 02:23:54,000 --> 02:24:00,000 ♪ THIS WAS THE TONYS ♪ ♪ TONYS ♪ ♪ THIS WAS THE TONYS ♪ ♪ ♪ 3090 02:24:00,000 --> 02:24:00,398 ♪ THIS WAS THE TONYS ♪ ♪ TONYS ♪ ♪ THIS WAS THE TONYS ♪ ♪ ♪ 3091 02:24:14,979 --> 02:24:18,000 [CHEERS AND APPLAUSE] 3092 02:24:18,000 --> 02:24:24,000 [CHEERS AND APPLAUSE] 3093 02:24:24,000 --> 02:24:24,989 [CHEERS AND APPLAUSE] 3094 02:24:27,525 --> 02:24:30,000 THANK YOU VERY MUCH, EVERYONE. 3095 02:24:30,000 --> 02:24:30,094 THANK YOU VERY MUCH, EVERYONE. 3096 02:24:30,161 --> 02:24:31,162 GOOD NIGHT. 264808