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*
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*
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[CHEERS AND APPLAUSE]
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* I'M FLYING, FLYING
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FLYING, FLYING *
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* LOOK AT ME, WAY UP HIGH
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* SUDDENLY, HERE AM I
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>> HEY, STOP, STOP, STOP!
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[APPLAUSE]
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HEY.
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IT'S BEEN A MINUTE.
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WHAT ARE YOU DOING?
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WHAT HAS HAPPENED?
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>> I'M THE HOST!
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I'M DOING THE BIG TONYS OPENING
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NUMBER!
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[APPLAUSE]
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THANK YOU.
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>> BUT HAVEN'T YOU HEARD?
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THE FLYING TWINKS ARE ALL
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VAMPIRES NOW.
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[LAUGHTER]
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>> I JUST WANT TO SHOW HOW MUCH
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I LOVE THEATER, EVEN THOUGH I'V
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NEVER BEEN ON BROADWAY.
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>> YEAH, BUT YOU'RE P!NK.
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YOU CAN DO ANYTHING!
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WHERE DID YOU GO?
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>> I'M HERE.
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>> I'M CONCERNED THAT SOME
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PEOPLE WILL BE LIKE, "WHY IS
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P!NK HOSTING THE TONYS?"
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AND I WANT TO MAKE SURE THEY
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KNOW I'M THRILLED TO BE HERE.
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THANK YOU FOR HAVING ME!
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AND I WANT MY OPENING TO
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BE AS "BROADWAY" AS POSSIBLE.
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>> AND SO YOU WENT WITH
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"PETER PAN?"
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[LAUGHTER]
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>> OKAY, WHAT ABOUT --
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* THE PHANTOM OF THE OPERA IS
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THERE -- *
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>> NO, PLEASE.
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>> * ON MY OWN
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>> THAT'LL BE LATER BE LATER.
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>> THAT YOU'LL LIKE THIS ONE.
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[ELPHABA-STYLE VOCALIZING]
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>> NO!
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PUT ME DOWN!
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>> YOU ARE NO FUN.
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>> WITCH, PLEASE!
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LISTEN -- YOU'RE P!NK.
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YOU'RE SINGULAR.
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YOU'RE THE BEST!
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AND SO IS BROADWAY!
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SO JUST DO WHAT YOU DO, AND IT'
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GOING TO BE A GREAT NIGHT.
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JUST BE YOU, OKAY?
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GO CHANGE INTO SOMETHING
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MORE P!NK-LIKE, LESS PAN-ISH,
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AND IT'S GOING TO BE GREAT.
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[LAUGHS]
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SHE'S GOING TO NEED SOME HELP.
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>> * HEY, SISTER, GO, SISTER
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* SOUL SISTER, FLOW SISTER
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>> * HEY, SISTER, GO, SISTER
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* SOUL SISTER, FLOW SISTER
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>> * HEY, SISTER, GO, SISTER
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* SOUL SISTER, FLOW SISTER
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>> * HEY, SISTER, GO, SISTER
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* SOUL SISTER, FLOW SISTER
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>> * HEY, SISTER, GO, SISTER
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* SOUL SISTER, FLOW SISTER
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* HEY, SISTER, GO, SISTER
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* SOUL SISTER, FLOW SISTER
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* HERE'S YOUR LEADING LADY
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MARMALADE *
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*
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>> * IT'S THE LEADING LADY
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MARMALADE *
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[CHEERS AND APPLAUSE]
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*
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RADIO CITY, HOW Y'ALL FEELING?
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[CHEERS AND APPLAUSE]
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THIS IS HOW P!NK OPENS!
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* WE LOVE WHEN A DIVA LIGHTS UP
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OLD BROADWAY *
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* STRUTTIN' HER STUFF WITH SOME
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STYLE *
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* SO, HELLO, HEY, SHO'
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* YOU WANT TO GIVE IT A GO?
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>> * TONYS, WE'RE ABOUT TO GET
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WILD! *
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>> * DON'T YOU WORRY, THERE'S
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MORE LEADING LADIES IN STORE *
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>> * CELINE'S GONNA BELT ON A
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BOAT, OH, YEAH *
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>> * WE'LL HAVE GLAMOUR AND
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GLITZ *
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>> * AND CHRISTIANI PITTS!
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>> * SO DON'TCHA, DON'TCHA
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TOUCH THAT REMOTE *
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*
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>> * GITCHIE, GITCHIE,
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LESLEY MANVILLE *
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* GITCHIE, GITCHIE,
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CARRIE COON *
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>> * PHENOMENAL NOMS FILL YOUR
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PLAYBILL *
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* IT'S GIVING LEADING LADY
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MARMALADE *
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*
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>> SHALL WE GO FOR IT?
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* "LIBERATION," "PROOF,"
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"BECKY SHAW," CE SOIR *
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* ROSE BYRNE AND KELLI O'HARA
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* HALF THESE NOMS HAVE PLAYED
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ELPHABA, CE SOIR *
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>> * LET'S DANCE LIKE TIKTOK
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MOMS FROM UTAH *
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>> * STEPHANIE HSU, RACHEL
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DRATCH, WHAT A MATCH, STEALING
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SCENES *
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* NICHELLE AND CAISSIE BROUGHT
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RAG BACK ON THE BOARDS *
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>> * SOME LEADING LADIES ARE
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REIGNING AS TRUE CHESS QUEENS *
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>> * AND WE DON'T DO IT FOR THE
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AWARDS *
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>> * GITCHIE, GITCHIE.
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BETSY AIDEM *
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* SQUIBBY, SQUIBBY, SQUIBBY
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JUNE *
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>> * ALL THE PARTS I PLAYED, I
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SLAYED 'EM *
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* LEADING LADY MARMALA-LA-LA,
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LA-LA *
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*
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*
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>> IN 2026, THE TONY AWARDS WER
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HOSTED SOUTH OF NEW ROCHELLE, A
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THE CORNER OF 50TH STREET AND
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THE AVENUE OF THE AMERICAS.
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THE LYRICS TO "LADY MARMALADE"
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WERE REWRITTEN FOR THE OCCASION
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FOR P!NK WAS HOSTING.
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AND IT WAS DETERMINED THE RHYTH
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AND POETRY PORTION OF THE SONG
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WOULD BE PERFORMED BY MEGAN, A
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STALLION FROM THEE.
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[APPLAUSE]
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>> THE THEATER IS MOTHA'S
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DOMAIN!
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I DON'T EVEN KNOW THOSE GUYS.
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THEY WERE JUST TWO STRANGERS
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CARRYING SOME CAKE.
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[CHEERS AND APPLAUSE]
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*
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[RAPPING]
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* WE COME THROUGH WITH A BOLD
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SET OF NOMINEES *
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* FROM THE NEW TO THE OLD
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DEUTERONOMIES *
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* TONIGHT WE'RE RIGHT WHERE WE
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WANT TO BE *
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* CELEBRATE COMMUNITY IN THIS
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ECONOMY *
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* 'CAUSE WHETHER YOU WIN OR
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WHETHER YOU LOSE *
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* WE'RE ALL BAD-ASS CHICKS FROM
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THE MOULIN ROUGE *
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>> * WE PROVED REVIVALS AND
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RELICS AT ALL *
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>> * ROCKY HORROR.
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PSYCHEDELICS *
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>> * AND THE JELLICLE BALL
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*
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>> * WE GOT HIGH WIRE
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VAMPIRES *
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>> * GLAM GOTH EVIL
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>> * LOST BOYS IN HARNESSES
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>> * BUT NOT AT THE EAGLE
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>> * JACK AND ROSE FROZE, BUT
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THEIR SINGING THE HITS *
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* ON THE TITANIQUE AS THE
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ICEBERG SPLITS *
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*
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>> * SUSANNAH FLOOD IN A MEMORY
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PLAY *
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* MARYLOUISE AND THE H-O-A!
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* SOME SHOWS WE WERE STOIC IN
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* SOME WE WERE FLASHY IN
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* GOT AYA CASH AND A DASH OF
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KARDASHIAN *
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* JOE TURNER'S GONE, BUT
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TARAJI'S HERE *
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* MINDELLE, GRIZABELLA, IT'S A
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HELLUVA YEAR *
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*
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*
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>> WOW, AM I IN A MUSICAL?
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>> YEAH!
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>> WHAT IS P!NK DOING HERE?
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>> * DANCING, SINGING, HOPE
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PRODUCERS NOTICE *
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>> * I HEAR THEY ONLY CAST YOU
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IF YOU'RE ON "WHITE LOTUS" *
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>> NOT TONIGHT!
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TONIGHT YOU'RE LEADING LADY!
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>> I AM?
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>> YOU'RE SARA CHASE!
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YOU AND YOUR COSTAR,
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ANA GASTEYER, ARE NOMINATED FOR
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TONY AWARDS!
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>> WE ARE?
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I AM?
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I'M IN THE --
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* LEADING LADY MARMALADE
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>> * THE LEADING LADY
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MARMALADE *
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>> * HEY, SISTERS, SOUL
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SISTERS *
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* DON'T FORGET YOUR BROS,
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SISTERS *
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>> HEY, SISTERS, ALL SISTERS *
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* PROTECT THE DOLLS, SISTERS
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[CHEERS AND APPLAUSE]
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>> * MORE, MORE, MORE
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* ALECIA MOORE, MOORE, MOORE!
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*
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>> * GITCHIE, GITCHIE, LAURIE
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METCALF *
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* SCHMIGA, SCHMIGA, SCHMIGADOON
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DOON, DOON, YEAH *
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* DANNY RADDY-CLIFFE AND.
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RIFF RAFF *
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* LEADING LADY MARMALADE
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>> [IMITATING PADDINGTON BEAR]
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* MAR, MAR-MAR-MAR MAR,
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MAR-MAR-MAR MARMALADE *
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>> MAYBE NEXT SEASON.
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>> SPOILERS!
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>> * STANDING ON STAGE AT THE
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TONY AWARDS *
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* 10-YEAR-OLD ME IS LIKE, OH, M
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GOD *
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* THIS AIN'T ChatGPT, THIS
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AIN'T CLAUDE *
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* THIS IS LIVE
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* SO I HOPE YOU APPLAUD
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* FOR THIS CAST, THE WHOLE
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TEAM *
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* EVERY KID WITH A DREAM
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* EVERY LEADING LADY
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MARMALADE *
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* ON STAGE OR BACKSTAGE OR
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USHERS ON CALL *
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* YOU'RE PART OF THIS ART WE
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ADORE *
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* WHETHER YOU'RE RUNNING FOR
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YEARS OR YOU CLOSED IN THE
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FALL *
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* OR YOU'RE BUSTING YOUR BUTT O
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TOUR *
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* TOUR, TOUR, TOUR
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* IT'S BROADWAY'S BIGGEST
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NIGHT *
269
00:08:59,080 --> 00:09:01,880
* YAS, MAMA, CE SOIR
270
00:09:01,880 --> 00:09:02,720
* BRING YOUR KIDS AND
271
00:09:02,720 --> 00:09:06,320
MOTHER-IN-LAW *
272
00:09:06,320 --> 00:09:07,180
* MAYBE NEXT YEAR THEY'LL GET
273
00:09:07,180 --> 00:09:10,620
LADY GAGA, CE SOIR *
274
00:09:10,620 --> 00:09:12,520
>> SHE WOULD BE AMAZING!
275
00:09:12,520 --> 00:09:13,950
>> * IT'S THE LEADING LADY
276
00:09:13,950 --> 00:09:16,550
MARMALADE *
277
00:09:16,550 --> 00:09:27,980
* WELCOME TO THE TONY AWARDS!
278
00:09:27,980 --> 00:09:29,080
* YEAH
279
00:09:29,080 --> 00:09:45,380
[CHEERS AND APPLAUSE]
280
00:09:54,980 --> 00:10:00,320
>> THANK YOU!
281
00:10:00,320 --> 00:10:01,550
WELCOME TO THE 79TH ANNUAL
282
00:10:01,550 --> 00:10:08,420
TONY AWARDS!
283
00:10:08,420 --> 00:10:13,380
[CHEERS AND APPLAUSE]
284
00:10:13,380 --> 00:10:13,650
OH, YEAH.
285
00:10:13,650 --> 00:10:15,020
I LOST MY FEATHERS.
286
00:10:15,020 --> 00:10:17,350
FOR SOME REASON, I'M YOUR HOST,
287
00:10:17,350 --> 00:10:18,320
P!NK.
288
00:10:18,320 --> 00:10:19,050
THE TONY AWARDS IS BROADWAY'S
289
00:10:19,050 --> 00:10:19,950
BIGGEST NIGHT.
290
00:10:19,950 --> 00:10:21,020
WELL, SECOND, AFTER THE LATEST
291
00:10:21,020 --> 00:10:22,120
"OH, MARY!" CAST ANNOUNCEMENT.
292
00:10:22,120 --> 00:10:24,680
BUT THEN THIS!
293
00:10:24,680 --> 00:10:25,720
I'M NOT HERE JUST TO STEAL
294
00:10:25,720 --> 00:10:26,880
PEOPLE'S WIGS, ALTHOUGH I WILL
295
00:10:26,880 --> 00:10:33,720
BE DOING THAT.
296
00:10:33,720 --> 00:10:35,620
I'M HERE --
297
00:10:35,620 --> 00:10:35,780
HI.
298
00:10:35,780 --> 00:10:37,850
TO CELEBRATE THE HARDEST-WORKING
299
00:10:37,850 --> 00:10:39,580
PEOPLE IN SHOW BUSINESS -- THE
300
00:10:39,580 --> 00:10:41,020
ONES WHO MAKE ART ON BROADWAY,
301
00:10:41,020 --> 00:10:42,280
BUT MOSTLY THE PEOPLE WHO
302
00:10:42,280 --> 00:10:43,020
SQUEEZE LUKE EVANS INTO THAT
303
00:10:43,020 --> 00:10:44,420
CORSET.
304
00:10:44,420 --> 00:10:46,950
HOW DO THEY DO IT?
305
00:10:46,950 --> 00:10:52,280
[LAUGTER]
306
00:10:52,280 --> 00:10:53,020
TONIGHT, I'M HERE AS BROADWAY'S
307
00:10:53,020 --> 00:10:53,720
BIGGEST FAN.
308
00:10:53,720 --> 00:10:54,380
WELL, SECOND-BIGGEST, NEXT TO M
309
00:10:54,380 --> 00:10:57,150
DAUGHTER, WILLOW.
310
00:10:57,150 --> 00:10:58,680
I DON'T KNOW WHERE SHE IS.
311
00:10:58,680 --> 00:10:59,620
BUT I DIDN'T TAKE THIS JOB JUST
312
00:10:59,620 --> 00:11:00,680
SO MY KID CAN GET BROADWAY
313
00:11:00,680 --> 00:11:04,820
SELFIES, ALTHOUGH...
314
00:11:04,820 --> 00:11:05,080
[LAUGHTER]
315
00:11:05,080 --> 00:11:07,180
AND A COUPLE FOR MAMA...
316
00:11:07,180 --> 00:11:08,950
AND...
317
00:11:08,950 --> 00:11:09,920
NATHAN LANE SAID "IT WASN'T A
318
00:11:09,920 --> 00:11:11,120
GOOD TIME."
319
00:11:11,120 --> 00:11:13,720
[LAUGHTER]
320
00:11:13,720 --> 00:11:15,680
THEATER IS LIKE GROUP THERAPY.
321
00:11:15,680 --> 00:11:17,180
WE JOURNEY TO MIDTOWN NOT
322
00:11:17,180 --> 00:11:19,080
KNOWING ONE ANOTHER, WE LAUGH
323
00:11:19,080 --> 00:11:19,920
AND CRY TOGETHER, AND BY THE
324
00:11:19,920 --> 00:11:20,950
TIME WE LEAVE WE HAVE A
325
00:11:20,950 --> 00:11:22,350
DIFFERENT PERSPECTIVE ON LIFE.
326
00:11:22,350 --> 00:11:23,250
AND HOW MUCH TWIZZLERS SHOULD
327
00:11:23,250 --> 00:11:26,820
COST.
328
00:11:26,820 --> 00:11:28,920
[LAUGHTER]
329
00:11:28,920 --> 00:11:29,180
THANK YOU.
330
00:11:29,180 --> 00:11:30,280
I APPRECIATE THAT.
331
00:11:30,280 --> 00:11:31,680
PART OF WHY I'M SUCH A BIG FAN
332
00:11:31,680 --> 00:11:33,080
IS HOW PURPOSEFUL EACH SHOW IS.
333
00:11:33,080 --> 00:11:34,080
INSTEAD OF GOING TO A BROADWAY
334
00:11:34,080 --> 00:11:36,250
SHOW TO FORGET THE STATE OF THE
335
00:11:36,250 --> 00:11:37,250
WORLD, WE GO TO A BROADWAY
336
00:11:37,250 --> 00:11:38,150
SHOW TO LOOK AT WHAT THE STATE
337
00:11:38,150 --> 00:11:39,380
OF THE WORLD IS.
338
00:11:39,380 --> 00:11:40,620
THIS YEAR THE WORST PARTS OF
339
00:11:40,620 --> 00:11:41,780
HISTORY BEGAN REPEATING ITSELF,
340
00:11:41,780 --> 00:11:43,180
AND WE WERE GIVEN "RAGTIME."
341
00:11:43,180 --> 00:11:46,680
AND "LIBERATION."
342
00:11:46,680 --> 00:11:50,480
[APPLAUSE]
343
00:11:50,480 --> 00:11:51,780
THIS YEAR OUR COUNTRY GREW MORE
344
00:11:51,780 --> 00:11:53,120
DIVIDED THAN EVER, AND WE WERE
345
00:11:53,120 --> 00:11:54,620
GIVEN "TWO STRANGERS (CARRY A
346
00:11:54,620 --> 00:11:57,850
CAKE ACROSS NEW YORK)."
347
00:11:57,850 --> 00:11:59,550
[APPLAUSE]
348
00:11:59,550 --> 00:12:00,750
THIS YEAR OUR TRANS SIBLINGS
349
00:12:00,750 --> 00:12:05,220
STARTED TO LOSE EVEN MORE
350
00:12:05,220 --> 00:12:05,980
RIGHTS, AND WE WERE GIVEN
351
00:12:05,980 --> 00:12:09,120
"CATS: JELLICLE BALL."
352
00:12:09,120 --> 00:12:10,980
[APPLAUSE]
353
00:12:10,980 --> 00:12:11,850
BROADWAY THEATER IS BRAVE, AND
354
00:12:11,850 --> 00:12:12,820
THAT BRAVERY IS IN ITS VERY
355
00:12:12,820 --> 00:12:14,420
BONES.
356
00:12:14,420 --> 00:12:16,080
THIS BUILDING IS FULL OF PEOPLE
357
00:12:16,080 --> 00:12:20,780
WHO LEFT THEIR HOME TOWNS TO
358
00:12:20,780 --> 00:12:22,720
MAKE THEIR DREAMS COME TRUE,
359
00:12:22,720 --> 00:12:24,080
MYSELF INCLUDED, AND THAT TAKES
360
00:12:24,080 --> 00:12:24,980
GUTS.
361
00:12:24,980 --> 00:12:26,080
EACH OF YOU IS HERE BECAUSE, AT
362
00:12:26,080 --> 00:12:26,980
SOME POINT IN YOUR LIFE, YOU BE
363
00:12:26,980 --> 00:12:28,080
ON YOURSELF.
364
00:12:28,080 --> 00:12:30,980
AND YOU ARE IN THIS BUILDING
365
00:12:30,980 --> 00:12:31,680
RIGHT NOW BECAUSE THAT BET PAID
366
00:12:31,680 --> 00:12:32,520
OFF.
367
00:12:32,520 --> 00:12:33,350
IT'S OUR PROFOUND HONOR TO
368
00:12:33,350 --> 00:12:34,220
CELEBRATE YOU TONIGHT.
369
00:12:34,220 --> 00:12:37,320
SO LET'S DO IT!
370
00:12:37,320 --> 00:12:38,550
[CHEERS AND APPLAUSE]
371
00:12:38,550 --> 00:12:39,620
PLEASE WELCOME EMMY AWARD WINNE
372
00:12:39,620 --> 00:12:41,650
MAYA RUDOLPH AND TONY AWARD
373
00:12:41,650 --> 00:12:45,280
WINNER COLE ESCOLA!
374
00:12:45,280 --> 00:12:45,750
[CHEERS AND APPLAUSE]
375
00:12:45,750 --> 00:12:50,450
*
376
00:12:50,450 --> 00:12:55,450
*
377
00:12:55,450 --> 00:12:57,980
*
378
00:12:57,980 --> 00:12:59,080
>> FAMILY.
379
00:12:59,080 --> 00:13:00,320
REDEMPTION.
380
00:13:00,320 --> 00:13:02,450
JUSTICE.
381
00:13:02,450 --> 00:13:03,850
>> PASSION.
382
00:13:03,850 --> 00:13:06,280
TUBERCULOSIS.
383
00:13:06,280 --> 00:13:08,250
A VERY BIG SHOE.
384
00:13:08,250 --> 00:13:09,480
>> THESE ARE ALL WORDS.
385
00:13:09,480 --> 00:13:11,850
>> THAT'S RIGHT, COLE.
386
00:13:11,850 --> 00:13:14,520
THESE ARE ALL WORDS.
387
00:13:14,520 --> 00:13:15,780
TONIGHT'S NOMINEES KNOW THE
388
00:13:15,780 --> 00:13:17,080
POWER OF WORDS AND THE COURAGE
389
00:13:17,080 --> 00:13:18,620
IT TAKES TO SAY THEM IN EXCHANG
390
00:13:18,620 --> 00:13:23,080
FOR MONEY.
391
00:13:23,080 --> 00:13:23,620
[LAUGHTER]
392
00:13:23,620 --> 00:13:23,880
>> YES.
393
00:13:23,880 --> 00:13:27,880
THAT'S RIGHT, MAYA.
394
00:13:27,880 --> 00:13:28,880
FROM NEW WORKS BY BRITISH
395
00:13:28,880 --> 00:13:29,950
PLAYWRIGHTS, TO AN AMERICAN
396
00:13:29,950 --> 00:13:30,980
CLASSIC, TO THE GREEK TRAGEDY
397
00:13:30,980 --> 00:13:31,820
"OEDIPUS," A PLAY THAT ASKS THE
398
00:13:31,820 --> 00:13:32,920
QUESTION: "CAN WOMEN REALLY HAV
399
00:13:32,920 --> 00:13:35,680
IT ALL?"
400
00:13:35,680 --> 00:13:41,920
[LAUGHTER]
401
00:13:41,920 --> 00:13:43,580
>> THEY CAN, COLE.
402
00:13:43,580 --> 00:13:44,550
I'VE CHECKED, AND IT'S TRUE.
403
00:13:44,550 --> 00:13:45,520
>> REALLY?
404
00:13:45,520 --> 00:13:49,180
>> YES.
405
00:13:49,180 --> 00:13:49,980
YES, IN FACT, I HAVE AN SUV AND
406
00:13:49,980 --> 00:13:50,650
A HORSE.
407
00:13:50,650 --> 00:13:51,880
[LAUGHTER]
408
00:13:51,880 --> 00:13:55,120
BUT ENOUGH ABOUT MY LOVE LIFE.
409
00:13:55,120 --> 00:13:59,750
[LAUGHTER]
410
00:13:59,750 --> 00:14:01,080
I KID!
411
00:14:01,080 --> 00:14:03,950
>> SHE GOES TOO FAR!
412
00:14:03,950 --> 00:14:05,580
>> A CRACKED-UP.
413
00:14:05,580 --> 00:14:06,580
HERE ARE THE NOMINEES FOR LEAD
414
00:14:06,580 --> 00:14:10,520
ACTOR IN A PLAY.
415
00:14:10,520 --> 00:14:11,420
*
416
00:14:11,420 --> 00:14:12,880
>> WILL HARRISON, "PUNCH."
417
00:14:12,880 --> 00:14:13,950
NATHAN LANE, "ARTHUR MILLER'S
418
00:14:13,950 --> 00:14:15,950
DEATH OF A SALESMAN."
419
00:14:15,950 --> 00:14:19,250
JOHN LITHGOW, "GIANT."
420
00:14:19,250 --> 00:14:20,220
DANIEL RADCLIFFE,
421
00:14:20,220 --> 00:14:21,880
"EVERY BRILLIANT THING."
422
00:14:21,880 --> 00:14:29,380
MARK STRONG, "OEDIPUS."
423
00:14:29,380 --> 00:14:29,750
>> ALL RIGHT.
424
00:14:29,750 --> 00:14:30,550
AND THE
425
00:14:30,550 --> 00:14:31,450
AMERICAN THEATRE WING'S TONY
426
00:14:31,450 --> 00:14:33,420
AWARD GOES TO...
427
00:14:33,420 --> 00:14:36,520
JOHN LITHGOW, "GIANT."
428
00:14:36,520 --> 00:14:36,980
[CHEERS AND APPLAUSE]
429
00:14:36,980 --> 00:14:41,580
*
430
00:14:41,580 --> 00:14:44,380
*
431
00:14:44,380 --> 00:14:45,420
>> 7-TIME NOMINEE JOHN LITHGOW
432
00:14:45,420 --> 00:14:47,580
WINS HIS THIRD TONY AWARD FOR
433
00:14:47,580 --> 00:14:48,850
HIS PERFORMANCE AS CONTROVERSIAL
434
00:14:48,850 --> 00:14:53,850
CHILDREN'S AUTHOR ROALD DAHL.
435
00:14:53,850 --> 00:14:54,120
[APPLAUSE]
436
00:14:54,120 --> 00:15:03,080
*
437
00:15:03,080 --> 00:15:05,380
>> OH, MY GOD, THIS IS
438
00:15:05,380 --> 00:15:05,650
WONDERFUL.
439
00:15:05,650 --> 00:15:08,450
THE OTHER GENTLEMEN IN MY
440
00:15:08,450 --> 00:15:11,780
CATEGORY, YOU ARE ALL MARVELOUS
441
00:15:11,780 --> 00:15:12,080
ACTORS.
442
00:15:12,080 --> 00:15:14,420
YOU ALL DESERVE THIS.
443
00:15:14,420 --> 00:15:15,920
[APPLAUSE]
444
00:15:15,920 --> 00:15:18,480
I GOT IT.
445
00:15:18,480 --> 00:15:21,120
[LAUGHTER]
446
00:15:21,120 --> 00:15:25,180
BECAUSE I PLAYED THE LEAD ROLE
447
00:15:25,180 --> 00:15:27,080
IN AN EXTRAORDINARY PLAY,
448
00:15:27,080 --> 00:15:29,550
"GIANT."
449
00:15:29,550 --> 00:15:29,920
[APPLAUSE]
450
00:15:29,920 --> 00:15:32,980
A STUNNING PLAY, MADE BY A BUNCH
451
00:15:32,980 --> 00:15:37,380
OF PEOPLE FULL OF LOVE AND
452
00:15:37,380 --> 00:15:37,650
KINDNESS.
453
00:15:37,650 --> 00:15:39,350
BUT IT IS A PLAY ABOUT CRUELTY
454
00:15:39,350 --> 00:15:44,150
IN A CRUEL AGE, AND IT IS AN
455
00:15:44,150 --> 00:15:46,480
EXTRA ORDINARILY IMPORTANT PLAY
456
00:15:46,480 --> 00:15:47,850
UP THIS MOMENT, A PLAY WRITTEN
457
00:15:47,850 --> 00:15:52,880
BY MARK ROSENBLATT, HIS VERY
458
00:15:52,880 --> 00:15:53,620
FIRST, AMAZINGLY.
459
00:15:53,620 --> 00:15:53,880
[APPLAUSE]
460
00:15:53,880 --> 00:15:56,480
IT'S DIRECTED BY NICHOLAS
461
00:15:56,480 --> 00:16:02,080
HYTNER, DESIGNED BY BOB CROWLEY,
462
00:16:02,080 --> 00:16:03,280
PERFORMED BY A COMPANY OF ACTORS
463
00:16:03,280 --> 00:16:07,650
I ABSOLUTELY LOVE, AND PRODUCED
464
00:16:07,650 --> 00:16:09,450
BY PRODUCERS WHO DID EVERYTHING
465
00:16:09,450 --> 00:16:09,650
RIGHT.
466
00:16:09,650 --> 00:16:12,580
I THANK ALL OF YOU JUST
467
00:16:12,580 --> 00:16:15,550
PROFOUNDLY FOR THIS.
468
00:16:15,550 --> 00:16:20,650
I THANK TONY, VIEWPOINT, ALL MY
469
00:16:20,650 --> 00:16:21,350
REPS.
470
00:16:21,350 --> 00:16:24,450
I THANK MY FAMILY, ESPECIALLY MY
471
00:16:24,450 --> 00:16:28,150
WIFE, MARY, WHO HAS SEEN ME
472
00:16:28,150 --> 00:16:31,380
THROUGH TWO EXHILARATING BUT
473
00:16:31,380 --> 00:16:33,480
EXHAUSTING YEARS BRINGING THIS
474
00:16:33,480 --> 00:16:35,820
INCREDIBLE PLAY TO BROADWAY AND
475
00:16:35,820 --> 00:16:38,680
TO THIS EVENING.
476
00:16:38,680 --> 00:16:43,080
I AM SUCH A LUCKY ACTOR, AND
477
00:16:43,080 --> 00:16:46,180
THIS IS MY THIRD TONY AWARD.
478
00:16:46,180 --> 00:16:50,380
MY FIRST ONE WAS 53 YEARS AGO.
479
00:16:50,380 --> 00:16:54,080
[APPLAUSE]
480
00:16:54,080 --> 00:16:57,550
AT MY BROADWAY DEBUT IN THE
481
00:16:57,550 --> 00:16:59,580
AMERICAN PREMIERE OF AN ENGLISH
482
00:16:59,580 --> 00:17:03,250
PLAY, WHICH, BY AN AMAZING
483
00:17:03,250 --> 00:17:04,450
COINCIDENCE, ORIGINATED AT
484
00:17:04,450 --> 00:17:07,080
LONDON'S ROYAL COURT THEATRE,
485
00:17:07,080 --> 00:17:09,320
JUST LIKE "GIANT!"
486
00:17:09,320 --> 00:17:11,150
[APPLAUSE]
487
00:17:11,150 --> 00:17:16,450
TWO TONY BOOKENDS WITH 53 YEARS
488
00:17:16,450 --> 00:17:16,820
BETWEEN THEM.
489
00:17:16,820 --> 00:17:20,850
IN THOSE YEARS I HAVE WORKED
490
00:17:20,850 --> 00:17:24,450
WITH HUNDREDS OF JUST FANTASTIC
491
00:17:24,450 --> 00:17:26,820
THEATER ARTISTS.
492
00:17:26,820 --> 00:17:32,620
I HAVE HAD DOZENS AND DOZENS OF
493
00:17:32,620 --> 00:17:33,780
ECSTATIC MOMENTS ON STAGE.
494
00:17:33,780 --> 00:17:36,180
BUT I HAVE TO TELL YOU, RIGHT
495
00:17:36,180 --> 00:17:41,680
NOW, THIS MOMENT HAS GOT TO BE
496
00:17:41,680 --> 00:17:43,820
ONE OF THE BEST.
497
00:17:43,820 --> 00:17:44,750
THANK YOU ALL SO MUCH.
498
00:17:44,750 --> 00:17:45,080
[APPLAUSE]
499
00:17:45,080 --> 00:17:47,880
*
500
00:17:47,880 --> 00:17:53,850
*
501
00:17:53,850 --> 00:17:58,280
*
502
00:17:58,280 --> 00:17:59,480
[APPLAUSE]
503
00:17:59,480 --> 00:18:00,950
>> MELISSA!
504
00:18:00,950 --> 00:18:02,080
MELISSA, WAIT UP!
505
00:18:02,080 --> 00:18:03,080
>> LEAVE ME ALONE, JOSH!
506
00:18:03,080 --> 00:18:03,850
>> IT'S NOT MY FAULT THAT WE'RE
507
00:18:03,850 --> 00:18:04,780
LOST!
508
00:18:04,780 --> 00:18:05,680
GOOGLE MAPS SAID THAT THIS WAS
509
00:18:05,680 --> 00:18:06,680
THE WAY TO THE CATSKILLS.
510
00:18:06,680 --> 00:18:07,680
>> IT SAYS "CATS: THE JELLICLE
511
00:18:07,680 --> 00:18:09,080
BALL."
512
00:18:09,080 --> 00:18:10,680
>> THE WHAT-ICLE WHAT?
513
00:18:10,680 --> 00:18:12,080
>> NEVER MIND!
514
00:18:12,080 --> 00:18:13,080
HERE, LET'S JUST TRY THIS RANDO
515
00:18:13,080 --> 00:18:14,150
DOOR.
516
00:18:14,150 --> 00:18:15,120
>> OH, RANDOM DOOR.
517
00:18:15,120 --> 00:18:16,150
GOOD IDEA.
518
00:18:16,150 --> 00:18:17,350
LET'S TRY THE RANDOM DOOR.
519
00:18:17,350 --> 00:18:18,320
UGH...
520
00:18:18,320 --> 00:18:19,080
>> WHY DON'T YOU SAY "RANDOM
521
00:18:19,080 --> 00:18:21,620
DOOR" AGAIN?
522
00:18:21,620 --> 00:18:22,480
>> WHERE THE HELL ARE WE NOW?
523
00:18:22,480 --> 00:18:23,450
>> I DON'T KNOW.
524
00:18:23,450 --> 00:18:25,080
WOULD IT KILL YOU TO ASK
525
00:18:25,080 --> 00:18:29,220
DIRECTIONS?
526
00:18:29,220 --> 00:18:30,080
>> YOU WANT ME TO ASK FOR
527
00:18:30,080 --> 00:18:30,320
DIRECTIONS?
528
00:18:30,320 --> 00:18:32,180
I CAN ASK FOR DIRECTIONS.
529
00:18:32,180 --> 00:18:33,750
EXCUSE ME, MADAM, DO YOU KNOW
530
00:18:33,750 --> 00:18:35,080
THE WAY TO THE CATSKILLS?
531
00:18:35,080 --> 00:18:35,980
>> DON'T ASK HER!
532
00:18:35,980 --> 00:18:38,150
THAT'S BERNADETTE PETERS!
533
00:18:38,150 --> 00:18:39,080
MUSICAL THEATER LEGEND!
534
00:18:39,080 --> 00:18:39,720
>> HOW AM I SUPPOSED TO KNOW
535
00:18:39,720 --> 00:18:43,180
THAT?
536
00:18:43,180 --> 00:18:43,980
I DON'T LIKE MUSICALS.
537
00:18:43,980 --> 00:18:47,450
NO OFFENSE, BERNIE.
538
00:18:47,450 --> 00:18:48,220
>> YOU HEAR THAT?
539
00:18:48,220 --> 00:18:48,950
MAYBE THERE'S A TOWN UP ON THAT
540
00:18:48,950 --> 00:18:52,380
STAGE.
541
00:18:52,380 --> 00:18:53,080
>> I MEAN, THAT SEEMS PRETTY
542
00:18:53,080 --> 00:18:54,150
UNLIKELY.
543
00:18:54,150 --> 00:18:55,820
>> "WELCOME TO SCHMIGADOON."
544
00:18:55,820 --> 00:18:57,820
>> "SCHMIGADOON?"
545
00:18:57,820 --> 00:18:59,820
*
546
00:18:59,820 --> 00:19:01,150
WHAT'S HAPPENING?
547
00:19:01,150 --> 00:19:02,250
WHY IS MUSIC COMING FROM...
548
00:19:02,250 --> 00:19:05,080
EVERYWHERE?
549
00:19:05,080 --> 00:19:07,080
>> * SCHMIIIIG-A-DOON
550
00:19:07,080 --> 00:19:08,650
* WHERE THE SUN SHINES BRIGHT
551
00:19:08,650 --> 00:19:10,580
FROM JULY TO JUNE *
552
00:19:10,580 --> 00:19:12,080
* AND THE AIR'S AS SWEET AS A
553
00:19:12,080 --> 00:19:13,750
MACAROON *
554
00:19:13,750 --> 00:19:21,080
* SCHMIGADOON!
555
00:19:21,080 --> 00:19:22,320
>> EXCUSE ME, WE DIDN'T BUY
556
00:19:22,320 --> 00:19:22,650
TICKETS.
557
00:19:22,650 --> 00:19:23,380
YOU ARE GETTING NO MONEY FROM
558
00:19:23,380 --> 00:19:25,720
US!
559
00:19:25,720 --> 00:19:26,650
>> LET THEM SING!
560
00:19:26,650 --> 00:19:27,720
>> * SCHMIIIIG-A-DOON
561
00:19:27,720 --> 00:19:28,850
* WHERE IT'S WARM AND SAFE AS A
562
00:19:28,850 --> 00:19:30,580
NEW COCOON *
563
00:19:30,580 --> 00:19:31,950
* AND OUR HEARTS ALL GLOW LIKE
564
00:19:31,950 --> 00:19:34,420
HARVEST MOON *
565
00:19:34,420 --> 00:19:35,880
* SCHMIGADOON!
566
00:19:35,880 --> 00:19:37,780
* SCHMIGADOON!
567
00:19:37,780 --> 00:19:38,850
>> * WHERE THE MEN ARE MEN, AND
568
00:19:38,850 --> 00:19:40,720
THE COWS ARE COWS *
569
00:19:40,720 --> 00:19:42,080
>> * AND THE FARMERS SMILE AS
570
00:19:42,080 --> 00:19:43,980
THEY PUSH THEIR PLOWS *
571
00:19:43,980 --> 00:19:45,380
* AND THE TREES ARE TALL AND WE
572
00:19:45,380 --> 00:19:48,220
CALL IT SCHMIGADOON *
573
00:19:48,220 --> 00:19:49,080
>> COME ON!
574
00:19:49,080 --> 00:19:50,150
THIS IS FUN!
575
00:19:50,150 --> 00:19:51,080
>> FUN?!
576
00:19:51,080 --> 00:19:52,680
IT'S "CHILDREN OF THE CORN!"
577
00:19:52,680 --> 00:19:54,720
*
578
00:19:54,720 --> 00:19:55,550
>> * OUR SCHOOLMARM IS.
579
00:19:55,550 --> 00:19:56,720
EMMA TATE *
580
00:19:56,720 --> 00:19:58,450
>> * SO MANY MINDS TO EDUCATE
581
00:19:58,450 --> 00:20:00,450
>> * STILL UNMARRIED AT 28
582
00:20:00,450 --> 00:20:02,580
>> * IN SCHMIGADOON
583
00:20:02,580 --> 00:20:03,550
>> * FARMER McDONOUGH CRAVED
584
00:20:03,550 --> 00:20:04,680
A SON *
585
00:20:04,680 --> 00:20:05,720
>> * BUT HAD ONE DAUGHTER AND
586
00:20:05,720 --> 00:20:07,020
WAS DONE *
587
00:20:07,020 --> 00:20:09,180
>> * TOUCH 'ER AND YOU'LL
588
00:20:09,180 --> 00:20:12,020
>> * IN SCHMIGADOON
589
00:20:12,020 --> 00:20:13,620
>> HEY THERE!
590
00:20:13,620 --> 00:20:14,380
>> * FLORENCE IS THE MAYOR'S
591
00:20:14,380 --> 00:20:15,720
WIFE *
592
00:20:15,720 --> 00:20:16,620
>> * SHE IS NOT THE SHARPEST
593
00:20:16,620 --> 00:20:17,820
KNIFE *
594
00:20:17,820 --> 00:20:18,750
>> * DOC IS HERE WHEN WE GET
595
00:20:18,750 --> 00:20:19,920
SICK *
596
00:20:19,920 --> 00:20:20,680
>> * A COCAINE PILL SHOULD DO
597
00:20:20,680 --> 00:20:21,880
THE TRICK *
598
00:20:21,880 --> 00:20:22,780
>> * A COCAINE PILL SHOULD DO
599
00:20:22,780 --> 00:20:24,150
THE TRICK *
600
00:20:24,150 --> 00:20:25,450
>> ACTUALLY, CAN I GET ONE OF
601
00:20:25,450 --> 00:20:26,650
THOSE?
602
00:20:26,650 --> 00:20:27,520
>> * DANNY BAILEY RUNS OUR
603
00:20:27,520 --> 00:20:28,750
FAIR *
604
00:20:28,750 --> 00:20:32,550
>> * ALL YOUNG LADIES BEST BE
605
00:20:32,550 --> 00:20:33,480
WARE *
606
00:20:33,480 --> 00:20:34,180
>> * MILDRED LAYTON IS HER
607
00:20:34,180 --> 00:20:34,820
NAME *
608
00:20:34,820 --> 00:20:35,550
>> * I MAKE SURE WE ALL FEEL
609
00:20:35,550 --> 00:20:36,250
SHAME *
610
00:20:36,250 --> 00:20:36,980
>> * SHE MAKES SURE WE ALL FEEL
611
00:20:36,980 --> 00:20:38,150
SHAME *
612
00:20:38,150 --> 00:20:38,980
* SHAME, SHAME, SHAME, SHAME!
613
00:20:38,980 --> 00:20:39,780
* EVERYBODY, EVERYBODY FEEL
614
00:20:39,780 --> 00:20:40,850
SHAME! *
615
00:20:40,850 --> 00:20:41,950
* WHOO!
616
00:20:41,950 --> 00:20:44,020
*
617
00:20:44,020 --> 00:20:45,720
*
618
00:20:45,720 --> 00:20:49,350
*
619
00:20:49,350 --> 00:20:51,750
*
620
00:20:51,750 --> 00:20:54,320
*
621
00:20:54,320 --> 00:20:58,050
*
622
00:20:58,050 --> 00:21:01,550
*
623
00:21:01,550 --> 00:21:04,980
*
624
00:21:04,980 --> 00:21:09,550
*
625
00:21:09,550 --> 00:21:16,650
*
626
00:21:16,650 --> 00:21:17,550
[APPLAUSE]
627
00:21:17,550 --> 00:21:21,850
>> IT'TH THE MAYOR!
628
00:21:21,850 --> 00:21:24,650
>> * AS MAYOR OF SCHMIGADOON
629
00:21:24,650 --> 00:21:28,380
* I FEEL THAT I MUST STRESS
630
00:21:28,380 --> 00:21:31,080
* OUR MOTTO IS "WE ALWAYS STRIV
631
00:21:31,080 --> 00:21:34,450
FOR PEACE AND HAPPINESS" *
632
00:21:34,450 --> 00:21:36,420
>> * OUR MOTTO IS "WE ALWAYS
633
00:21:36,420 --> 00:21:38,320
STRIVE FOR PEACE AND
634
00:21:38,320 --> 00:21:42,480
HAPPINESS" *
635
00:21:42,480 --> 00:21:44,480
>> ARE YOU CRYING?
636
00:21:44,480 --> 00:21:46,250
>> IT'S JUST THE HARMONIES.
637
00:21:46,250 --> 00:21:50,080
>> EVERYBODY!
638
00:21:50,080 --> 00:21:51,280
*
639
00:21:51,280 --> 00:21:53,720
>> * SCHMIIIIG-A-DOON
640
00:21:53,720 --> 00:21:55,150
* WHERE THE CHURCH BELLS RING
641
00:21:55,150 --> 00:21:57,220
EVERY DAY AT NOON *
642
00:21:57,220 --> 00:21:58,720
>> * AND THE WELLS FARGO WAGON
643
00:21:58,720 --> 00:22:00,480
BROUGHT OUR NEW SPITTOON! *
644
00:22:00,480 --> 00:22:02,380
>> * SCHMIGADOON!"
645
00:22:02,380 --> 00:22:03,950
>> [SPITS]
646
00:22:03,950 --> 00:22:05,480
[DING]
647
00:22:05,480 --> 00:22:06,550
>> * WHERE A MAN CAN DREAM
648
00:22:06,550 --> 00:22:08,120
DREAMS SO BIG AND WIDE *
649
00:22:08,120 --> 00:22:09,150
>> * AND A GAL CAN BE THERE
650
00:22:09,150 --> 00:22:10,950
RIGHT BY HIS SIDE *
651
00:22:10,950 --> 00:22:13,350
>> * AND THERE'S HOPE FOR ALL,
652
00:22:13,350 --> 00:22:14,850
WHETHER GREAT OR SMALL, THERE I
653
00:22:14,850 --> 00:22:16,080
NO FOLDEROL, BRING YOUR
654
00:22:16,080 --> 00:22:17,720
PARASOL *
655
00:22:17,720 --> 00:22:21,680
* AND WE CALL IT
656
00:22:21,680 --> 00:22:25,320
* SCHMIG-A
657
00:22:25,320 --> 00:22:26,920
* SCHMIGA, SCHMIGA, SCHMIGA,
658
00:22:26,920 --> 00:22:29,920
SCHMIGA *
659
00:22:29,920 --> 00:22:38,080
* S-C-H-M-I-G-A-D-O-O
660
00:22:38,080 --> 00:22:39,120
* OH
661
00:22:39,120 --> 00:22:41,080
* SCHMIGADOON!
662
00:22:41,080 --> 00:22:42,980
*
663
00:22:42,980 --> 00:22:51,580
[CHEERS AND APPLAUSE]
664
00:22:51,580 --> 00:22:54,920
*
665
00:22:54,920 --> 00:22:59,180
*
666
00:22:59,180 --> 00:23:00,280
>> Announcer: UP NEXT,
667
00:23:00,280 --> 00:23:01,950
ADRIEN BRODY PRESENTS THE CAST
668
00:23:01,950 --> 00:23:03,420
OF "RAGTIME," BUT FIRST, THE
669
00:23:03,420 --> 00:23:04,350
AWARD FOR FEATURED ACTRESS IN A
670
00:23:04,350 --> 00:23:05,380
PLAY.
671
00:23:05,380 --> 00:23:06,550
THE TONY AWARDS.
672
00:23:06,550 --> 00:23:10,080
THIS IS CBS.
673
00:23:14,580 --> 00:23:17,720
SPONSORED BY PROGRESSIVE.
674
00:23:17,720 --> 00:23:18,320
PROGRESSIVE MAKES BUNDLING HOME
675
00:23:22,650 --> 00:23:23,850
>> IT'S ABOUT A GROUP OF VERY
676
00:23:23,850 --> 00:23:25,080
DIFFERENT PEOPLE WITH VERY BIG
677
00:23:25,080 --> 00:23:26,620
OPINIONS.
678
00:23:26,620 --> 00:23:27,750
>> I GUESS I'M NOT THE ONLY ONE
679
00:23:27,750 --> 00:23:29,550
WITH COMPLICATED FEELINGS.
680
00:23:29,550 --> 00:23:31,180
>> I LOVE WHEN PEOPLE GET REALL
681
00:23:31,180 --> 00:23:33,080
PASSIONATE ABOUT LITTLE THINGS
682
00:23:33,080 --> 00:23:34,420
THAT EVENTUALLY REVEAL WHAT'S
683
00:23:34,420 --> 00:23:36,180
GOING ON UNDERNEATH.
684
00:23:36,180 --> 00:23:37,520
>> YOU'RE ALL ABOUT ACCEPTANCE
685
00:23:37,520 --> 00:23:38,820
AND EVERYONE'S FLUID, WHICH IS
686
00:23:38,820 --> 00:23:40,480
GREAT, OBVIOUSLY.
687
00:23:40,480 --> 00:23:41,520
>> IT'S ABOUT THE DIVERSITY OF
688
00:23:41,520 --> 00:23:42,420
PEOPLE, THE DIVERSITY OF
689
00:23:42,420 --> 00:23:43,780
THOUGHT.
690
00:23:43,780 --> 00:23:45,080
IT EMBRACES ALL OF HUMANITY.
691
00:23:45,080 --> 00:23:48,450
*
692
00:23:48,450 --> 00:23:52,850
[APPLAUSE]
693
00:23:52,850 --> 00:23:54,120
>> WHAT WOULD THE TONYS BE
694
00:23:54,120 --> 00:23:55,880
WITHOUT SURPRISE GUESTS?
695
00:23:55,880 --> 00:23:57,380
FOLKS, HAVE I GOT A SURPRISE FO
696
00:23:57,380 --> 00:24:03,380
YOU!
697
00:24:03,380 --> 00:24:04,420
I SAID, HAVE I GOT A SURPRISE
698
00:24:04,420 --> 00:24:05,480
GUEST FOR YOU!
699
00:24:05,480 --> 00:24:06,320
HEY, ARE YOU EVEN PAYING
700
00:24:06,320 --> 00:24:09,120
ATTENTION?
701
00:24:09,120 --> 00:24:13,620
[APPLAUSE]
702
00:24:13,620 --> 00:24:14,220
>> OH, SORRY.
703
00:24:14,220 --> 00:24:14,820
NO, I HEARD YOU.
704
00:24:14,820 --> 00:24:16,820
I DON'T KNOW IF I WANT TO DO
705
00:24:16,820 --> 00:24:18,080
THIS STUNT ANYMORE.
706
00:24:18,080 --> 00:24:19,620
I CHANGED MY MIND.
707
00:24:19,620 --> 00:24:20,620
>> YOU CAN'T CHANGE YOUR MIND.
708
00:24:20,620 --> 00:24:23,220
IT'S THE MIDDLE OF THE SHOW!
709
00:24:23,220 --> 00:24:24,080
>> I DON'T THINK THERE'S A WAY
710
00:24:24,080 --> 00:24:25,250
I'M GETTING FROM ALL THE WAY UP
711
00:24:25,250 --> 00:24:28,450
HERE ALL THE WAY DOWN THERE.
712
00:24:28,450 --> 00:24:30,480
>> WHAT'S THE ISSUE?
713
00:24:30,480 --> 00:24:32,180
>> I DON'T KNOW, P!NK!
714
00:24:32,180 --> 00:24:33,080
DID YOU MAKE THIS BALCONY HIGHER
715
00:24:33,080 --> 00:24:36,150
THAN IT WAS AT REHEARSAL?
716
00:24:36,150 --> 00:24:37,650
>> IT'S THE SAME HEIGHT.
717
00:24:37,650 --> 00:24:42,280
COME ON, IT'S JUST, LIKE, FIVE
718
00:24:42,280 --> 00:24:43,080
LITTLE FLIPS, AND THEN YOU
719
00:24:43,080 --> 00:24:43,850
ARE STAGE RIGHT.
720
00:24:43,850 --> 00:24:44,520
>> FIVE FLIPS?
721
00:24:44,520 --> 00:24:47,080
I THOUGHT IT WAS FOUR!
722
00:24:47,080 --> 00:24:51,280
IS MIST INDICATION, WE SHOULD
723
00:24:51,280 --> 00:24:51,750
CALL IT OFF.
724
00:24:51,750 --> 00:24:54,380
'S BECAUSE WE COULD DO FOUR.
725
00:24:54,380 --> 00:24:55,150
>> I DON'T THINK ANYONE'S GOING
726
00:24:55,150 --> 00:24:55,480
TO GET IT.
727
00:24:55,480 --> 00:24:58,880
>> IT'S THE SAME AS FIVE!
728
00:24:58,880 --> 00:24:59,650
>> NO ONE'S GOING TO GET IT.
729
00:24:59,650 --> 00:25:00,750
>> EVERYONE WILL GET IT!
730
00:25:00,750 --> 00:25:01,620
>> YOU'RE SCARING THE PEOPLE!
731
00:25:01,620 --> 00:25:02,780
>> JUST DO THE INTRO, OR I'M
732
00:25:02,780 --> 00:25:03,620
GETTING DANIEL RADCLIFFE TO DO
733
00:25:03,620 --> 00:25:06,480
IT FOR YOU!
734
00:25:06,480 --> 00:25:11,420
[APPLAUSE]
735
00:25:11,420 --> 00:25:13,480
>> LADIES AND GENTLEMEN, I AM
736
00:25:13,480 --> 00:25:15,980
DELIGHTED TO PRESENT OUR
737
00:25:15,980 --> 00:25:18,220
ESTEEMED NEXT GUEST, TONY AWARD
738
00:25:18,220 --> 00:25:19,320
WINNER SARAH PAULSON.
739
00:25:19,320 --> 00:25:21,080
[APPLAUSE]
740
00:25:21,080 --> 00:25:26,150
*
741
00:25:26,150 --> 00:25:29,550
*
742
00:25:29,550 --> 00:25:31,420
>> TONIGHT I HAVE THE GREAT
743
00:25:31,420 --> 00:25:33,620
PLEASURE OF HONORING THE FIVE
744
00:25:33,620 --> 00:25:34,820
EXTRAORDINARY PERFORMANCES BY A
745
00:25:34,820 --> 00:25:35,680
ACTRESS IN A FEATURED ROLE IN A
746
00:25:35,680 --> 00:25:38,080
PLAY.
747
00:25:38,080 --> 00:25:39,450
TO ME, THE IDEA OF CELEBRATING
748
00:25:39,450 --> 00:25:40,380
THE "SUPPORTING ACTOR" IS
749
00:25:40,380 --> 00:25:43,180
FOUNDATIONAL.
750
00:25:43,180 --> 00:25:44,850
SUPPORTING ACTORS ARE LIKE A
751
00:25:44,850 --> 00:25:48,250
FLYING BUTTRESS ON A CATHEDRAL,
752
00:25:48,250 --> 00:25:49,080
WHICH LITERALLY CANNOT STAND
753
00:25:49,080 --> 00:25:50,220
WITHOUT THEM.
754
00:25:50,220 --> 00:25:51,620
THEY BRING THE MAJESTY.
755
00:25:51,620 --> 00:25:52,720
IT'S THEIR SUPPORT THAT HOLDS
756
00:25:52,720 --> 00:25:53,650
THE LIVING, BREATHING THING
757
00:25:53,650 --> 00:25:55,220
TOGETHER.
758
00:25:55,220 --> 00:25:59,450
HERE ARE THE NOMINEES.
759
00:25:59,450 --> 00:26:01,380
*
760
00:26:01,380 --> 00:26:06,150
>> BETSY AIDEM, "LIBERATION."
761
00:26:06,150 --> 00:26:06,950
MARYLOUISE BURKE,
762
00:26:06,950 --> 00:26:08,150
"THE BALUSTERS."
763
00:26:08,150 --> 00:26:09,820
AYA CASH, "GIANT."
764
00:26:09,820 --> 00:26:10,950
LAURIE METCALF, "ARTHUR MILLER'
765
00:26:10,950 --> 00:26:13,380
DEATH OF A SALESMAN."
766
00:26:13,380 --> 00:26:17,880
JUNE SQUIBB, "MARJORIE PRIME."
767
00:26:17,880 --> 00:26:18,580
[APPLAUSE]
768
00:26:18,580 --> 00:26:19,720
>> AND THE
769
00:26:19,720 --> 00:26:20,880
AMERICAN THEATRE WING'S TONY
770
00:26:20,880 --> 00:26:22,320
AWARD FOR BEST FLYING
771
00:26:22,320 --> 00:26:23,680
BUTTRESS -- I MEAN, FEATURED
772
00:26:23,680 --> 00:26:28,080
ACTRESS IN A PLAY, GOES TO...
773
00:26:28,080 --> 00:26:31,080
LAURIE METCALF.
774
00:26:31,080 --> 00:26:31,520
[CHEERS AND APPLAUSE]
775
00:26:31,520 --> 00:26:34,980
*
776
00:26:34,980 --> 00:26:37,850
>> THIS IS THE THIRD TONY WIN
777
00:26:37,850 --> 00:26:38,780
FOR LAURIE METCALF.
778
00:26:38,780 --> 00:26:40,080
SHE LAST WIN THE AWARD IN 2018
779
00:26:40,080 --> 00:26:50,520
FOR HER PERFORMANCE IN "THREE
780
00:26:50,520 --> 00:26:50,820
TALL WOMEN."
781
00:26:50,820 --> 00:26:54,650
*
782
00:26:54,650 --> 00:27:02,550
*
783
00:27:02,550 --> 00:27:06,320
>> WHEN I WAS IN COLLEGE, I MET
784
00:27:06,320 --> 00:27:08,250
SIX FELLOW STUDENTS IN THE
785
00:27:08,250 --> 00:27:09,080
THEATER DEPARTMENT.
786
00:27:09,080 --> 00:27:10,180
WE WORKED REALLY HARD TO AMUSE
787
00:27:10,180 --> 00:27:12,580
EACH OTHER, AND I STILL CONSIDER
788
00:27:12,580 --> 00:27:13,850
THEM FAMILY, AND I STILL DRAW
789
00:27:13,850 --> 00:27:16,080
FROM LESSONS I LEARNED FROM
790
00:27:16,080 --> 00:27:18,920
THEM, AND THEY WERE GARY SINISE,
791
00:27:18,920 --> 00:27:20,580
MYRA HARRIS, L WILDER, JEFF
792
00:27:20,580 --> 00:27:22,080
PERRY, TERRY KINNEY, AND JOHN
793
00:27:22,080 --> 00:27:23,180
MALKOVICH.
794
00:27:23,180 --> 00:27:23,980
[APPLAUSE]
795
00:27:23,980 --> 00:27:26,420
BUT I WOULD LIKE TO THANK ZOE,
796
00:27:26,420 --> 00:27:28,980
BILL, DONOVAN, AND MAY FOR THE
797
00:27:28,980 --> 00:27:29,620
PATIENCE OF HAVING AN ACTOR IN
798
00:27:29,620 --> 00:27:29,920
THE FAMILY.
799
00:27:29,920 --> 00:27:32,720
I WOULD LIKE TO THANK JOE FOR
800
00:27:32,720 --> 00:27:34,220
HIS HUMOR AND HIS HONESTY,
801
00:27:34,220 --> 00:27:38,550
CHRISTIAN SORIANO, DAVID
802
00:27:38,550 --> 00:27:39,180
BENJAMIN, FOR THE GENEROSITY.
803
00:27:39,180 --> 00:27:40,750
I WOULD LIKE TO THANK THE CAST
804
00:27:40,750 --> 00:27:43,080
AND CREW OF DEATH OF A SALESMAN,
805
00:27:43,080 --> 00:27:47,220
ESPECIALLY THE MINI ENSEMBLE,
806
00:27:47,220 --> 00:27:51,580
THE LOHMAN FAMILY.
807
00:27:51,580 --> 00:27:54,250
THEY SHAPED MY PERFORMANCE IN
808
00:27:54,250 --> 00:27:54,820
THIS PLAY SO I DO SHARE THIS
809
00:27:54,820 --> 00:27:57,550
WITH THEM.
810
00:27:57,550 --> 00:27:59,080
AND JOE MANTELLO, I KNOW YOU
811
00:27:59,080 --> 00:28:01,080
KNOW THIS, THE SUM OF THE BEST
812
00:28:01,080 --> 00:28:01,720
MOMENTS OF MY CAREER HAVE BEEN
813
00:28:01,720 --> 00:28:03,280
IN THE REHEARSAL ROOM WITH YOU
814
00:28:03,280 --> 00:28:04,720
AND I HOPE WE GET TO EXPERIENCE
815
00:28:04,720 --> 00:28:09,350
THAT MANY MORE TIMES.
816
00:28:09,350 --> 00:28:09,620
[APPLAUSE]
817
00:28:09,620 --> 00:28:14,280
*
818
00:28:14,280 --> 00:28:24,380
*
819
00:28:24,380 --> 00:28:26,320
>> PLEASE WELCOME THE COMPANY OF
820
00:28:26,320 --> 00:28:28,650
"RAGTIME."
821
00:28:28,650 --> 00:28:29,280
[APPLAUSE]
822
00:28:29,280 --> 00:28:35,650
*
823
00:28:35,650 --> 00:28:37,480
*
824
00:28:37,480 --> 00:28:40,080
>> IN 1902, FATHER BUILT THE
825
00:28:40,080 --> 00:28:41,280
HOUSE AT THE CREST OF THE
826
00:28:41,280 --> 00:28:43,650
BROADVIEW AVENUE HILL IN
827
00:28:43,650 --> 00:28:45,180
NEW ROCHELLE, NEW YORK, AND IT
828
00:28:45,180 --> 00:28:46,520
SEEMED FOR SOME YEARS THEREAFTE
829
00:28:46,520 --> 00:28:47,780
THAT ALL THE FAMILY'S DAYS WOUL
830
00:28:47,780 --> 00:28:53,420
BE WARM AND FAIR.
831
00:28:53,420 --> 00:28:54,350
*
832
00:28:54,350 --> 00:28:55,380
>> * THE SKIES WERE BLUE AND
833
00:28:55,380 --> 00:28:57,080
HAZY *
834
00:28:57,080 --> 00:28:57,950
* RARELY A STORM, BARELY A
835
00:28:57,950 --> 00:29:00,880
CHILL *
836
00:29:00,880 --> 00:29:04,450
* THE AFTERNOONS WERE LAZY
837
00:29:04,450 --> 00:29:05,850
* EVERYONE WARM, EVERYTHING
838
00:29:05,850 --> 00:29:09,980
STILL *
839
00:29:09,980 --> 00:29:12,920
* AND THERE WAS DISTANT MUSIC
840
00:29:12,920 --> 00:29:17,080
* SIMPLE AND SOMEHOW SUBLIME
841
00:29:17,080 --> 00:29:18,620
* GIVING THE NATION A NEW
842
00:29:18,620 --> 00:29:20,750
SYNCOPATION *
843
00:29:20,750 --> 00:29:21,680
* THE PEOPLE CALLED IT
844
00:29:21,680 --> 00:29:23,680
RAGTIME *
845
00:29:23,680 --> 00:29:26,680
*
846
00:29:26,680 --> 00:29:27,620
>> * THE DAYS WERE GENTLY
847
00:29:27,620 --> 00:29:29,620
TINTED *
848
00:29:29,620 --> 00:29:30,750
* LAVENDER, PINK, LEMON AND
849
00:29:30,750 --> 00:29:33,620
LIME *
850
00:29:33,620 --> 00:29:35,250
>> * LADIES WITH PARASOLS
851
00:29:35,250 --> 00:29:36,080
>> * FELLOWS WITH TENNIS
852
00:29:36,080 --> 00:29:37,780
BALLS *
853
00:29:37,780 --> 00:29:39,450
>> * THERE WERE GAZEBOS AND
854
00:29:39,450 --> 00:29:43,250
THERE WERE NO NEGROES *
855
00:29:43,250 --> 00:29:44,420
>> * AND EVERYTHING WAS
856
00:29:44,420 --> 00:29:45,520
RAGTIME *
857
00:29:45,520 --> 00:29:47,450
*
858
00:29:47,450 --> 00:29:50,450
*
859
00:29:50,450 --> 00:29:51,580
>> UP IN HARLEM, PEOPLE DANCED
860
00:29:51,580 --> 00:29:52,820
TO A MUSIC THAT WAS THEIRS AND
861
00:29:52,820 --> 00:29:54,420
NO ONE ELSE'S.
862
00:29:54,420 --> 00:29:55,550
THE SOUND OF CHANGING TIMES.
863
00:29:55,550 --> 00:29:57,520
THE MUSIC OF A BETTER DAY.
864
00:29:57,520 --> 00:30:01,620
>> * LISTEN TO THAT RAGTIME
865
00:30:01,620 --> 00:30:03,320
>> * LADIES WITH PARASOLS,
866
00:30:03,320 --> 00:30:06,220
FELLOWS WITH TENNIS BALLS *
867
00:30:06,220 --> 00:30:07,420
* THERE WERE NO NEGROES AND
868
00:30:07,420 --> 00:30:10,950
THERE WERE NO IMMIGRANTS *
869
00:30:10,950 --> 00:30:13,980
>> * SHTETL IZ AMERIKE
870
00:30:13,980 --> 00:30:16,820
*
871
00:30:16,820 --> 00:30:19,150
*
872
00:30:19,150 --> 00:30:20,120
>> * THROUGH THE GATES OF
873
00:30:20,120 --> 00:30:21,120
ELLIS ISLAND, IMMIGRANTS ARRIVE
874
00:30:21,120 --> 00:30:22,450
FROM EVERYWHERE.
875
00:30:22,450 --> 00:30:27,820
NO DREAM WAS TOO BIG.
876
00:30:27,820 --> 00:30:29,050
THEY WOULD BE THE NEXT
877
00:30:29,050 --> 00:30:29,750
JP MORGAN, EVELYN NESBITT, OR
878
00:30:29,750 --> 00:30:30,580
HENRY FORD.
879
00:30:30,580 --> 00:30:31,820
IT WAS THEIR CENTURY, TOO.
880
00:30:31,820 --> 00:30:34,050
IT WAS ONLY 1906.
881
00:30:34,050 --> 00:30:37,980
*
882
00:30:37,980 --> 00:30:38,720
>> * AND THERE WERE 94 YEARS TO
883
00:30:38,720 --> 00:30:41,380
GO *
884
00:30:41,380 --> 00:30:43,880
* AND THERE WAS MUSIC PLAYING
885
00:30:43,880 --> 00:30:44,750
* CATCHING A NATION IN ITS
886
00:30:44,750 --> 00:30:47,320
PRIME *
887
00:30:47,320 --> 00:30:48,950
* BEGGAR AND MILLIONAIRE
888
00:30:48,950 --> 00:30:51,020
* EVERYONE, EVERYWHERE
889
00:30:51,020 --> 00:30:53,680
* MOVING TO THE RAGTIME
890
00:30:53,680 --> 00:30:56,250
*
891
00:30:56,250 --> 00:30:59,720
*
892
00:30:59,720 --> 00:31:03,520
*
893
00:31:03,520 --> 00:31:09,350
*
894
00:31:09,350 --> 00:31:13,620
*
895
00:31:13,620 --> 00:31:19,080
*
896
00:31:19,080 --> 00:31:25,380
*
897
00:31:28,450 --> 00:31:32,180
*
898
00:31:32,180 --> 00:31:36,080
*
899
00:31:36,080 --> 00:31:45,350
*
900
00:31:45,350 --> 00:31:49,550
*
901
00:31:49,550 --> 00:31:53,080
*
902
00:31:53,080 --> 00:31:57,550
* AND THERE WAS DISTANT MUSIC
903
00:31:57,550 --> 00:31:58,420
* SKIPPING A BEAT, SINGING A
904
00:31:58,420 --> 00:32:02,820
DREAM *
905
00:32:02,820 --> 00:32:05,620
* A STRANGE INSISTENT MUSIC,
906
00:32:05,620 --> 00:32:06,920
PUTTING OUT HEAT, PICKING UP
907
00:32:06,920 --> 00:32:10,950
STEAM *
908
00:32:10,950 --> 00:32:14,420
* THE SOUND OF DISTANT THUNDER
909
00:32:14,420 --> 00:32:19,750
* SUDDENLY STARTING TO CLIMB
910
00:32:19,750 --> 00:32:20,880
* IT WAS THE MUSIC OF SOMETHING
911
00:32:20,880 --> 00:32:22,920
BEGINNING *
912
00:32:22,920 --> 00:32:23,950
* AN ERA EXPLODING
913
00:32:23,950 --> 00:32:26,080
* A CENTURY SPINNING
914
00:32:26,080 --> 00:32:27,680
* IN RICHES AND DRAGS
915
00:32:27,680 --> 00:32:29,120
* AND IN RHYTHM AND RHYME
916
00:32:29,120 --> 00:32:33,280
* THE PEOPLE CALLED IT RAGTIME
917
00:32:33,280 --> 00:32:35,680
* RAGTIME
918
00:32:35,680 --> 00:32:39,080
* RAGTIME
919
00:32:39,080 --> 00:32:41,650
* RAGTIME
920
00:32:41,650 --> 00:32:46,380
* RAGTIME
921
00:32:46,380 --> 00:32:48,620
*
922
00:32:48,620 --> 00:32:56,680
[CHEERS AND APPLAUSE]
923
00:32:56,680 --> 00:33:01,450
*
924
00:33:01,450 --> 00:33:04,920
*
925
00:33:04,920 --> 00:33:07,420
*
926
00:33:07,420 --> 00:33:08,280
>> STAY TUNED, BECAUSE COMING U
927
00:33:08,280 --> 00:33:09,880
WE HAVE --
928
00:33:09,880 --> 00:33:13,680
>> COMING UP WE HAVE ME!
929
00:33:13,680 --> 00:33:14,650
CELINE DION!
930
00:33:14,650 --> 00:33:15,620
OH, MY GOD.
931
00:33:15,620 --> 00:33:16,520
WOW.
932
00:33:16,520 --> 00:33:17,280
I CANNOT BELIEVE I'M HOSTING TH
933
00:33:17,280 --> 00:33:18,180
TONYS WITH P!NK!
934
00:33:18,180 --> 00:33:19,150
>> CELINE, I'M SO SORRY, YOU'RE
935
00:33:19,150 --> 00:33:20,850
NOT HOSTING WITH ME.
936
00:33:20,850 --> 00:33:23,850
YOU'RE NOMINATED.
937
00:33:23,850 --> 00:33:24,820
YOUR PERFORMING.
938
00:33:24,820 --> 00:33:25,720
WHERE DID YOU GET THAT
939
00:33:25,720 --> 00:33:26,580
MICROPHONE?
940
00:33:26,580 --> 00:33:30,950
>> I COLLECT THEM.
941
00:33:30,950 --> 00:33:31,550
WE'LL BE RIGHT BACK WITH THE
942
00:33:31,550 --> 00:33:32,080
TONY AWARDS!
943
00:33:34,550 --> 00:33:36,450
*
944
00:33:36,450 --> 00:33:38,350
>> IF I APPALL YOU, WHY DO YOU
945
00:33:38,350 --> 00:33:40,920
LOVE ME?
946
00:33:40,920 --> 00:33:44,150
>> THE PLAY IS AN ATTEMPT TO
947
00:33:44,150 --> 00:33:46,080
FIND A BALANCE IN DAHL, WHO WAS
948
00:33:46,080 --> 00:33:47,350
A MAN OF GREAT COMPASSION, BUT
949
00:33:47,350 --> 00:33:49,220
ALSO HAD SOME CONTROLLING
950
00:33:49,220 --> 00:33:50,320
ASPECTS TO HIS PERSONALITY AND
951
00:33:50,320 --> 00:33:52,420
BELIEFS.
952
00:33:54,450 --> 00:33:56,580
>> YOU UNDERSTAND THE POWER OF
953
00:33:56,580 --> 00:33:59,350
LANGUAGE MORE THAN ANYONE!
954
00:33:59,350 --> 00:34:01,250
>> WE MAY LOVE HIS WORK, WE MAY
955
00:34:01,250 --> 00:34:02,850
FIND HIM OBJECTIONABLE, AND IT
956
00:34:02,850 --> 00:34:03,980
CAN BE OUR JOB TO SIT WITH BOTH
957
00:34:03,980 --> 00:34:06,150
THOSE THINGS.
958
00:34:06,150 --> 00:34:12,080
*
959
00:34:12,080 --> 00:34:12,320
[APPLAUSE]
960
00:34:12,320 --> 00:34:13,650
*
961
00:34:13,650 --> 00:34:15,080
>> Announcer: PLEASE WELCOME,
962
00:34:15,080 --> 00:34:16,780
FROM THE UPCOMING REVIVAL OF
963
00:34:16,780 --> 00:34:18,150
"EVITA," RACHEL ZEGLER AND TONY
964
00:34:18,150 --> 00:34:20,080
AWARD WINNER BEN PLATT.
965
00:34:20,080 --> 00:34:28,980
[APPLAUSE]
966
00:34:28,980 --> 00:34:29,850
*
967
00:34:29,850 --> 00:34:30,850
>> THIS SEASON THE BROADWAY
968
00:34:30,850 --> 00:34:31,880
LEAGUE'S INITIATIVE, "BROADWAY
969
00:34:31,880 --> 00:34:32,920
BRIDGES," BROUGHT MORE THAN
970
00:34:32,920 --> 00:34:34,080
12,000 NEW YORK CITY HIGH SCHOO
971
00:34:34,080 --> 00:34:35,420
STUDENTS TO BROADWAY.
972
00:34:35,420 --> 00:34:38,220
>> "BROADWAY BRIDGES ON THE
973
00:34:38,220 --> 00:34:39,750
ROAD" HAS EXPANDED ACROSS THE
974
00:34:39,750 --> 00:34:40,820
COUNTRY TO ENGAGE THE NEXT
975
00:34:40,820 --> 00:34:41,820
GENERATION OF THEATER
976
00:34:41,820 --> 00:34:42,850
PROFESSIONALS, INCLUDING
977
00:34:42,850 --> 00:34:45,180
DIRECTORS.
978
00:34:45,180 --> 00:34:46,750
>> THERE IS NO ONE MORE CRITICA
979
00:34:46,750 --> 00:34:48,980
TO A PRODUCTION'S VISION THAN A
980
00:34:48,980 --> 00:34:50,450
DIRECTOR, SO AS ACTORS, CAN WE
981
00:34:50,450 --> 00:34:57,220
JUST SAY TO ALL THE DIRECTORS
982
00:34:57,220 --> 00:35:00,350
OUT IN THE AUDIENCE:
983
00:35:00,350 --> 00:35:01,150
HOW IS THAT?
984
00:35:01,150 --> 00:35:02,080
DID YOU LIKE THAT?
985
00:35:02,080 --> 00:35:03,650
DID REAL?
986
00:35:03,650 --> 00:35:04,350
>> WE CAN TOTALLY TRY IT ANOTHE
987
00:35:04,350 --> 00:35:05,080
WAY!
988
00:35:05,080 --> 00:35:05,680
WHATEVER YOU WANT.
989
00:35:05,680 --> 00:35:06,450
JUST BE HONEST.
990
00:35:06,450 --> 00:35:10,350
WE CAN HANDLE IT!
991
00:35:10,350 --> 00:35:12,180
>> I CAN'T HANDLE NOTES.
992
00:35:12,180 --> 00:35:13,120
>> NO ONE CAN HANDLE IT.
993
00:35:13,120 --> 00:35:15,150
>> THEY LOVE IT.
994
00:35:15,150 --> 00:35:16,850
LET'S SEE WHO GAVE THE BEST
995
00:35:16,850 --> 00:35:17,350
NOTES.
996
00:35:17,350 --> 00:35:19,380
>> HERE ARE THE NOMINEES FOR
997
00:35:19,380 --> 00:35:19,950
BEST DIRECTION OF A MUSICAL.
998
00:35:19,950 --> 00:35:21,850
*
999
00:35:21,850 --> 00:35:22,680
>> MICHAEL ARDEN, "THE LOST
1000
00:35:22,680 --> 00:35:24,950
BOYS."
1001
00:35:24,950 --> 00:35:27,320
LEAR DEBESSONET, "RAGTIME."
1002
00:35:27,320 --> 00:35:28,350
CHRISTOPHER GATTELLI,
1003
00:35:28,350 --> 00:35:30,850
"SCHMIGADOON."
1004
00:35:30,850 --> 00:35:31,980
TIM JACKSON, "TWO STRANGERS
1005
00:35:31,980 --> 00:35:35,080
(CARRY A CAKE ACROSS NEW YORK).
1006
00:35:35,080 --> 00:35:36,320
ZHAILON LEVINGSTON AND BILL
1007
00:35:36,320 --> 00:35:37,250
RAUCH, "CATS: THE JELLICLE
1008
00:35:37,250 --> 00:35:39,450
BALL."
1009
00:35:39,450 --> 00:35:41,180
[APPLAUSE]
1010
00:35:41,180 --> 00:35:48,850
>> AND THE TONY AWARD GOES TO..
1011
00:35:48,850 --> 00:35:50,820
ZHAILON LEVINGSTON AND
1012
00:35:50,820 --> 00:35:55,320
BILL RAUCH!
1013
00:35:55,320 --> 00:35:56,080
>> ZHAILON LEVINGSTON AND BILL
1014
00:35:56,080 --> 00:35:58,250
RAUCH WHEN THEIR FIRST TONY SAW
1015
00:35:58,250 --> 00:36:01,180
REIMAGINING ANDREW LL
1016
00:36:01,180 --> 00:36:01,880
ANDREW LLOYD WEBBER'S MUSICAL AA
1017
00:36:01,880 --> 00:36:03,480
BALLROOM COMPETITION.
1018
00:36:03,480 --> 00:36:11,120
*
1019
00:36:11,120 --> 00:36:18,320
*
1020
00:36:18,320 --> 00:36:20,480
>> OKAY!
1021
00:36:20,480 --> 00:36:22,550
BALLROOM IS ABOUT AUDACITY AND
1022
00:36:22,550 --> 00:36:22,850
DISRUPTION.
1023
00:36:22,850 --> 00:36:30,420
IN THE WORDS OF JUNIOR LA BEIJA,
1024
00:36:30,420 --> 00:36:33,350
IT TAKE NERVE.
1025
00:36:33,350 --> 00:36:33,980
TO OUR LEAD PRODUCERS, ANDREW
1026
00:36:33,980 --> 00:36:36,950
AND HIS TEAM AT
1027
00:36:36,950 --> 00:36:37,950
ANDREW LLOYD WEBBER
1028
00:36:37,950 --> 00:36:38,520
ENTERTAINMENT, EVERYBODY WHO
1029
00:36:38,520 --> 00:36:41,750
GAVE A FEARLESS YES.
1030
00:36:41,750 --> 00:36:42,550
>> BALLROOM IS ABOUT
1031
00:36:42,550 --> 00:36:43,120
AUTHENTICITY.
1032
00:36:43,120 --> 00:36:44,350
>> ARE BRILLIANT CREATIVE TEAM,
1033
00:36:44,350 --> 00:36:48,850
STAGE MANAGERS, AND CREW BRING
1034
00:36:48,850 --> 00:36:49,480
AUTHENTIC EXPERTISE IN BALLROOM
1035
00:36:49,480 --> 00:36:52,720
OR BROADLY OR BOTH.
1036
00:36:52,720 --> 00:36:54,220
OH, ME AGAIN.
1037
00:36:54,220 --> 00:36:54,580
PAUL
1038
00:36:55,080 --> 00:37:00,480
BALLROOM IS ABOUT CAMARADERIE
1039
00:37:00,480 --> 00:37:01,280
THROUGH REPETITION.
1040
00:37:01,280 --> 00:37:01,580
>> FIERCE.
1041
00:37:01,580 --> 00:37:04,480
>> ABOUT LEGACY.
1042
00:37:04,480 --> 00:37:07,320
>> WE HONOR THE BLACK AND BROWN
1043
00:37:07,320 --> 00:37:11,280
TRANS WOMEN AND GAY MEN WHO ARE
1044
00:37:11,280 --> 00:37:12,150
BALLROOM PIONEERS AS WELL AS
1045
00:37:12,150 --> 00:37:12,880
ICONS.
1046
00:37:12,880 --> 00:37:14,880
>> AND OUR CAST OF ASTONISHING
1047
00:37:14,880 --> 00:37:15,780
TRIPLE THREATS, INCLUDING PEOPLE
1048
00:37:15,780 --> 00:37:18,620
FROM THEIR 20s TO THEIR 80s
1049
00:37:18,620 --> 00:37:21,450
AND EVERY DECADE IN BETWEEN.
1050
00:37:21,450 --> 00:37:22,680
>> BALLROOM WELCOMES EVERYONE.
1051
00:37:22,680 --> 00:37:23,480
>> TO THE 12-YEAR-OLD KID WHO
1052
00:37:23,480 --> 00:37:27,420
DOESN'T FIT IN WHO MAY BE
1053
00:37:27,420 --> 00:37:28,320
WATCHING THIS ON THE TELEVISION
1054
00:37:28,320 --> 00:37:30,980
IN THEIR BEDROOM WITH THE VOLUME
1055
00:37:30,980 --> 00:37:32,080
TURNED DOWN LOW.
1056
00:37:32,080 --> 00:37:34,280
>> COME FIND YOUR HOME AT THE
1057
00:37:34,280 --> 00:37:36,620
JELLICLE BALL.
1058
00:37:36,620 --> 00:37:40,450
[APPLAUSE]
1059
00:37:40,450 --> 00:37:41,120
>> FINALLY, BALLROOM IS ABOUT
1060
00:37:41,120 --> 00:37:41,950
CHOSEN FAMILY.
1061
00:37:41,950 --> 00:37:42,950
>> I AM NOTHING WITHOUT MY
1062
00:37:42,950 --> 00:37:50,620
FAMILY, MY FRIENDS, MY PARTNER,
1063
00:37:50,620 --> 00:37:52,650
BRANDON, AND MY MOTHER, SHANNON
1064
00:37:52,650 --> 00:37:53,250
LEVINGSTON.
1065
00:37:53,250 --> 00:37:54,920
EVERY CORE VALUE I LEARNED FROM
1066
00:37:54,920 --> 00:37:55,820
YOU.
1067
00:37:55,820 --> 00:37:58,450
>> WE CHOSE EACH OTHER, MY
1068
00:37:58,450 --> 00:37:58,950
HUSBAND, 42 YEARS AGO.
1069
00:37:58,950 --> 00:38:03,120
AND YOU ON OUR KIDS ARE THE
1070
00:38:03,120 --> 00:38:04,520
HEART OF ANYTHING THAT HAS ANY
1071
00:38:04,520 --> 00:38:06,480
VALUE IN THIS WORLD.
1072
00:38:06,480 --> 00:38:09,180
>> AND THAT, MY FRIENDS, IS WHAT
1073
00:38:09,180 --> 00:38:11,680
WE CALL --
1074
00:38:11,680 --> 00:38:12,180
[IN UNISON]
1075
00:38:12,180 --> 00:38:14,720
TAG TEAM PERFORMANCE!
1076
00:38:14,720 --> 00:38:16,750
[APPLAUSE]
1077
00:38:16,750 --> 00:38:20,980
*
1078
00:38:20,980 --> 00:38:26,820
*
1079
00:38:26,820 --> 00:38:27,680
>> AND NOW, HERE ARE THE
1080
00:38:27,680 --> 00:38:28,720
NOMINEES FOR BEST DIRECTION OF
1081
00:38:28,720 --> 00:38:32,350
PLAY.
1082
00:38:32,350 --> 00:38:34,650
*
1083
00:38:34,650 --> 00:38:37,520
>> NICHOLAS HYTNER, "GIANT."
1084
00:38:37,520 --> 00:38:40,520
ROBERT ICKE, "OEDIPUS."
1085
00:38:40,520 --> 00:38:43,380
KENNY LEON, "THE BALUSTERS."
1086
00:38:43,380 --> 00:38:44,320
JOE MANTELLO, "ARTHUR MILLER'S
1087
00:38:44,320 --> 00:38:46,750
DEATH OF A SALESMAN."
1088
00:38:46,750 --> 00:38:51,720
WHITNEY WHITE, "LIBERATION."
1089
00:38:51,720 --> 00:38:53,480
[APPLAUSE]
1090
00:38:53,480 --> 00:38:54,320
>> AND THE
1091
00:38:54,320 --> 00:38:55,150
AMERICAN THEATRE WING'S TONY
1092
00:38:55,150 --> 00:38:57,320
AWARD GOES TO...
1093
00:38:57,320 --> 00:38:58,120
JOE MANTELLO, "ARTHUR MILLER'S
1094
00:38:58,120 --> 00:39:01,620
DEATH OF A SALESMAN."
1095
00:39:01,620 --> 00:39:01,880
[APPLAUSE]
1096
00:39:01,880 --> 00:39:06,480
*
1097
00:39:06,480 --> 00:39:08,420
>> THIS IS THE NINTH
1098
00:39:08,420 --> 00:39:10,280
DENOMINATION ENTERED WIN FOR
1099
00:39:10,280 --> 00:39:12,880
ACTOR-DIRECTOR JOE MANTELLO, THE
1100
00:39:12,880 --> 00:39:17,380
LAST WIN A TONY FOR "ASSASSINS"
1101
00:39:17,380 --> 00:39:17,620
IN 2004.
1102
00:39:17,620 --> 00:39:24,450
*
1103
00:39:24,450 --> 00:39:26,250
>> THANK YOU SO MUCH.
1104
00:39:26,250 --> 00:39:28,880
THE IDEA FOR THIS PRODUCTION
1105
00:39:28,880 --> 00:39:29,520
BEGAN WITH AN OFFHANDED COMMENT
1106
00:39:29,520 --> 00:39:31,580
TO NATHAN WHEN I SAID TO HIM,
1107
00:39:31,580 --> 00:39:33,080
ONE DAY I'M GOING TO DIRECT YOU
1108
00:39:33,080 --> 00:39:34,680
IN "DEATH OF A SALESMAN."
1109
00:39:34,680 --> 00:39:40,220
AND I DON'T THINK EITHER OF US
1110
00:39:40,220 --> 00:39:44,150
KNEW THAT ONE DAY, OVER 30 YEARS
1111
00:39:44,150 --> 00:39:48,220
LATER -- I HAVE GOOD
1112
00:39:48,220 --> 00:39:48,580
FOLLOW-THROUGH.
1113
00:39:48,580 --> 00:39:48,850
[LAUGHTER]
1114
00:39:48,850 --> 00:39:52,220
NATHAN, YOU ARE -- WE ALL KNOW
1115
00:39:52,220 --> 00:39:56,720
IT, YOU ARE JUST ONE OF OUR
1116
00:39:56,720 --> 00:39:59,220
GREATS.
1117
00:39:59,220 --> 00:40:06,520
[APPLAUSE]
1118
00:40:06,520 --> 00:40:11,220
[SUSTAINED APPLAUSE]
1119
00:40:11,220 --> 00:40:13,550
YOU ARE, AND YOU HAVE ALWAYS
1120
00:40:13,550 --> 00:40:14,420
BEEN THE INSPIRATION BEHIND THIS
1121
00:40:14,420 --> 00:40:14,720
PRODUCTION.
1122
00:40:14,720 --> 00:40:18,220
AND I WANT TO SHARE THIS WITH
1123
00:40:18,220 --> 00:40:20,620
YOU.
1124
00:40:20,620 --> 00:40:22,080
JOE, THANK YOU FOR BEING MY
1125
00:40:22,080 --> 00:40:23,480
CREATIVE PARTNER AND FRIEND AND
1126
00:40:23,480 --> 00:40:25,820
FOR BELIEVING IN ME, ESPECIALLY
1127
00:40:25,820 --> 00:40:27,420
ON NIGHTS THAT DIDN'T LOOK LIKE
1128
00:40:27,420 --> 00:40:29,020
THIS.
1129
00:40:29,020 --> 00:40:31,250
THANK YOU TO OUR PRODUCERS, OUR
1130
00:40:31,250 --> 00:40:33,020
DESIGNERS, OUR BACKSTAGE TEAM,
1131
00:40:33,020 --> 00:40:33,850
OUR FEARLESS ENSEMBLE OF ACTORS
1132
00:40:33,850 --> 00:40:36,580
OUT THERE.
1133
00:40:36,580 --> 00:40:38,780
AND MAKE NO MISTAKE, AS
1134
00:40:38,780 --> 00:40:40,750
THRILLING AS THIS IS, WHAT I
1135
00:40:40,750 --> 00:40:42,350
WILL REMEMBER MOST ABOUT THIS
1136
00:40:42,350 --> 00:40:46,820
EXPERIENCE IS THE DAYS WHERE WE
1137
00:40:46,820 --> 00:40:48,020
ARE COMPLETELY UNCERTAIN, AND WE
1138
00:40:48,020 --> 00:40:49,980
ARE SURE WE LOST OUR WAY, ONLY
1139
00:40:49,980 --> 00:40:51,480
TO REALIZE THAT THOSE WERE
1140
00:40:51,480 --> 00:40:54,420
ACTUALLY THE DAYS WHEN THE MOST
1141
00:40:54,420 --> 00:40:55,150
INTERESTING THINGS HAPPENED.
1142
00:40:55,150 --> 00:40:56,420
WE DISCOVERED A PLAY THAT WE
1143
00:40:56,420 --> 00:40:59,720
THOUGHT WE KNEW SO WELL, AND
1144
00:40:59,720 --> 00:41:01,880
COULD STILL SURPRISE US, AND
1145
00:41:01,880 --> 00:41:03,780
THAT REAL THRILLED COMES FROM
1146
00:41:03,780 --> 00:41:04,420
RISK.
1147
00:41:04,420 --> 00:41:06,550
IF YOU ARE LUCKY, THIS IS YOUR
1148
00:41:06,550 --> 00:41:07,080
JOB.
1149
00:41:07,080 --> 00:41:08,580
IF YOU ARE REALLY LUCKY, YOU GET
1150
00:41:08,580 --> 00:41:10,920
TO DO YOUR JOB WITH
1151
00:41:10,920 --> 00:41:11,380
EXTRAORDINARY PEOPLE.
1152
00:41:11,380 --> 00:41:13,850
I AM REALLY LUCKY.
1153
00:41:13,850 --> 00:41:15,720
BUT NONE OF THIS COULD HAVE
1154
00:41:15,720 --> 00:41:17,650
EXISTED WITHOUT THE GREAT
1155
00:41:17,650 --> 00:41:20,220
ARTHUR MILLER.
1156
00:41:20,220 --> 00:41:23,780
[APPLAUSE]
1157
00:41:23,780 --> 00:41:26,980
WHO, OVER 75 YEARS AGO, GAVE US
1158
00:41:26,980 --> 00:41:27,620
THIS MAGNIFICENT WORK THAT STILL
1159
00:41:27,620 --> 00:41:30,380
TALKS TO US THROUGH TIME, AND
1160
00:41:30,380 --> 00:41:32,880
YET IT JUST FEELS LIKE IT WAS
1161
00:41:32,880 --> 00:41:33,280
WRITTEN YESTERDAY.
1162
00:41:33,280 --> 00:41:35,420
ON BEHALF OF ALL OF US AT THE
1163
00:41:35,420 --> 00:41:36,220
WINTER GARDEN THEATRE, MAY I SAY
1164
00:41:36,220 --> 00:41:38,450
THAT IT HAS BEEN A PLEASURE TO
1165
00:41:38,450 --> 00:41:41,420
SPEND SOME TIME IN THIS COMPANY.
1166
00:41:41,420 --> 00:41:41,820
THANK YOU SO MUCH.
1167
00:41:41,820 --> 00:41:42,080
[APPLAUSE]
1168
00:41:42,080 --> 00:41:48,080
*
1169
00:41:48,080 --> 00:41:51,580
*
1170
00:41:51,580 --> 00:41:54,480
>> Announcer: PLEASE WELCOME,
1171
00:41:54,480 --> 00:41:55,450
A TONY NOMINEE TONIGHT,
1172
00:41:55,450 --> 00:41:56,350
BOWEN YANG.
1173
00:41:56,350 --> 00:41:57,580
[APPLAUSE]
1174
00:41:57,580 --> 00:41:58,850
*
1175
00:41:58,850 --> 00:42:00,720
>> FOR HIS 1997 FILM, "TITANIC,
1176
00:42:00,720 --> 00:42:02,080
JAMES CAMERON SPENT YEARS
1177
00:42:02,080 --> 00:42:04,450
RESEARCHING THE DOOMED SHIP,
1178
00:42:04,450 --> 00:42:05,720
GOING TO PAINSTAKING LENGTHS TO
1179
00:42:05,720 --> 00:42:06,580
ACCURATELY PORTRAY WHAT WENT
1180
00:42:06,580 --> 00:42:09,350
DOWN.
1181
00:42:09,350 --> 00:42:10,280
OOH, POOR CHOICE OF WORDS.
1182
00:42:10,280 --> 00:42:12,880
[LAUGHTER]
1183
00:42:12,880 --> 00:42:13,980
THE CREATORS OF "TITANIQUE,"
1184
00:42:13,980 --> 00:42:14,820
HOWEVER, DID NOT DO ANY
1185
00:42:14,820 --> 00:42:15,980
RESEARCH.
1186
00:42:15,980 --> 00:42:18,420
[LAUGHTER]
1187
00:42:18,420 --> 00:42:19,550
INSTEAD THEY ASKED, "WHAT IF
1188
00:42:19,550 --> 00:42:20,620
CELINE DION WAS ACTUALLY ON THE
1189
00:42:20,620 --> 00:42:23,450
TITANIC?"
1190
00:42:23,450 --> 00:42:25,080
AND FROM THERE, USED THE MUSIC
1191
00:42:25,080 --> 00:42:26,150
OF OUR QUEBECOIS QUEEN TO LET
1192
00:42:26,150 --> 00:42:31,080
THAT INCREDIBLE STORY SINK IN.
1193
00:42:31,080 --> 00:42:33,320
WOW, HORRIBLE WORDS AGAIN!
1194
00:42:33,320 --> 00:42:33,980
>> HEY, GIRLFRIEND.
1195
00:42:33,980 --> 00:42:34,750
THANK SO MUCH, BUT, UH -- I
1196
00:42:34,750 --> 00:42:35,450
THINK I GOT THIS.
1197
00:42:35,450 --> 00:42:36,250
>> OH, MY GOD.
1198
00:42:36,250 --> 00:42:36,880
OF COURSE, CELINE!
1199
00:42:36,880 --> 00:42:38,750
YOU ARE SO RIGHT!
1200
00:42:38,750 --> 00:42:39,350
>> OKAY, I LOVE YOU SO MUCH,
1201
00:42:39,350 --> 00:42:43,580
MR. ICEBERG YANG.
1202
00:42:43,580 --> 00:42:45,980
SHOTS LATER, OKAY?
1203
00:42:45,980 --> 00:42:47,220
>> OKAY, I'M ALREADY DRUNK.
1204
00:42:47,220 --> 00:42:47,620
>> OKAY.
1205
00:42:47,620 --> 00:42:49,080
HOW IS EVERYONE DOING IN THE
1206
00:42:49,080 --> 00:42:51,350
HOUSE TONIGHT?
1207
00:42:51,350 --> 00:42:53,950
[APPLAUSE]
1208
00:42:53,950 --> 00:42:54,550
THANK YOU SO MUCH.
1209
00:42:54,550 --> 00:42:59,750
I CAME HERE TO THE TONYS TO SAY
1210
00:42:59,750 --> 00:43:00,620
THIS.
1211
00:43:00,620 --> 00:43:01,620
I WAS ON TITANIC.
1212
00:43:01,620 --> 00:43:03,720
CAN I TELL YOU MY KOOKY CRAZY
1213
00:43:03,720 --> 00:43:05,250
STORY?
1214
00:43:05,250 --> 00:43:05,820
WHAT DO YOU SAY?
1215
00:43:05,820 --> 00:43:06,920
OKAY.
1216
00:43:06,920 --> 00:43:08,580
MAESTRO, SHALL WE GO FOR IT?
1217
00:43:08,580 --> 00:43:11,820
*
1218
00:43:11,820 --> 00:43:13,720
IT'S BEEN 84 YEARS, AND I CAN
1219
00:43:13,720 --> 00:43:16,520
STILL SMELL DA FRESH PAINT.
1220
00:43:16,520 --> 00:43:17,320
THERE WAS AN AGING TWINK
1221
00:43:17,320 --> 00:43:18,650
NAMED JACK.
1222
00:43:18,650 --> 00:43:19,750
>> WOW, I GOTTA GET A TICKET TO
1223
00:43:19,750 --> 00:43:21,420
THAT SHIP!
1224
00:43:21,420 --> 00:43:22,350
>> AND ACADEMY AWARD WINNER
1225
00:43:22,350 --> 00:43:23,980
KATHY BATES.
1226
00:43:23,980 --> 00:43:25,180
>> UNSINKABLE MOLLY BROWN.
1227
00:43:25,180 --> 00:43:28,080
>> UNBREAKABLE KIMMY SCHMIDT.
1228
00:43:28,080 --> 00:43:29,850
THERE WAS VICTOR GARBER AND HIS
1229
00:43:29,850 --> 00:43:31,680
TRUSTED ASSISTANT, THE SEAMAN.
1230
00:43:31,680 --> 00:43:34,650
>> EVERYBODY LOVES SEAMEN!
1231
00:43:34,650 --> 00:43:38,520
>> NOT LESBIANS.
1232
00:43:38,520 --> 00:43:39,380
AM I RIGHT, P!NK?
1233
00:43:39,380 --> 00:43:42,480
SHE KNOWS.
1234
00:43:42,480 --> 00:43:43,280
THERE WAS ROSE, AND HER FIANCE,
1235
00:43:43,280 --> 00:43:48,520
CAL.
1236
00:43:48,520 --> 00:43:49,480
>> IT'S BEAUTIFUL!
1237
00:43:49,480 --> 00:43:51,080
>> I GOT IT AT JARED'S.
1238
00:43:51,080 --> 00:43:51,920
>> AND OF COURSE THERE WAS
1239
00:43:51,920 --> 00:43:52,950
ROSE'S MOTHER, RUTH.
1240
00:43:52,950 --> 00:43:54,180
>> ANOTHER GORGEOUS DAY TO BE A
1241
00:43:54,180 --> 00:43:56,580
RICH, SKINNY MONSTER.
1242
00:43:56,580 --> 00:43:58,150
>> OKAY.
1243
00:43:58,150 --> 00:43:58,980
HEY, THE TONYS, SHALL WE GO FOR
1244
00:43:58,980 --> 00:44:02,720
IT?
1245
00:44:02,720 --> 00:44:06,950
>> ALL ABOARD!
1246
00:44:06,950 --> 00:44:08,380
*
1247
00:44:08,380 --> 00:44:10,250
>> * WHAT DO YOU SAY?
1248
00:44:10,250 --> 00:44:11,850
* WHAT DO YOU SAY?
1249
00:44:11,850 --> 00:44:16,150
* WHAT DO YOU SAY?
1250
00:44:16,150 --> 00:44:23,220
>> I'M THE KING OF THE WORLD!
1251
00:44:23,220 --> 00:44:23,820
>> * MY HEART WAS BEATING
1252
00:44:23,820 --> 00:44:24,580
DOWN *
1253
00:44:24,580 --> 00:44:25,380
* BUT I ALWAYS COME BACK FOR
1254
00:44:25,380 --> 00:44:26,150
MORE, YEAH, THERE'S NOTHING LIK
1255
00:44:26,150 --> 00:44:27,080
LOVE TO PULL YOU UP *
1256
00:44:27,080 --> 00:44:27,950
* WHEN YOU'RE LYING DOWN ON THE
1257
00:44:27,950 --> 00:44:28,880
FLOOR THERE *
1258
00:44:28,880 --> 00:44:29,880
* SO TALK TO ME, TALK TO ME,
1259
00:44:29,880 --> 00:44:31,080
LIKE LOVERS DO *
1260
00:44:31,080 --> 00:44:32,650
* YEAH, WALK WITH ME
1261
00:44:32,650 --> 00:44:34,680
* WALK WITH ME, LIKE LOVERS DO
1262
00:44:34,680 --> 00:44:42,180
* LIKE LOVERS DO
1263
00:44:42,180 --> 00:44:44,320
*
1264
00:44:44,320 --> 00:44:45,180
>> * WHAT DO YOU SAY TO TAKING
1265
00:44:45,180 --> 00:44:48,220
CHANCES *
1266
00:44:48,220 --> 00:44:49,250
* WHAT DO YOU SAY TO JUMPING OF
1267
00:44:49,250 --> 00:44:52,820
THE EDGE *
1268
00:44:52,820 --> 00:44:54,450
* NEVER KNOWING IF THERE IS
1269
00:44:54,450 --> 00:45:00,180
SOLID GROUND BELOW *
1270
00:45:00,180 --> 00:45:00,980
* OR A HAND TO HOLD OR HELL TO
1271
00:45:00,980 --> 00:45:07,220
PAY *
1272
00:45:07,220 --> 00:45:10,320
* WHAT DO YOU SAY?
1273
00:45:10,320 --> 00:45:17,420
*
1274
00:45:17,420 --> 00:45:20,850
>> * WHAT DO YOU SAY?
1275
00:45:20,850 --> 00:45:23,180
>> AND THEN I STARTED TO SING,
1276
00:45:23,180 --> 00:45:24,180
FROM THE BOTTOM OF MY PERFECT
1277
00:45:24,180 --> 00:45:27,550
HEART.
1278
00:45:27,550 --> 00:45:31,550
* YOU'RE HERE
1279
00:45:31,550 --> 00:45:36,420
* THERE'S NOTHING I FEAR
1280
00:45:36,420 --> 00:45:38,720
* AND I KNOW THAT MY HEART WILL
1281
00:45:38,720 --> 00:45:46,080
GO ON *
1282
00:45:46,080 --> 00:45:49,750
* WE'LL STAY
1283
00:45:49,750 --> 00:45:55,220
* FOREVER THIS WAY
1284
00:45:55,220 --> 00:45:58,920
* YOU ARE SAFE IN MY HEART AND
1285
00:45:58,920 --> 00:46:04,850
* MY HEART WILL GO ON AND ON
1286
00:46:04,850 --> 00:46:07,320
*
1287
00:46:07,320 --> 00:46:11,480
* MY HEART WILL GO ON AND ON
1288
00:46:11,480 --> 00:46:18,120
* MY HEART WILL GO ON AND ON
1289
00:46:18,120 --> 00:46:23,450
* MY HEART WILL GO ON
1290
00:46:23,450 --> 00:46:27,220
*
1291
00:46:27,220 --> 00:46:34,980
[CHEERS AND APPLAUSE]
1292
00:46:34,980 --> 00:46:39,350
*
1293
00:46:39,350 --> 00:46:48,350
*
1294
00:46:48,350 --> 00:46:49,650
>> Announcer: STILL TO COME,
1295
00:46:49,650 --> 00:46:50,680
JELLICLES CAN AND JELLICLES DO
1296
00:46:50,680 --> 00:46:52,250
TAKE OVER THE STAGE.
1297
00:46:52,250 --> 00:46:53,450
PLUS, THE AWARD FOR FEATURED
1298
00:46:53,450 --> 00:46:58,620
ACTRESS IN A MUSICAL.
1299
00:46:58,620 --> 00:47:00,380
>> WE'LL BE RIGHT BACK WITH MOR
1300
00:47:00,380 --> 00:47:03,950
OF THE 79TH ANNUAL TONY AWARDS!
1301
00:47:08,080 --> 00:47:10,980
*
1302
00:47:10,980 --> 00:47:13,080
>> THIS IS A PLAY FOR MY MOTHER
1303
00:47:13,080 --> 00:47:15,280
*
1304
00:47:15,280 --> 00:47:16,580
>> I WANTED TO TALK ABOUT ALL
1305
00:47:16,580 --> 00:47:18,680
THE CHANGES THAT ARE HAPPENING
1306
00:47:18,680 --> 00:47:19,880
IN THE WORLD RIGHT NOW, AND I
1307
00:47:19,880 --> 00:47:20,880
WANTED TO PUT TWO TIME PERIODS
1308
00:47:20,880 --> 00:47:22,320
IN CONVERSATION WITH EACH OTHER
1309
00:47:22,320 --> 00:47:23,650
>> THERE IS SO MUCH OF ME THAT
1310
00:47:23,650 --> 00:47:27,450
DIDN'T SHOW YOU.
1311
00:47:27,450 --> 00:47:28,750
>> THIS IS ABOUT PEOPLE WHO HAV
1312
00:47:28,750 --> 00:47:30,280
THE COURAGE TO TELL THE TRUTH,
1313
00:47:30,280 --> 00:47:31,280
AND HAVING DIFFICULT
1314
00:47:31,280 --> 00:47:32,220
CONVERSATIONS WITH THE PEOPLE
1315
00:47:32,220 --> 00:47:33,250
WHO ARE MOST IMPORTANT TO THEM
1316
00:47:33,250 --> 00:47:34,380
BEFORE IT'S TOO LATE.
1317
00:47:34,380 --> 00:47:40,750
*
1318
00:47:40,750 --> 00:47:42,080
[APPLAUSE]
1319
00:47:42,080 --> 00:47:43,420
>> WELCOME BACK TO THE TONYS!
1320
00:47:43,420 --> 00:47:44,980
HOW AM I DOING SO FAR?
1321
00:47:44,980 --> 00:47:48,550
IT'S MY FIRST TIME HOSTING!
1322
00:47:48,550 --> 00:47:50,220
[APPLAUSE]
1323
00:47:50,220 --> 00:47:55,650
>> QUEEN!
1324
00:47:55,650 --> 00:47:58,080
>> OH, MY GOSH, ARIANA DeBOSE,
1325
00:47:58,080 --> 00:47:59,450
THREE-TIME HOST!
1326
00:47:59,450 --> 00:48:01,120
DO YOU HAVE NOTES?
1327
00:48:01,120 --> 00:48:01,920
>> YOU ARE KILLING IT.
1328
00:48:01,920 --> 00:48:03,520
NO ONE SHOULD BE TELLING YOU
1329
00:48:03,520 --> 00:48:04,620
WHAT YOU SHOULD BE DOING, BUT IF
1330
00:48:04,620 --> 00:48:06,420
YOU WANT SOME NOTES, OKAY,
1331
00:48:06,420 --> 00:48:06,950
GREAT.
1332
00:48:06,950 --> 00:48:08,180
HERE'S WHAT YOU DO.
1333
00:48:08,180 --> 00:48:09,980
YOU HAVE TO REMEMBER THAT THE
1334
00:48:09,980 --> 00:48:15,120
PEOPLE, THEY WANT ZAZZ.
1335
00:48:15,120 --> 00:48:15,850
THEY CRAVE IT.
1336
00:48:15,850 --> 00:48:19,250
THEY LONG TO BE WOWED.
1337
00:48:19,250 --> 00:48:21,650
>> I WAS GOING TO FLY --
1338
00:48:21,650 --> 00:48:23,350
>> PEOPLE LOVE ACROBATICS!
1339
00:48:23,350 --> 00:48:23,680
>> THEY DO.
1340
00:48:23,680 --> 00:48:24,620
>> THEY ALSO LOVES
1341
00:48:24,620 --> 00:48:27,080
TEARAWAY CLOTHES!
1342
00:48:27,080 --> 00:48:28,520
I WAS THINKING YOU COULD GET
1343
00:48:28,520 --> 00:48:30,420
CRAZY WITH IT AND RIP OFF YOUR
1344
00:48:30,420 --> 00:48:31,680
PANTS.
1345
00:48:31,680 --> 00:48:33,080
>> YOU THINK IT?
1346
00:48:33,080 --> 00:48:33,450
>> I KNOW.
1347
00:48:33,450 --> 00:48:35,680
ANYWAY, YOU GOT TO GET YOURSELF
1348
00:48:35,680 --> 00:48:36,080
ONE OF THESE.
1349
00:48:36,080 --> 00:48:37,620
GET YOURSELF CLOSE UP.
1350
00:48:37,620 --> 00:48:41,750
CLOSER STILL...
1351
00:48:41,750 --> 00:48:43,250
TOO CLOSE.
1352
00:48:43,250 --> 00:48:43,520
[LAUGHTER]
1353
00:48:43,520 --> 00:48:45,080
WHAT YOU WANT TO DO IS SAY
1354
00:48:45,080 --> 00:48:48,080
SOMETHING UNDENIABLY TRUE.
1355
00:48:48,080 --> 00:48:48,620
TONIGHT IS FOR EVERY KID OUT
1356
00:48:48,620 --> 00:48:52,880
THERE WHO WANTS TO DO THEATER!
1357
00:48:52,880 --> 00:48:54,450
>> NICE.
1358
00:48:54,450 --> 00:48:54,820
[APPLAUSE]
1359
00:48:54,820 --> 00:48:55,820
WELL PLAYED.
1360
00:48:55,820 --> 00:48:57,250
>> AND THEN YOU HIT 'EM WITH A
1361
00:48:57,250 --> 00:49:00,150
HIGH NOTE OF YOUR CHOOSING.
1362
00:49:00,150 --> 00:49:00,320
GO.
1363
00:49:00,320 --> 00:49:01,580
>> HIGH NOTE?
1364
00:49:01,580 --> 00:49:02,820
[BELTS HIGH NOTE]
1365
00:49:02,820 --> 00:49:05,750
>> SUSTAIN, SUSTAIN...
1366
00:49:05,750 --> 00:49:09,280
VIBRATO!
1367
00:49:09,280 --> 00:49:12,320
I HAVE CHILLS.
1368
00:49:12,320 --> 00:49:13,680
[APPLAUSE]
1369
00:49:13,680 --> 00:49:15,080
YOU'RE PERFECT IN EVERY WAY.
1370
00:49:15,080 --> 00:49:16,550
IT'S LIKE MARY POPPINS.
1371
00:49:16,550 --> 00:49:21,250
ALSO, IF YOU NEED TO VAMP IN AN
1372
00:49:21,250 --> 00:49:21,980
EMERGENCY SITUATION, YOU CAN
1373
00:49:21,980 --> 00:49:23,420
ALWAYS REMIND THEM THAT
1374
00:49:23,420 --> 00:49:24,080
JONATHAN GROFF SPITS A
1375
00:49:24,080 --> 00:49:24,920
LOT, AND NATHAN LANE IS SECRETL
1376
00:49:24,920 --> 00:49:30,650
6'7".
1377
00:49:30,650 --> 00:49:34,250
YOU GOT THIS, BOO!
1378
00:49:34,250 --> 00:49:34,850
>> ARIANA DeBOSE, EVERYBODY!
1379
00:49:34,850 --> 00:49:35,120
[APPLAUSE]
1380
00:49:35,120 --> 00:49:37,580
MOVING ON.
1381
00:49:37,580 --> 00:49:39,620
PLEASE --
1382
00:49:39,620 --> 00:49:39,880
[LAUGHTER]
1383
00:49:39,880 --> 00:49:43,620
>> UNDENIABLE!
1384
00:49:43,620 --> 00:49:46,780
[LAUGHTER AND APPLAUSE]
1385
00:49:46,780 --> 00:49:48,480
>> I FEEL UNDENIABLE.
1386
00:49:48,480 --> 00:49:49,520
PLEASE WELCOME OUR NEXT
1387
00:49:49,520 --> 00:49:51,220
PRESENTER, MEGAN THEE STALLION!
1388
00:49:51,220 --> 00:49:52,380
[APPLAUSE]
1389
00:49:52,380 --> 00:49:58,520
*
1390
00:49:58,520 --> 00:50:06,820
*
1391
00:50:06,820 --> 00:50:08,850
>> HELLO!
1392
00:50:08,850 --> 00:50:11,480
HEY!
1393
00:50:11,480 --> 00:50:12,980
MM-HMM.
1394
00:50:12,980 --> 00:50:13,920
I LEARNED A LOT DURING MY
1395
00:50:13,920 --> 00:50:18,520
TIME ON BROADWAY.
1396
00:50:18,520 --> 00:50:24,720
HELLO!
1397
00:50:24,720 --> 00:50:25,020
UH-UH, P!NK.
1398
00:50:25,020 --> 00:50:25,320
THERE WE GO.
1399
00:50:25,320 --> 00:50:25,620
THERE WE GO!
1400
00:50:25,620 --> 00:50:27,580
HEY, Y'ALL!
1401
00:50:27,580 --> 00:50:30,780
[APPLAUSE]
1402
00:50:30,780 --> 00:50:32,220
BRING MY THING BACK.
1403
00:50:32,220 --> 00:50:32,580
OKAY.
1404
00:50:32,580 --> 00:50:33,620
FOR REAL, FOR REAL.
1405
00:50:33,620 --> 00:50:35,080
I DID LEARN A LOT DURING MY TIME
1406
00:50:35,080 --> 00:50:36,880
ON BROADWAY.
1407
00:50:36,880 --> 00:50:38,050
I LEARNED THAT "BREAK A LEG" IS
1408
00:50:38,050 --> 00:50:39,320
HOW YOU SAY "YOU GOT THIS," AND
1409
00:50:39,320 --> 00:50:40,250
THAT "THE WEEKEND" IS ACTUALLY
1410
00:50:40,250 --> 00:50:42,920
JUST MONDAY.
1411
00:50:42,920 --> 00:50:45,680
[LAUGHTER]
1412
00:50:45,680 --> 00:50:48,580
THAT WAS TOUGH.
1413
00:50:48,580 --> 00:50:50,750
BUT MOSTLY WHAT I LEARNED IS HOW
1414
00:50:50,750 --> 00:50:51,320
QUICKLY BECOME A FAMILY ON A
1415
00:50:51,320 --> 00:50:52,780
SHOW.
1416
00:50:52,780 --> 00:50:54,820
SO WHEN I SAY THE NAME OF ALL
1417
00:50:54,820 --> 00:50:56,120
THESE INCREDIBLE THEATER X'S IN
1418
00:50:56,120 --> 00:50:57,550
A MUSICAL, I WANT TO HEAR YOUR
1419
00:50:57,550 --> 00:50:59,020
FAMILY GO OFF!
1420
00:50:59,020 --> 00:51:01,950
WE'VE GOT SOME HOTTIES IN THIS
1421
00:51:01,950 --> 00:51:04,620
CROWD TONIGHT, RIGHT?
1422
00:51:04,620 --> 00:51:05,520
[CHEERS AND APPLAUSE]
1423
00:51:05,520 --> 00:51:06,620
ARE YOU READY?
1424
00:51:06,620 --> 00:51:09,520
HERE ARE THE NOMINEES.
1425
00:51:09,520 --> 00:51:10,650
*
1426
00:51:10,650 --> 00:51:11,680
>> SHOSHANA BEAN, "THE LOST
1427
00:51:11,680 --> 00:51:13,720
BOYS."
1428
00:51:13,720 --> 00:51:16,280
HANNAH CRUZ, "CHESS."
1429
00:51:16,280 --> 00:51:17,550
RACHEL DRATCH, "RICHARD
1430
00:51:17,550 --> 00:51:18,380
O'BRIEN'S THE ROCKY HORROR
1431
00:51:18,380 --> 00:51:20,820
SHOW."
1432
00:51:20,820 --> 00:51:23,720
ANA GASTEYER, "SCHMIGADOON!"
1433
00:51:23,720 --> 00:51:26,080
NICHELLE LEWIS, "RAGTIME."
1434
00:51:26,080 --> 00:51:28,880
[APPLAUSE]
1435
00:51:28,880 --> 00:51:34,920
*
1436
00:51:34,920 --> 00:51:36,780
[CLEARS THROAT]
1437
00:51:36,780 --> 00:51:42,750
AND THE TONY AWARD GOES TO...
1438
00:51:42,750 --> 00:51:48,080
SHOSHANA BEAN, "THE LOST BOYS."
1439
00:51:48,080 --> 00:51:48,280
[APPLAUSE]
1440
00:51:48,280 --> 00:51:49,180
*
1441
00:51:49,180 --> 00:51:50,780
>> TONIGHT, SHOSHANA BEAN WINS
1442
00:51:50,780 --> 00:51:51,650
HER FIRST TONY.
1443
00:51:51,650 --> 00:51:53,350
SHE WAS NOMINATED IN THE SAME
1444
00:51:53,350 --> 00:51:56,450
CATEGORY IN 2024, FOR
1445
00:51:56,450 --> 00:52:01,650
"HELL'S KITCHEN," AND IN 2022
1446
00:52:01,650 --> 00:52:03,350
FOR "MR. SATURDAY NIGHT."
1447
00:52:03,350 --> 00:52:06,520
*
1448
00:52:06,520 --> 00:52:20,850
*
1449
00:52:20,850 --> 00:52:29,580
[APPLAUSE]
1450
00:52:29,580 --> 00:52:34,080
>> I CAN'T BELIEVE IT!
1451
00:52:34,080 --> 00:52:35,980
ALL RIGHT.
1452
00:52:35,980 --> 00:52:39,780
MIKEY, PATTY, JIMMY, MARKY,
1453
00:52:39,780 --> 00:52:43,380
ESPECIALLY YOU, OUR ENTIRE "LOST
1454
00:52:43,380 --> 00:52:44,180
BOYS" FAMILY.
1455
00:52:44,180 --> 00:52:45,880
BELONGING TO YOU IS LIKE THE
1456
00:52:45,880 --> 00:52:47,720
MOST SINGULAR GIFT OF MY ENTIRE
1457
00:52:47,720 --> 00:52:48,380
CAREER.
1458
00:52:48,380 --> 00:52:51,420
I LOVE YOU, CAST, CREW,
1459
00:52:51,420 --> 00:52:52,380
CREATIVES, EVERYONE AT THE
1460
00:52:52,380 --> 00:52:53,080
PALACE.
1461
00:52:53,080 --> 00:52:55,420
OH, MY GOD, I WILL NEVER STOP
1462
00:52:55,420 --> 00:52:56,820
SCREENING ABOUT HOW THIS
1463
00:52:56,820 --> 00:52:57,850
COMBINATION OF HUMANS IS.
1464
00:52:57,850 --> 00:52:58,680
I'M SO GRATEFUL I GET TO COME TO
1465
00:52:58,680 --> 00:53:00,080
WORK AND PLAY WITH YOU EVERY
1466
00:53:00,080 --> 00:53:00,480
DAY.
1467
00:53:00,480 --> 00:53:03,350
PAUL NOLAN, YOU ARE THE LEADING
1468
00:53:03,350 --> 00:53:05,950
MAN OF MY DREAMS.
1469
00:53:05,950 --> 00:53:07,320
[APPLAUSE]
1470
00:53:07,320 --> 00:53:10,120
I LOVE YOU SO MUCH!
1471
00:53:10,120 --> 00:53:12,880
THIS DOESN'T EXIST WITHOUT YOU,
1472
00:53:12,880 --> 00:53:14,250
BEING YOUR MAMA ON STAGE AND OFF
1473
00:53:14,250 --> 00:53:16,780
HAS BEEN THE GREATEST GIFT OF
1474
00:53:16,780 --> 00:53:17,850
THIS ENTIRE EXPERIENCE.
1475
00:53:17,850 --> 00:53:20,420
THIS IS FOR THE MAMAS.
1476
00:53:20,420 --> 00:53:22,820
THIS IS FOR THE SINGLE MAMAS.
1477
00:53:22,820 --> 00:53:24,620
THIS IS FOR MY SINGLE MAMA.
1478
00:53:24,620 --> 00:53:27,420
YOU ARE THE WILD HEROES.
1479
00:53:27,420 --> 00:53:28,920
THIS IS FOR THE INCREDIBLE ARMY
1480
00:53:28,920 --> 00:53:30,650
OF WOMEN THAT SURROUND AND
1481
00:53:30,650 --> 00:53:31,220
UPLIFT ME.
1482
00:53:31,220 --> 00:53:32,620
THIS IS FOR EVERY WOMAN WHO EVER
1483
00:53:32,620 --> 00:53:35,620
FELT LIKE SHE WAS TOO MUCH OR
1484
00:53:35,620 --> 00:53:35,980
NOT ENOUGH.
1485
00:53:35,980 --> 00:53:37,620
I BEG YOU NOT TO WAIT FOR
1486
00:53:37,620 --> 00:53:40,380
PERMISSION TO BE ALL OF WHO YOU
1487
00:53:40,380 --> 00:53:40,780
ARE.
1488
00:53:40,780 --> 00:53:43,620
TAKE UP SPACE, MAKE YOUR OWN
1489
00:53:43,620 --> 00:53:45,580
PATH, MAKE MISTAKES, MAKE
1490
00:53:45,580 --> 00:53:46,820
MASSES, MAKE NEW THINGS.
1491
00:53:46,820 --> 00:53:52,820
BE FREE, BE LOUD, BE BRAVE,
1492
00:53:52,820 --> 00:53:53,080
AND --
1493
00:53:53,080 --> 00:53:59,420
I LOVE YOU!
1494
00:53:59,420 --> 00:54:00,120
[CHEERS AND APPLAUSE]
1495
00:54:00,120 --> 00:54:04,320
*
1496
00:54:04,320 --> 00:54:05,950
*
1497
00:54:05,950 --> 00:54:07,080
>> Announcer: PLEASE WELCOME
1498
00:54:07,080 --> 00:54:08,080
TONY NOMINEES LENA WAITHE.
1499
00:54:08,080 --> 00:54:09,350
LAW ROACH, AND JEREMY POPE.
1500
00:54:09,350 --> 00:54:11,250
[APPLAUSE]
1501
00:54:11,250 --> 00:54:12,780
>> IN THE 1980s, AS
1502
00:54:12,780 --> 00:54:14,550
ANDREW LLOYD WEBBER'S "CATS" WA
1503
00:54:14,550 --> 00:54:16,120
TAKING OVER BROADWAY, THE
1504
00:54:16,120 --> 00:54:18,480
BALLROOM SCENE WAS TAKING OVER
1505
00:54:18,480 --> 00:54:19,880
HARLEM, INTRODUCING A QUEER ART
1506
00:54:19,880 --> 00:54:21,320
FORM WHOSE INFLUENCE IS STILL
1507
00:54:21,320 --> 00:54:24,620
FELT TODAY.
1508
00:54:24,620 --> 00:54:27,080
>> THIS REIMAGINING WEAVES THOS
1509
00:54:27,080 --> 00:54:28,720
TWO WORLDS TOGETHER, REFRAMING
1510
00:54:28,720 --> 00:54:31,080
THE JELLICLE BALL INTO A
1511
00:54:31,080 --> 00:54:33,220
BALLROOM COMPETITION, HONORING
1512
00:54:33,220 --> 00:54:34,250
THE LEGACY OF BALLROOM AND
1513
00:54:34,250 --> 00:54:37,280
BROADWAY LEGENDS ALIKE.
1514
00:54:37,280 --> 00:54:39,350
>> SO TONIGHT I GRANT ALL YOU
1515
00:54:39,350 --> 00:54:50,650
BROADWAY KITTIES FULL PERMISSIO
1516
00:54:50,650 --> 00:54:52,850
TO CLAP, QUEER -- OOPS, I MEAN
1517
00:54:52,850 --> 00:54:53,520
CHEER, EMOTE, AND GET
1518
00:54:53,520 --> 00:54:54,380
YOUR LIFE!
1519
00:54:54,380 --> 00:54:55,480
MAKE SOME NOISE FOR THE COMPANY
1520
00:54:55,480 --> 00:54:56,750
OF "CATS: THE JELLICLE BALL!"
1521
00:54:56,750 --> 00:54:59,080
[CHEERS AND APPLAUSE]
1522
00:54:59,080 --> 00:55:00,580
*
1523
00:55:00,580 --> 00:55:01,420
>> * ARE YOU BLIND WHEN YOU'RE
1524
00:55:01,420 --> 00:55:03,620
BORN? *
1525
00:55:03,620 --> 00:55:04,420
>> * CAN YOU SEE IN THE
1526
00:55:04,420 --> 00:55:08,650
DARK? *
1527
00:55:08,650 --> 00:55:11,180
>> * CAN YOU LOOK AT A KING?
1528
00:55:11,180 --> 00:55:12,080
>> * WOULD YOU SIT ON HIS
1529
00:55:12,080 --> 00:55:13,780
THRONE? *
1530
00:55:13,780 --> 00:55:14,920
>> * CAN YOU SAY OF YOUR BITE
1531
00:55:14,920 --> 00:55:15,820
* THAT IT'S WORSE THAN YOUR
1532
00:55:15,820 --> 00:55:19,220
BARK? *
1533
00:55:19,220 --> 00:55:22,420
>> * ARE YOU COCK OF THE WALK
1534
00:55:22,420 --> 00:55:23,280
>> * WHEN YOU'RE WALKING
1535
00:55:23,280 --> 00:55:24,450
ALONE? *
1536
00:55:24,450 --> 00:55:25,580
* BECAUSE
1537
00:55:25,580 --> 00:55:26,620
>> * JELLICLES CAN AND
1538
00:55:26,620 --> 00:55:29,820
JELLICLES DO *
1539
00:55:29,820 --> 00:55:30,620
* JELLICLES DO AND JELLICLES
1540
00:55:30,620 --> 00:55:31,520
CAN *
1541
00:55:31,520 --> 00:55:32,380
* JELLICLES CAN AND JELLICLES
1542
00:55:32,380 --> 00:55:33,680
DO *
1543
00:55:33,680 --> 00:55:34,780
* JELLICLES DO AND JELLICLES
1544
00:55:34,780 --> 00:55:36,320
CAN *
1545
00:55:36,320 --> 00:55:37,420
* JELLICLES CAN AND JELLICLES
1546
00:55:37,420 --> 00:55:38,520
DO *
1547
00:55:38,520 --> 00:55:47,380
[RECORD SCRATCH]
1548
00:55:47,380 --> 00:55:55,080
>> WHAT'S A JELLICLE CAT?
1549
00:55:55,080 --> 00:55:56,850
*
1550
00:55:56,850 --> 00:56:01,650
>> * FELINE, FEARLESS, FAITHFUL
1551
00:56:01,650 --> 00:56:04,350
AND TRUE TO OTHERS WHO DO *
1552
00:56:04,350 --> 00:56:06,550
>> * WHAT
1553
00:56:06,550 --> 00:56:07,480
>> * JELLICLES DO AND JELLICLES
1554
00:56:07,480 --> 00:56:09,250
CAN *
1555
00:56:09,250 --> 00:56:10,350
* JELLICLES CAN AND JELLICLES
1556
00:56:10,350 --> 00:56:12,150
DO *
1557
00:56:12,150 --> 00:56:13,080
* JELLICLE CATS SING JELLICLE
1558
00:56:13,080 --> 00:56:14,580
CHANTS *
1559
00:56:14,580 --> 00:56:15,450
* JELLICLES OLD AND JELLICLES
1560
00:56:15,450 --> 00:56:16,980
NEW *
1561
00:56:16,980 --> 00:56:18,080
* JELLICLE SONG AND JELLICLE
1562
00:56:18,080 --> 00:56:19,880
DANCE *
1563
00:56:19,880 --> 00:56:20,680
* JELLICLE SONGS FOR JELLICLE
1564
00:56:20,680 --> 00:56:21,950
CATS *
1565
00:56:21,950 --> 00:56:22,980
* JELLICLE SONGS FOR JELLICLE
1566
00:56:22,980 --> 00:56:24,520
CATS *
1567
00:56:24,520 --> 00:56:25,550
* JELLICLE SONGS FOR JELLICLE
1568
00:56:25,550 --> 00:56:26,980
CATS *
1569
00:56:26,980 --> 00:56:28,080
* JELLICLE SONGS FOR JELLICLE
1570
00:56:28,080 --> 00:56:32,080
CATS *
1571
00:56:32,080 --> 00:56:32,950
* PRACTICAL CATS, DRAMATICAL
1572
00:56:32,950 --> 00:56:34,080
CATS *
1573
00:56:34,080 --> 00:56:34,920
* PRAGMATICAL CATS, FANATICAL
1574
00:56:34,920 --> 00:56:36,680
CATS *
1575
00:56:36,680 --> 00:56:37,850
* ORATORICAL CATS, DELPHI ORACL
1576
00:56:37,850 --> 00:56:40,380
CATS *
1577
00:56:40,380 --> 00:56:41,380
* SKEPTICAL CATS, DYSPEPTICAL
1578
00:56:41,380 --> 00:56:42,880
CATS *
1579
00:56:42,880 --> 00:56:44,150
* ROMANTICAL CATS, PEDANTICAL
1580
00:56:44,150 --> 00:56:45,980
CATS *
1581
00:56:45,980 --> 00:56:46,880
* CRITICAL CATS, PARASITICAL
1582
00:56:46,880 --> 00:56:48,620
CATS *
1583
00:56:48,620 --> 00:56:50,150
* ALLEGORICAL CATS, METAPHORICA
1584
00:56:50,150 --> 00:56:52,120
CATS *
1585
00:56:52,120 --> 00:56:52,950
* STATISTICAL CATS AND MYSTICAL
1586
00:56:52,950 --> 00:56:54,180
CATS *
1587
00:56:54,180 --> 00:56:55,820
* POLITICAL CATS
1588
00:56:55,820 --> 00:56:58,320
*
1589
00:56:58,320 --> 00:57:04,720
*
1590
00:57:04,720 --> 00:57:05,180
[CHEERS AND APPLAUSE]
1591
00:57:05,180 --> 00:57:06,220
*
1592
00:57:06,220 --> 00:57:08,680
*
1593
00:57:08,680 --> 00:57:11,350
*
1594
00:57:11,350 --> 00:57:14,550
*
1595
00:57:14,550 --> 00:57:18,480
*
1596
00:57:18,480 --> 00:57:20,980
*
1597
00:57:20,980 --> 00:57:26,380
*
1598
00:57:26,380 --> 00:57:30,220
*
1599
00:57:30,220 --> 00:57:33,980
*
1600
00:57:33,980 --> 00:57:36,680
*
1601
00:57:36,680 --> 00:57:39,250
*
1602
00:57:39,250 --> 00:57:42,350
*
1603
00:57:42,350 --> 00:57:47,750
*
1604
00:57:47,750 --> 00:57:53,450
*
1605
00:57:53,450 --> 00:57:56,720
*
1606
00:57:56,720 --> 00:58:00,320
*
1607
00:58:00,320 --> 00:58:06,280
*
1608
00:58:06,280 --> 00:58:10,080
*
1609
00:58:10,080 --> 00:58:17,580
*
1610
00:58:17,580 --> 00:58:26,820
*
1611
00:58:26,820 --> 00:58:33,780
*
1612
00:58:33,780 --> 00:58:40,720
*
1613
00:58:40,720 --> 00:58:45,450
*
1614
00:58:45,450 --> 00:58:49,980
*
1615
00:58:49,980 --> 00:59:01,580
[CHEERS AND APPLAUSE]
1616
00:59:01,580 --> 00:59:06,280
*
1617
00:59:06,280 --> 00:59:17,820
*
1618
00:59:17,820 --> 00:59:18,820
>> Announcer: COMING UP,
1619
00:59:18,820 --> 00:59:19,650
"TWO STRANGERS" CARRY A CAKE
1620
00:59:19,650 --> 00:59:20,450
ACROSS OUR STAGE, AND
1621
00:59:20,450 --> 00:59:21,320
JULIA LOUIS-DREYFUS AND
1622
00:59:21,320 --> 00:59:22,180
LILY RABE PRESENT THE AWARD FOR
1623
00:59:22,180 --> 00:59:23,320
BEST PLAY.
1624
00:59:23,320 --> 00:59:24,580
THE TONY AWARDS.
1625
00:59:24,580 --> 00:59:26,550
THIS IS CBS.
1626
00:59:31,850 --> 00:59:33,350
*
1627
00:59:33,350 --> 00:59:34,750
>> BOTH OF THEM ARE IN THESE
1628
00:59:34,750 --> 00:59:37,120
PIVOTAL MOMENTS IN THEIR LIVES.
1629
00:59:37,120 --> 00:59:38,780
THEY BECOME CATALYSTS FOR REAL
1630
00:59:38,780 --> 00:59:41,680
CHANGE.
1631
00:59:41,680 --> 00:59:42,820
>> IT EXPLORES THEMES LIKE, IS
1632
00:59:42,820 --> 00:59:45,180
THIS THE END OF SOMETHING?
1633
00:59:45,180 --> 00:59:46,080
IS THIS THE BEGINNING OF
1634
00:59:46,080 --> 00:59:47,550
SOMETHING?
1635
00:59:47,550 --> 00:59:48,950
AND IT FORCES YOU TO REASSESS
1636
00:59:48,950 --> 00:59:49,950
WHAT YOUR LIFE HAS BEEN AND WHA
1637
00:59:49,950 --> 00:59:53,080
YOUR LIFE WILL BE.
1638
00:59:53,080 --> 00:59:54,350
>> IT IS ULTIMATELY ABOUT OUR
1639
00:59:54,350 --> 00:59:55,180
TINY MOMENT IN THE UNIVERSE THA
1640
00:59:55,180 --> 00:59:57,250
WE OCCUPY.
1641
00:59:57,250 --> 01:00:04,420
*
1642
01:00:04,420 --> 01:00:04,680
[APPLAUSE]
1643
01:00:04,680 --> 01:00:05,620
*
1644
01:00:05,620 --> 01:00:06,850
>> Announcer: PLEASE WELCOME,
1645
01:00:06,850 --> 01:00:07,950
FROM "OTHER DESERT CITIES,"
1646
01:00:07,950 --> 01:00:09,420
RETURNING TO BROADWAY THIS FALL
1647
01:00:09,420 --> 01:00:10,620
EMMY WINNER JULIA LOUIS-DREYFUS
1648
01:00:10,620 --> 01:00:11,780
AND TONY AWARD NOMINEE
1649
01:00:11,780 --> 01:00:13,280
LILY RABE.
1650
01:00:13,280 --> 01:00:19,880
[APPLAUSE]
1651
01:00:19,880 --> 01:00:22,480
>> THE FOUR PLAYS NOMINATED FOR
1652
01:00:22,480 --> 01:00:24,320
BEST PLAY ALL EXPLORE THE NUANC
1653
01:00:24,320 --> 01:00:25,580
AND NECESSITY OF HUMAN
1654
01:00:25,580 --> 01:00:28,820
RELATIONSHIPS.
1655
01:00:28,820 --> 01:00:30,150
THEY ALL EXAMINE WHAT CAN HAPPE
1656
01:00:30,150 --> 01:00:31,980
TO US WITHOUT THAT CONNECTION,
1657
01:00:31,980 --> 01:00:35,850
AND WHAT IS POSSIBLE WITH IT.
1658
01:00:35,850 --> 01:00:38,380
>> AND, EXTRAORDINARILY, ALL OF
1659
01:00:38,380 --> 01:00:39,950
THESE PLAYS WERE BRILLIANTLY
1660
01:00:39,950 --> 01:00:43,750
WRITTEN BY AI.
1661
01:00:43,750 --> 01:00:45,620
[LAUGHTER]
1662
01:00:45,620 --> 01:00:46,880
>> NO, THEY WEREN'T.
1663
01:00:46,880 --> 01:00:48,220
THEY WERE BRILLIANTLY WRITTEN B
1664
01:00:48,220 --> 01:00:54,220
HUMAN PLAYWRIGHTS.
1665
01:00:54,220 --> 01:00:58,420
[APPLAUSE]
1666
01:00:58,420 --> 01:00:59,720
OKAY, WELL, YOU CAN APPLAUD AND
1667
01:00:59,720 --> 01:01:01,680
HOOT AND HOLLER AS MUCH AS YOU
1668
01:01:01,680 --> 01:01:03,320
WANT, BUT THAT'S NOT WHAT
1669
01:01:03,320 --> 01:01:05,980
ChatGPT TOLD ME, SO...
1670
01:01:05,980 --> 01:01:07,980
ANYWAY, JUST GO AHEAD.
1671
01:01:07,980 --> 01:01:08,250
[LAUGHTER]
1672
01:01:08,250 --> 01:01:12,320
>> WE'VE SEEN MOMENTS FROM THE
1673
01:01:12,320 --> 01:01:13,320
BEST PLAYS THROUGHOUT THE NIGHT
1674
01:01:13,320 --> 01:01:14,580
ONCE AGAIN, THE NOMINEES ARE...
1675
01:01:14,580 --> 01:01:18,480
"THE BALUSTERS."
1676
01:01:18,480 --> 01:01:21,580
"GIANT."
1677
01:01:21,580 --> 01:01:24,780
"LIBERATION."
1678
01:01:24,780 --> 01:01:28,250
AND "LITTLE BEAR RIDGE ROAD."
1679
01:01:28,250 --> 01:01:29,120
[APPLAUSE]
1680
01:01:29,120 --> 01:01:31,480
>> AND THE TONY AWARD GOES TO..
1681
01:01:31,480 --> 01:01:32,920
"LIBERATION."
1682
01:01:32,920 --> 01:01:34,780
[CHEERS AND APPLAUSE]
1683
01:01:34,780 --> 01:01:44,980
*
1684
01:01:44,980 --> 01:01:54,180
>> ACCEPTING THE AWARD FOR
1685
01:01:54,180 --> 01:02:01,820
"LIBERATION," AUTHOR BESS WOHL.
1686
01:02:01,820 --> 01:02:12,180
*
1687
01:02:12,180 --> 01:02:18,180
*
1688
01:02:18,180 --> 01:02:18,550
>> THANK YOU!
1689
01:02:18,550 --> 01:02:21,980
OH, MY GOSH.
1690
01:02:21,980 --> 01:02:22,780
THANK YOU SO MUCH!
1691
01:02:22,780 --> 01:02:25,150
THANK YOU SO MUCH.
1692
01:02:25,150 --> 01:02:31,680
OH, MY GOD, COME ON!
1693
01:02:31,680 --> 01:02:31,950
[APPLAUSE]
1694
01:02:31,950 --> 01:02:35,380
OH, MY GOD!
1695
01:02:35,380 --> 01:02:38,250
THANK YOU SO MUCH!
1696
01:02:38,250 --> 01:02:38,520
THANK YOU.
1697
01:02:38,520 --> 01:02:39,250
THANK YOU.
1698
01:02:39,250 --> 01:02:43,520
THIS IS THE HONOR OF A LIFETIME.
1699
01:02:43,520 --> 01:02:45,250
THANK YOU, AMERICAN THEATRE
1700
01:02:45,250 --> 01:02:46,250
WING, THANK YOU, BROADWAY
1701
01:02:46,250 --> 01:02:47,880
LEAGUE, FOR THIS INCREDIBLE,
1702
01:02:47,880 --> 01:02:48,750
INCREDIBLE AWARD WHICH I SHARE
1703
01:02:48,750 --> 01:02:51,080
WITH ALL OF THESE PEOPLE UP
1704
01:02:51,080 --> 01:02:51,920
HERE.
1705
01:02:51,920 --> 01:02:54,450
THANK YOU SO MUCH!
1706
01:02:54,450 --> 01:02:56,420
[APPLAUSE]
1707
01:02:56,420 --> 01:02:59,220
I REALLY NEED FIRST TO THANK MY
1708
01:02:59,220 --> 01:03:02,080
MOM, WHO TAUGHT ME TO USE MY
1709
01:03:02,080 --> 01:03:02,720
IMAGINATION.
1710
01:03:02,720 --> 01:03:04,520
I NEED TO THANK MY DAUGHTERS,
1711
01:03:04,520 --> 01:03:06,320
WHO LOVE TO REMIND ME THAT I
1712
01:03:06,320 --> 01:03:07,450
COULDN'T HAVE DONE IT WITHOUT
1713
01:03:07,450 --> 01:03:07,650
THEM.
1714
01:03:07,650 --> 01:03:09,450
AND THEY ARE RIGHT.
1715
01:03:09,450 --> 01:03:12,450
TO OUR LEAD PRODUCERS, DARYL
1716
01:03:12,450 --> 01:03:15,450
ROTH, EVA PRICE, RACHEL SUSSMAN,
1717
01:03:15,450 --> 01:03:15,720
THANK YOU.
1718
01:03:15,720 --> 01:03:19,480
THANK YOU FOR BELIEVING THAT AN
1719
01:03:19,480 --> 01:03:20,080
ENSEMBLE PLAY ABOUT WOMEN'S
1720
01:03:20,080 --> 01:03:24,080
LIVES BELONGED ON BROADWAY.
1721
01:03:24,080 --> 01:03:25,080
[APPLAUSE]
1722
01:03:25,080 --> 01:03:27,080
AND TO OUR VISIONARY DIRECTOR,
1723
01:03:27,080 --> 01:03:29,180
WHITNEY WHITE!
1724
01:03:29,180 --> 01:03:33,480
[CHEERS AND APPLAUSE]
1725
01:03:33,480 --> 01:03:35,250
WHITNEY WHITE, NONE OF US WOULD
1726
01:03:35,250 --> 01:03:36,250
BE HERE WITHOUT YOU.
1727
01:03:36,250 --> 01:03:38,720
THANK YOU TO OUTKAST, OUR
1728
01:03:38,720 --> 01:03:39,380
DESIGNERS, EVERYONE WHO BELIEVED
1729
01:03:39,380 --> 01:03:42,520
IN THIS PLAY.
1730
01:03:42,520 --> 01:03:48,420
JENNY GERSTEN, OUR FAMILY
1731
01:03:48,420 --> 01:03:50,450
TRADITIONS, AND A REAL FAMILY.
1732
01:03:50,450 --> 01:03:52,750
IT'S BEEN ALMOST 40 YEARS SINCE
1733
01:03:52,750 --> 01:03:54,680
AN AMERICAN WOMAN PLAYWRIGHT WON
1734
01:03:54,680 --> 01:03:56,880
THIS AWARD!
1735
01:03:56,880 --> 01:03:58,420
[APPLAUSE]
1736
01:03:58,420 --> 01:03:59,620
THAT WAS WENDY WASSERSTEIN FOR
1737
01:03:59,620 --> 01:04:03,220
HER BRILLIANT PLAY, "HEIDI
1738
01:04:03,220 --> 01:04:03,520
CHRONICLES."
1739
01:04:03,520 --> 01:04:05,150
TONIGHT I WANT TO HONOR HER AND
1740
01:04:05,150 --> 01:04:06,280
WOMEN EVERYWHERE WHO HAVE THE
1741
01:04:06,280 --> 01:04:09,280
COURAGE TO USE THEIR VOICE, AND
1742
01:04:09,280 --> 01:04:10,920
TO ALL THE GIRLS OUT THERE.
1743
01:04:10,920 --> 01:04:12,920
MAY YOU SPEAK YOUR TRUTH AND
1744
01:04:12,920 --> 01:04:15,080
MADE THE WORLD BE WISE ENOUGH TO
1745
01:04:15,080 --> 01:04:17,080
LISTEN.
1746
01:04:17,080 --> 01:04:17,620
THANK YOU!
1747
01:04:17,620 --> 01:04:17,880
[APPLAUSE]
1748
01:04:17,880 --> 01:04:22,080
*
1749
01:04:22,080 --> 01:04:33,920
*
1750
01:04:33,920 --> 01:04:36,820
[APPLAUSE]
1751
01:04:36,820 --> 01:04:38,350
>> AS THE MOTHER OF A THEATER
1752
01:04:38,350 --> 01:04:42,850
KID, I KNOW HOW IMPORTANT IT IS
1753
01:04:42,850 --> 01:04:44,850
TO HAVE DRESSES LYING AROUND
1754
01:04:44,850 --> 01:04:45,450
EVERYWHERE.
1755
01:04:45,450 --> 01:04:46,950
NO, I KNOW HOW IMPORTANT IT IS
1756
01:04:46,950 --> 01:04:48,920
FOR CHILDREN IF YOU ARE TO HAVE
1757
01:04:48,920 --> 01:04:49,720
ACCESS TO AN ARTS EDUCATION.
1758
01:04:49,720 --> 01:04:50,780
THAT'S ONE OF THE REASONS I LOV
1759
01:04:50,780 --> 01:04:51,880
THE AMERICAN THEATRE WING.
1760
01:04:51,880 --> 01:04:52,950
THEY ARE OPENING DOORS FOR THE
1761
01:04:52,950 --> 01:04:54,080
NEXT GENERATION, AND ENSURING
1762
01:04:54,080 --> 01:04:55,650
THE FUTURE OF THIS ART FORM.
1763
01:04:55,650 --> 01:04:57,180
IF YOU LOVE THE THEATER, OR KNO
1764
01:04:57,180 --> 01:04:57,980
SOMEONE WHO DOES, YOU'LL WANT T
1765
01:04:57,980 --> 01:04:58,650
TAKE A LOOK AT THIS BRIEF
1766
01:04:58,650 --> 01:04:59,550
MESSAGE FROM THE
1767
01:04:59,550 --> 01:05:00,380
AMERICAN THEATRE WING.
1768
01:05:00,380 --> 01:05:04,950
*
1769
01:05:04,950 --> 01:05:06,650
>> THEATER IS JOY.
1770
01:05:06,650 --> 01:05:08,120
>> THEATER IS TRADITION.
1771
01:05:08,120 --> 01:05:09,480
>> THEATER IS ALIVE.
1772
01:05:09,480 --> 01:05:10,550
>> THEATER IS BELONGING.
1773
01:05:10,550 --> 01:05:11,950
>> THEATER IS POWER.
1774
01:05:11,950 --> 01:05:13,680
>> THEATER IS POSSIBILITY.
1775
01:05:13,680 --> 01:05:16,220
>> THEATER IS WONDER.
1776
01:05:16,220 --> 01:05:18,720
>> THEATER IS HARD [BLEEP] WORK
1777
01:05:18,720 --> 01:05:20,120
>> THEATER CHANGES LIVES, AND
1778
01:05:20,120 --> 01:05:22,150
NONE OF IT HAPPENS BY ACCIDENT.
1779
01:05:22,150 --> 01:05:23,380
>> IT HAS TO BE NURTURED.
1780
01:05:23,380 --> 01:05:24,250
>> TAUGHT.
1781
01:05:24,250 --> 01:05:25,420
>> FUNDED.
1782
01:05:25,420 --> 01:05:26,880
>> PROTECTED.
1783
01:05:26,880 --> 01:05:28,080
>> THAT IS THE WORK OF THE
1784
01:05:28,080 --> 01:05:30,280
AMERICAN THEATRE WING.
1785
01:05:30,280 --> 01:05:32,450
>> THE WING PROVIDES GRANTS,
1786
01:05:32,450 --> 01:05:33,520
SCHOLARSHIPS, AND DIRECT SUPPOR
1787
01:05:33,520 --> 01:05:34,950
TO ARTISTS, STUDENTS, AND
1788
01:05:34,950 --> 01:05:36,780
THEATER COMPANIES NATIONWIDE.
1789
01:05:36,780 --> 01:05:39,080
>> THE WING AMPLIFIES THE VOICE
1790
01:05:39,080 --> 01:05:40,120
AND NURTURES THE STORIES THAT
1791
01:05:40,120 --> 01:05:42,080
SHAPE AMERICAN THEATER.
1792
01:05:42,080 --> 01:05:43,320
>> BECAUSE THEATER IS THE
1793
01:05:43,320 --> 01:05:44,350
FUTURE, AND THE
1794
01:05:44,350 --> 01:05:45,220
AMERICAN THEATRE WING EXISTS TO
1795
01:05:45,220 --> 01:05:46,320
SUPPORT THAT FUTURE.
1796
01:05:46,320 --> 01:05:47,680
>> FOR ARTISTS.
1797
01:05:47,680 --> 01:05:49,250
>> FOR AUDIENCES.
1798
01:05:49,250 --> 01:05:51,180
>> FOR EVERYONE.
1799
01:05:51,180 --> 01:05:52,520
>> EVERYWHERE.
1800
01:05:52,520 --> 01:05:54,080
>> SO PLEASE VISIT
1801
01:05:54,080 --> 01:05:55,320
AmericanTheatreWing.org TO
1802
01:05:55,320 --> 01:05:57,320
JOIN OUR MISSION.
1803
01:05:57,320 --> 01:05:58,380
>> AND IT'S "THEATRE" WITH AN
1804
01:05:58,380 --> 01:06:00,380
R-E, FOR CRYING OUT LOUD!
1805
01:06:00,380 --> 01:06:01,480
>> ALL RIGHT, LET'S GO!
1806
01:06:01,480 --> 01:06:02,250
HEATHER, JACK, CURTAIN UP, LET'
1807
01:06:02,250 --> 01:06:03,150
GO!
1808
01:06:03,150 --> 01:06:06,820
[LAUGHTER]
1809
01:06:06,820 --> 01:06:08,580
[APPLAUSE]
1810
01:06:08,580 --> 01:06:09,980
>> THERE'S ONE PHRASE THAT
1811
01:06:09,980 --> 01:06:13,180
STRIKES FEAR IN THE HEART OF
1812
01:06:13,180 --> 01:06:14,550
EVERY NEW YORKER: "I'M IN TOWN
1813
01:06:14,550 --> 01:06:18,420
AND I WANT TO SEE TIMES SQUARE.
1814
01:06:18,420 --> 01:06:19,120
[LAUGHTER]
1815
01:06:19,120 --> 01:06:20,520
NO, YOU DON'T.
1816
01:06:20,520 --> 01:06:22,280
NO, YOU DON'T.
1817
01:06:22,280 --> 01:06:23,750
NEXT THING YOU KNOW, I'VE BEEN
1818
01:06:23,750 --> 01:06:28,850
HIT BY SIX CITI BIKES DRIVEN BY
1819
01:06:28,850 --> 01:06:30,650
EVERY MEMBER OF A STYLISH
1820
01:06:30,650 --> 01:06:31,080
EUROPEAN FAMILY.
1821
01:06:31,080 --> 01:06:32,180
[LAUGHTER]
1822
01:06:32,180 --> 01:06:33,450
BUT SOMETIMES SEEING THIS PLACE
1823
01:06:33,450 --> 01:06:36,380
THROUGH SOMEONE ELSE'S EYES
1824
01:06:36,380 --> 01:06:37,320
REMINDS YOU WHY IT'S THE
1825
01:06:37,320 --> 01:06:39,820
GREATEST CITY ON EARTH.
1826
01:06:39,820 --> 01:06:44,320
[CHEERS AND APPLAUSE]
1827
01:06:44,320 --> 01:06:50,080
GO, KNICKS!
1828
01:06:50,080 --> 01:06:52,080
[CHEERS AND APPLAUSE]
1829
01:06:52,080 --> 01:06:54,750
IN 4!
1830
01:06:54,750 --> 01:06:57,080
SORRY, I HAD TO.
1831
01:06:57,080 --> 01:06:59,450
AND THAT'S THE JOURNEY THESE
1832
01:06:59,450 --> 01:07:01,550
NEXT TWO TONY NOMINEES TAKE US
1833
01:07:01,550 --> 01:07:02,680
ON EVERY SHOW.
1834
01:07:02,680 --> 01:07:06,350
FROM "TWO STRANGERS (CARRY A
1835
01:07:06,350 --> 01:07:08,820
CAKE ACROSS NEW YORK),"
1836
01:07:08,820 --> 01:07:10,220
THAT'S THE TITLE,
1837
01:07:10,220 --> 01:07:11,650
PLEASE WELCOME CHRISTIANI PITTS
1838
01:07:11,650 --> 01:07:14,620
AND SAM TUTTY.
1839
01:07:14,620 --> 01:07:15,080
[CHEERS AND APPLAUSE]
1840
01:07:15,080 --> 01:07:20,480
*
1841
01:07:20,480 --> 01:07:21,880
>> THIS IS WHERE REACHING FOR
1842
01:07:21,880 --> 01:07:22,920
THE SUBWAY.
1843
01:07:22,920 --> 01:07:24,520
>> THE SUBWAY, LOVE IT!
1844
01:07:24,520 --> 01:07:25,150
>> YOU LOVE THE SUBWAY?
1845
01:07:25,150 --> 01:07:27,520
>> NEW YORK IS KIND OF MY SECOND
1846
01:07:27,520 --> 01:07:29,120
HOME.
1847
01:07:29,120 --> 01:07:30,280
NEW YORK CITY!
1848
01:07:30,280 --> 01:07:31,880
>> IS THAT RIGHT?
1849
01:07:31,880 --> 01:07:33,320
>> THE EMPIRE STATE, THE
1850
01:07:33,320 --> 01:07:33,880
WHITE HOUSE, THE GOLDEN GATE
1851
01:07:33,880 --> 01:07:34,820
BRIDGE...
1852
01:07:34,820 --> 01:07:36,080
>> THE GOLDEN GATE IS --
1853
01:07:36,080 --> 01:07:37,080
>> * IT'S THE CAPITAL CITY OF
1854
01:07:37,080 --> 01:07:37,950
THE USA *
1855
01:07:37,950 --> 01:07:38,820
>> IT'S NOT.
1856
01:07:38,820 --> 01:07:39,920
>> * THE CITY I SWORE I WOULD
1857
01:07:39,920 --> 01:07:40,850
SEE FOR MYSELF ONE DAY *
1858
01:07:40,850 --> 01:07:41,750
>> BUT YOU'VE ACTUALLY BEEN TO
1859
01:07:41,750 --> 01:07:42,520
NEW YORK BEFORE?
1860
01:07:42,520 --> 01:07:43,850
>> YES!
1861
01:07:43,850 --> 01:07:44,850
UH, NO.
1862
01:07:44,850 --> 01:07:45,750
BUT I HAVE SEEN
1863
01:07:45,750 --> 01:07:46,720
"HOME ALONE 2" QUITE A FEW
1864
01:07:46,720 --> 01:07:47,920
TIMES, SO...
1865
01:07:47,920 --> 01:07:48,820
>> YOU SERIOUS?
1866
01:07:48,820 --> 01:07:49,650
>> * THERE'S PIZZA FOR
1867
01:07:49,650 --> 01:07:50,920
BREAKFAST *
1868
01:07:50,920 --> 01:07:52,250
* THERE IS STEAM IN THE AIR
1869
01:07:52,250 --> 01:07:53,150
* IT'S "CANDY," NOT "SWEETS"
1870
01:07:53,150 --> 01:07:53,980
* AND THE STREETS ARE CALLED
1871
01:07:53,980 --> 01:07:55,450
SIDEWALKS THERE *
1872
01:07:55,450 --> 01:07:56,680
* MY TOWN
1873
01:07:56,680 --> 01:07:57,620
* WHERE EVERYONE HAS AN
1874
01:07:57,620 --> 01:07:58,720
APARTMENT TO SPARE *
1875
01:07:58,720 --> 01:08:00,480
* WITH A SKYLINE VIEW
1876
01:08:00,480 --> 01:08:01,780
* WHERE EVEN IMPROBABLE DREAMS
1877
01:08:01,780 --> 01:08:04,080
COME TRUE *
1878
01:08:04,080 --> 01:08:04,850
* WHERE EVERYTHING COMES WITH A
1879
01:08:04,850 --> 01:08:05,850
SMILE *
1880
01:08:05,850 --> 01:08:06,580
* A HIGH FIVE AND A SIDE OF
1881
01:08:06,580 --> 01:08:08,650
CHEESE *
1882
01:08:08,650 --> 01:08:09,720
* I'M DOWN ON MY KNEES
1883
01:08:09,720 --> 01:08:10,480
* NEW YORK
1884
01:08:10,480 --> 01:08:13,650
>> THAT'S OUR TRAIN!
1885
01:08:13,650 --> 01:08:14,420
>> * I'M ALREADY TALKIN' THE
1886
01:08:14,420 --> 01:08:16,980
TALK IN NEW YORK *
1887
01:08:16,980 --> 01:08:18,120
* I'M ALREADY POPPING THE CORK
1888
01:08:18,120 --> 01:08:20,120
* 'CAUSE I'M READY
1889
01:08:20,120 --> 01:08:22,180
* I'M READY TO BE IN NEW YORK
1890
01:08:22,180 --> 01:08:23,750
* ARE THEY READY?
1891
01:08:23,750 --> 01:08:24,650
ARE THEY READY FOR ME IN
1892
01:08:24,650 --> 01:08:26,720
NEW YORK? *
1893
01:08:26,720 --> 01:08:29,220
IS THIS TIMES SQUARE?
1894
01:08:29,220 --> 01:08:32,180
>> NO, IT'S RADIO CITY!
1895
01:08:32,180 --> 01:08:32,650
[CHEERS AND APPLAUSE]
1896
01:08:32,650 --> 01:08:33,780
*
1897
01:08:33,780 --> 01:08:34,850
* WE'RE BUYING THIS TUX
1898
01:08:34,850 --> 01:08:36,280
>> * WE'RE BUYING THIS TUX?
1899
01:08:36,280 --> 01:08:37,880
* IT'S THREE THOUSAND BUCKS!
1900
01:08:37,880 --> 01:08:39,280
>> * YOUR ATTITUDE SUCKS
1901
01:08:39,280 --> 01:08:40,980
* WE'RE BUYING THIS TUX
1902
01:08:40,980 --> 01:08:42,720
>> * WE'RE BUYING THIS TIE
1903
01:08:42,720 --> 01:08:44,080
>> * WE'RE BUYING SUCCESS
1904
01:08:44,080 --> 01:08:46,620
>> * HELL YES!
1905
01:08:46,620 --> 01:08:47,750
>> * NOW SWALLOW YOUR PRIDE
1906
01:08:47,750 --> 01:08:49,450
>> * I'LL SWALLOW MY PRIDE
1907
01:08:49,450 --> 01:08:50,180
>> * I'M BONNIE, YOU'RE
1908
01:08:50,180 --> 01:08:51,250
CLYDE *
1909
01:08:51,250 --> 01:08:52,080
>> * YOU'RE BONNIE, I'M
1910
01:08:52,080 --> 01:08:54,320
CLYDE *
1911
01:08:54,320 --> 01:08:54,980
* WE'RE GOING TO BE HITCHING A
1912
01:08:54,980 --> 01:08:56,080
RIDE *
1913
01:08:56,080 --> 01:08:59,320
* ON THE AMERICAN EXPRESS!
1914
01:08:59,320 --> 01:09:00,950
THE NAME'S TODD.
1915
01:09:00,950 --> 01:09:02,380
DOUGAL TODD.
1916
01:09:02,380 --> 01:09:03,450
>> HOW DO I LOOK?
1917
01:09:03,450 --> 01:09:04,950
>> THAT'S TOO SEXY.
1918
01:09:04,950 --> 01:09:06,620
THAT'S TOO FLORAL.
1919
01:09:06,620 --> 01:09:08,420
THAT'S NOT ENOUGH SEQUINS.
1920
01:09:08,420 --> 01:09:09,580
YES!
1921
01:09:09,580 --> 01:09:11,280
THAT'S THE DRESS!
1922
01:09:11,280 --> 01:09:12,820
THAT'S THE ONE.
1923
01:09:12,820 --> 01:09:13,580
>> * CRUISING, BOOZING UP THE
1924
01:09:13,580 --> 01:09:15,720
ROCKEFELLER *
1925
01:09:15,720 --> 01:09:16,820
* FEELING SWEET AND SWELL AS
1926
01:09:16,820 --> 01:09:18,650
CINDERELLER *
1927
01:09:18,650 --> 01:09:19,780
>> * FETCH THE FINEST LIQUOR IN
1928
01:09:19,780 --> 01:09:24,380
THE CELLAR *
1929
01:09:24,380 --> 01:09:25,150
>> * MAY I SEE SOME I.D.?
1930
01:09:25,150 --> 01:09:25,880
>> * ARE YOU FLIRTING WITH
1931
01:09:25,880 --> 01:09:26,720
ME? *
1932
01:09:26,720 --> 01:09:27,620
>> * ONE MORE ROUND OF LOBSTER
1933
01:09:27,620 --> 01:09:28,680
CAPPUCCINO *
1934
01:09:28,680 --> 01:09:29,650
>> * EXCUSE ME WHILE I
1935
01:09:29,650 --> 01:09:31,480
INSTAGRAM THE VINO *
1936
01:09:31,480 --> 01:09:33,220
>> * NEW YORK CITY ISN'T SUCH A
1937
01:09:33,220 --> 01:09:36,520
MEAN OLD TOWN *
1938
01:09:36,520 --> 01:09:37,650
>> * WHERE AM I?
1939
01:09:37,650 --> 01:09:42,080
>> * JUST STICK BY MY SIDE
1940
01:09:42,080 --> 01:09:42,850
>> * I'LL STICK BY YOUR SIDE
1941
01:09:42,850 --> 01:09:43,520
>> * I'M BONNIE, YOU'RE
1942
01:09:43,520 --> 01:09:44,250
CLYDE *
1943
01:09:44,250 --> 01:09:45,080
>> * WAIT A SECOND, WAIT A
1944
01:09:45,080 --> 01:09:45,820
SECOND *
1945
01:09:45,820 --> 01:09:46,620
* WHICH ONES BONNIE AND WHICH
1946
01:09:46,620 --> 01:09:47,550
ONES CLYDE? *
1947
01:09:47,550 --> 01:09:48,450
>> * WE ARE GOING TO BE
1948
01:09:48,450 --> 01:09:49,780
HITCHING A RIDE *
1949
01:09:49,780 --> 01:09:51,250
* ON THE AMERICAN EXPRESS
1950
01:09:51,250 --> 01:09:53,080
*
1951
01:09:53,080 --> 01:09:54,850
*
1952
01:09:54,850 --> 01:09:57,480
*
1953
01:09:57,480 --> 01:09:59,520
*
1954
01:09:59,520 --> 01:10:02,080
*
1955
01:10:02,080 --> 01:10:04,520
>> I PITY THE RICH.
1956
01:10:04,520 --> 01:10:05,520
>> WAIT, YOU PITY THE RICH?
1957
01:10:05,520 --> 01:10:06,380
>> THEY'LL NEVER KNOW WHAT IT'S
1958
01:10:06,380 --> 01:10:07,980
LIKE!
1959
01:10:07,980 --> 01:10:09,980
>> TO GO TO A LAUNDROMAT?
1960
01:10:09,980 --> 01:10:11,880
>> * TO ONLY BE RICH
1961
01:10:11,880 --> 01:10:13,680
>> * TO ONLY BE RICH
1962
01:10:13,680 --> 01:10:17,750
>> * FOR ONE MAGICAL NIGHT
1963
01:10:17,750 --> 01:10:23,880
>> * MAGICAL NIGHT
1964
01:10:23,880 --> 01:10:25,050
* I'M BUYING THOSE STARS
1965
01:10:25,050 --> 01:10:26,480
>> * I'M BUYING THAT MOON
1966
01:10:26,480 --> 01:10:28,750
>> * I'M BUYING THESE CARS
1967
01:10:28,750 --> 01:10:31,650
>> * I'VE STOLEN THIS SPOON
1968
01:10:31,650 --> 01:10:33,120
>> * I'M SELLING MY SOUL AND
1969
01:10:33,120 --> 01:10:34,580
BUYING THIS WHOLE IMPOSSIBLE
1970
01:10:34,580 --> 01:10:35,980
MESS *
1971
01:10:35,980 --> 01:10:37,080
>> * WHERE NOW?
1972
01:10:37,080 --> 01:10:38,650
>> * THE PLAZA HOTEL!
1973
01:10:38,650 --> 01:10:39,650
JUST FOLLOW MY STRIDE.
1974
01:10:39,650 --> 01:10:40,720
>> * I'LL FOLLOW YOUR STRIDE
1975
01:10:40,720 --> 01:10:41,580
>> * I'M BONNIE, YOU'RE CLYDE
1976
01:10:41,580 --> 01:10:43,980
>> * YOU'RE BONNIE, I'M CLYDE
1977
01:10:43,980 --> 01:10:46,050
>> * I'M BONNIE, YOU'RE CLYDE
1978
01:10:46,050 --> 01:10:46,920
* WE ARE GOING TO BE HITCHING A
1979
01:10:46,920 --> 01:10:47,780
RIDE *
1980
01:10:47,780 --> 01:10:49,150
>> * ON THE AMERICAN
1981
01:10:49,150 --> 01:10:50,280
>> * ON THE AMERICAN
1982
01:10:50,280 --> 01:10:51,980
>> * ON THE AMERICAN
1983
01:10:51,980 --> 01:10:58,480
EXPRESS! *
1984
01:10:58,480 --> 01:11:00,620
>> PENTHOUSE SUITE, PLEASE!
1985
01:11:00,620 --> 01:11:01,420
*
1986
01:11:01,420 --> 01:11:07,550
[CHEERS AND APPLAUSE]
1987
01:11:07,550 --> 01:11:11,780
*
1988
01:11:11,780 --> 01:11:17,650
*
1989
01:11:17,650 --> 01:11:18,720
>> Announcer: NEXT, THE AWARD
1990
01:11:18,720 --> 01:11:20,580
FOR FEATURED ACTOR IN A MUSICAL
1991
01:11:20,580 --> 01:11:22,080
AND THEN, "CHICAGO" CELEBRATES
1992
01:11:22,080 --> 01:11:23,950
MILESTONE WITH A MEDLEY OF HITS
1993
01:11:23,950 --> 01:11:24,920
THE TONY AWARDS.
1994
01:11:24,920 --> 01:11:27,950
THIS IS CBS.
1995
01:11:35,880 --> 01:11:36,480
>> IT'S A PLAY THAT KEEPS ON
1996
01:11:36,480 --> 01:11:37,480
GIVING, BECAUSE DUNCAN ALWAYS
1997
01:11:37,480 --> 01:11:38,520
DOES A GREAT JOB OF REWRITING
1998
01:11:38,520 --> 01:11:39,880
AROUND THE PARTICULAR PERFORMER
1999
01:11:39,880 --> 01:11:41,080
DAN HAS BEEN SO OPEN TO ADD HIS
2000
01:11:41,080 --> 01:11:43,420
OWN IDEAS.
2001
01:11:43,420 --> 01:11:44,750
>> IT'S TRYING TO SAY SOMETHING
2002
01:11:44,750 --> 01:11:46,520
THAT FEELS AUTHENTIC TO PEOPLE
2003
01:11:46,520 --> 01:11:49,880
WHO KNOW THAT LIVED EXPERIENCE.
2004
01:11:49,880 --> 01:11:51,720
>> IT IS ABOUT MAKING CONNECTIO
2005
01:11:51,720 --> 01:11:53,150
WITH THE AUDIENCE AS A WHOLE
2006
01:11:53,150 --> 01:11:55,480
ENTITY, BUT ALSO AS INDIVIDUALS
2007
01:11:55,480 --> 01:11:56,720
>> THIS PLAY IS A CELEBRATION O
2008
01:11:56,720 --> 01:11:58,120
WHAT IS WONDERFUL ABOUT
2009
01:11:58,120 --> 01:11:59,080
HUMAN BEINGS, AND HOW WE NEED
2010
01:11:59,080 --> 01:12:00,150
EACH OTHER.
2011
01:12:00,150 --> 01:12:07,750
*
2012
01:12:07,750 --> 01:12:08,920
[APPLAUSE]
2013
01:12:08,920 --> 01:12:09,920
>> Announcer: PLEASE WELCOME
2014
01:12:09,920 --> 01:12:10,980
EMMY AWARD NOMINEE
2015
01:12:10,980 --> 01:12:11,950
TITUSS BURGESS, AND TONY AWARD
2016
01:12:11,950 --> 01:12:13,450
WINNER LAURA BENANTI.
2017
01:12:13,450 --> 01:12:16,180
[APPLAUSE]
2018
01:12:16,180 --> 01:12:20,780
*
2019
01:12:20,780 --> 01:12:22,950
>> THIS SEASON 15 MILLION PEOPL
2020
01:12:22,950 --> 01:12:25,150
CAME TO NEW YORK TO SEE BROADWA
2021
01:12:25,150 --> 01:12:28,750
SHOWS, AND IT'S THANKS TO THE
2022
01:12:28,750 --> 01:12:32,280
BROADWAY LEAGUE AND ITS MEMBERS
2023
01:12:32,280 --> 01:12:34,080
THAT SHE BETTER MOVE THIS FONT,
2024
01:12:34,080 --> 01:12:36,550
BABY, BECAUSE I CAN'T SEE THIS.
2025
01:12:36,550 --> 01:12:38,080
>> JUST SQUEEZE IT OPEN.
2026
01:12:38,080 --> 01:12:41,980
>> THERE WE GO, STARTED OVER.
2027
01:12:41,980 --> 01:12:45,080
THIS SEASON...
2028
01:12:45,080 --> 01:12:45,480
[APPLAUSE]
2029
01:12:45,480 --> 01:12:46,480
15 MILLION PEOPLE CAME TO
2030
01:12:46,480 --> 01:12:48,580
NEW YORK TO SEE BROADWAY SHOWS,
2031
01:12:48,580 --> 01:12:49,320
AND IT'S ALL THANKS TO THE
2032
01:12:49,320 --> 01:12:51,220
BROADWAY LEAGUE AND ITS MEMBERS.
2033
01:12:51,220 --> 01:12:53,950
THAT CURTAIN WENT UP EIGHT TIMES
2034
01:12:53,950 --> 01:12:55,220
A WEEK TO CAPTIVATE THOSE
2035
01:12:55,220 --> 01:12:56,680
THEATERGOERS EVERY SINGLE TIME.
2036
01:12:56,680 --> 01:12:57,520
>> TONIGHT IS A CELEBRATION OF
2037
01:12:57,520 --> 01:12:58,350
THESE PRODUCTIONS, AND WE ARE
2038
01:12:58,350 --> 01:12:59,120
THRILLED TO BE HANDING OUT THE
2039
01:12:59,120 --> 01:13:00,080
AWARD FOR FEATURED ACTOR IN A
2040
01:13:00,080 --> 01:13:01,450
MUSICAL.
2041
01:13:01,450 --> 01:13:02,180
JUST BECAUSE THEY ARE "FEATURED
2042
01:13:02,180 --> 01:13:03,220
DOESN'T MEAN THEIR IMPACT IS
2043
01:13:03,220 --> 01:13:07,750
FELT ANY LESS.
2044
01:13:07,750 --> 01:13:09,520
>> NO, AND THIS IS A CATEGORY I
2045
01:13:09,520 --> 01:13:12,720
HAVE NOT BEEN IN YET.
2046
01:13:12,720 --> 01:13:13,920
[CLEARS THROAT]
2047
01:13:13,920 --> 01:13:14,320
IN FACT...
2048
01:13:14,320 --> 01:13:15,320
[LAUGHTER]
2049
01:13:15,320 --> 01:13:17,750
NO, I TELL YOU WHEN TO LAUGH,
2050
01:13:17,750 --> 01:13:18,720
OKAY?
2051
01:13:18,720 --> 01:13:20,720
IN FACT, SOMETIMES IT'S THESE
2052
01:13:20,720 --> 01:13:23,280
SUPPORTING PLAYERS WHO SHINE THE
2053
01:13:23,280 --> 01:13:23,720
BRIGHTEST.
2054
01:13:23,720 --> 01:13:25,480
>> YES, THERE ARE DEFINITELY
2055
01:13:25,480 --> 01:13:26,920
SOME PEOPLE WEAR YOUR EYES ARE
2056
01:13:26,920 --> 01:13:29,080
SIMPLY NATURALLY DRAWN TO THEM.
2057
01:13:29,080 --> 01:13:31,650
>> THERE IS NO DENYING NATURAL
2058
01:13:31,650 --> 01:13:32,480
STATES PRESENCE.
2059
01:13:32,480 --> 01:13:34,680
>> CERTAINLY YOU CANNOT TEACH
2060
01:13:34,680 --> 01:13:36,320
IT.
2061
01:13:36,320 --> 01:13:38,680
GRACE, COMPOSURE, HUMILITY, ALL
2062
01:13:38,680 --> 01:13:39,250
GREAT QUALITIES IN A SCENE
2063
01:13:39,250 --> 01:13:41,880
PARTNER.
2064
01:13:41,880 --> 01:13:43,280
>> AND ALL DEMONSTRATED BY THESE
2065
01:13:43,280 --> 01:13:43,880
PERFORMERS.
2066
01:13:43,880 --> 01:13:45,150
HERE ARE THE NOMINEES FOR
2067
01:13:45,150 --> 01:13:46,750
FEATURED ACTOR IN A MUSICAL, A
2068
01:13:46,750 --> 01:13:48,920
CATEGORY I HAVE NOT BEEN IN.
2069
01:13:48,920 --> 01:13:49,180
[APPLAUSE]
2070
01:13:49,180 --> 01:13:50,850
*
2071
01:13:50,850 --> 01:13:51,820
>> ALI LOUIS BOURZGUI.
2072
01:13:51,820 --> 01:13:56,720
"THE LOST BOYS."
2073
01:13:56,720 --> 01:13:57,480
ANDRE DE SHIELDS.
2074
01:13:57,480 --> 01:13:58,680
"CATS: THE JELLICLE BALL."
2075
01:13:58,680 --> 01:13:59,720
BRYCE PINKHAM, "CHESS."
2076
01:13:59,720 --> 01:14:01,450
BEN LEVI ROSS, "RAGTIME."
2077
01:14:01,450 --> 01:14:06,850
LAYTON WILLIAMS, "TITANIQUE."
2078
01:14:06,850 --> 01:14:07,420
[APPLAUSE]
2079
01:14:07,420 --> 01:14:13,920
>> AND THE TONY AWARD GOES TO..
2080
01:14:13,920 --> 01:14:14,580
ALI LOUIS BOURZGUI,
2081
01:14:14,580 --> 01:14:17,420
"THE LOST BOYS."
2082
01:14:17,420 --> 01:14:17,880
[CHEERS AND APPLAUSE]
2083
01:14:17,880 --> 01:14:20,920
*
2084
01:14:20,920 --> 01:14:23,080
>> THIS IS THE FIRST NOMINATION
2085
01:14:23,080 --> 01:14:25,850
AND WIN FOR ALI LOUIS BOURZGUI
2086
01:14:25,850 --> 01:14:29,850
WHO PREVIOUSLY STARRED IN THE
2087
01:14:29,850 --> 01:14:39,080
TITLE ROLE OF "THE WHO'S TOMMY."
2088
01:14:39,080 --> 01:14:41,150
>> WHOA!
2089
01:14:41,150 --> 01:14:57,950
THANK YOU!
2090
01:14:57,950 --> 01:14:58,580
I HAVE SO MANY PEOPLE TO THANK,
2091
01:14:58,580 --> 01:14:59,220
BUT I'M GOING TO THANK EVERYONE
2092
01:14:59,220 --> 01:14:59,480
IN PERSON.
2093
01:14:59,480 --> 01:15:00,080
OR CHECK OUT MY INSTAGRAM
2094
01:15:00,080 --> 01:15:00,720
STORIES WHERE I'VE BEEN DOING A
2095
01:15:00,720 --> 01:15:01,350
FEATURE ABOUT EVERYONE BACKSTAGE
2096
01:15:01,350 --> 01:15:01,950
AND EVERYTHING, BECAUSE I HAVE
2097
01:15:01,950 --> 01:15:02,450
SOME THE THINGS TO SAY.
2098
01:15:02,450 --> 01:15:02,980
SOMETIMES HUMANITY NEEDS A
2099
01:15:02,980 --> 01:15:03,550
FANTASTICAL LENS OUTSIDE OF
2100
01:15:03,550 --> 01:15:04,220
OURSELVES TO LOOK AT AND EXPLORE
2101
01:15:04,220 --> 01:15:04,720
QUESTIONS OF OUR NATURE.
2102
01:15:04,720 --> 01:15:05,280
VAMPIRES REPRESENT THOSE WHO
2103
01:15:05,280 --> 01:15:05,920
HAVE SHUNNED THEIR OWN HUMANITY
2104
01:15:05,920 --> 01:15:06,380
TO ACHIEVE A SENSE OF
2105
01:15:06,380 --> 01:15:06,680
SUPERIORITY.
2106
01:15:06,680 --> 01:15:07,920
THE BILLIONAIRES WILL NEVER FIND
2107
01:15:07,920 --> 01:15:08,450
HAPPINESS FROM THE MONEY.
2108
01:15:08,450 --> 01:15:11,780
THE COLONIZERS WILL NEVER FIND
2109
01:15:11,780 --> 01:15:12,480
HAPPINESS FROM THE LAND IN LIFE
2110
01:15:12,480 --> 01:15:14,920
THEY STEAL.
2111
01:15:14,920 --> 01:15:16,350
NOT IN THIS LIFETIME OR
2112
01:15:16,350 --> 01:15:16,920
ETERNITY.
2113
01:15:16,920 --> 01:15:18,450
PEOPLE LIKE TO SAY THAT THEATER
2114
01:15:18,450 --> 01:15:20,320
IS A FORM OF ESCAPE, BUT I HAVE
2115
01:15:20,320 --> 01:15:21,520
FOUND MORE THAN EVER THAT IN
2116
01:15:21,520 --> 01:15:22,280
THIS SEASON AND TIME THAT
2117
01:15:22,280 --> 01:15:23,720
THEATER IS ONE OF THE LAST
2118
01:15:23,720 --> 01:15:25,120
PLACES PEOPLE CAN COME TO
2119
01:15:25,120 --> 01:15:27,180
WORSHIP THE POWER OF TRUE
2120
01:15:27,180 --> 01:15:29,520
COLLECTIVE HUMAN PRESENCE.
2121
01:15:29,520 --> 01:15:29,780
[APPLAUSE]
2122
01:15:29,780 --> 01:15:32,480
WE TAKE A MOMENT TO RECONDITION
2123
01:15:32,480 --> 01:15:32,880
OUR ADDICTION TO
2124
01:15:32,880 --> 01:15:33,250
DESENSITIZATION.
2125
01:15:33,250 --> 01:15:35,850
WE ASK HOW WE CAN SEE OURSELVES
2126
01:15:35,850 --> 01:15:36,720
IN A STRANGER'S STORY AND CARRY
2127
01:15:36,720 --> 01:15:38,220
THAT SENTIMENT OUT IN THE WORLD
2128
01:15:38,220 --> 01:15:39,080
THAT NEEDS US TO ASK THAT MORE
2129
01:15:39,080 --> 01:15:39,820
THAN EVER.
2130
01:15:39,820 --> 01:15:41,480
THIS IS DEDICATED TO THE
2131
01:15:41,480 --> 01:15:42,680
BEAUTIFUL TAPESTRY OF IMMIGRANT
2132
01:15:42,680 --> 01:15:43,780
FAMILIES WHO MAKE THIS COUNTRY
2133
01:15:43,780 --> 01:15:46,680
REALLY SPECIAL.
2134
01:15:46,680 --> 01:15:47,680
[APPLAUSE]
2135
01:15:47,680 --> 01:15:48,820
ME ONE DAY NOT HAVE TO AUDITION
2136
01:15:48,820 --> 01:15:49,950
FOR THE EMPATHY THAT SHOULD BE
2137
01:15:49,950 --> 01:15:53,080
FREELY GIVEN BY THIS COUNTRY,
2138
01:15:53,080 --> 01:15:53,920
THE BENEFITS FROM YOUR BEAUTY.
2139
01:15:53,920 --> 01:15:58,480
FOR THE QUEER AND TRANS
2140
01:15:58,480 --> 01:15:59,120
COMMUNITIES THAT HAVE AND ALWAYS
2141
01:15:59,120 --> 01:16:00,950
WILL EXIST NO MATTER WHAT PEOPLE
2142
01:16:00,950 --> 01:16:02,480
IN POWER TRY TO TAKE AWAY FROM
2143
01:16:02,480 --> 01:16:03,120
THEM.
2144
01:16:03,120 --> 01:16:04,350
FOR THE PEOPLE IN PALESTINE WHO
2145
01:16:04,350 --> 01:16:06,220
DESERVED TO LIVE A FREE LIFE AND
2146
01:16:06,220 --> 01:16:07,950
A FULL LIFE WITHOUT OCCUPATION.
2147
01:16:07,950 --> 01:16:09,780
FOR ARAB THEATER MAKERS AND
2148
01:16:09,780 --> 01:16:11,150
ARTISTS, MAY WE CONTINUE TO TELL
2149
01:16:11,150 --> 01:16:13,180
OUR STORIES AND SHOW OUR FACES
2150
01:16:13,180 --> 01:16:14,380
TO OUR HUMANITY BECOMES
2151
01:16:14,380 --> 01:16:15,180
UNDENIABLE AND OUR FAMILIES CAN
2152
01:16:15,180 --> 01:16:16,520
NO LONGER BE WRITTEN OFF AS
2153
01:16:16,520 --> 01:16:18,080
MERELY COLLATERAL DAMAGE.
2154
01:16:18,080 --> 01:16:19,820
MADE A NOTE OF THE BEAUTY OF OUR
2155
01:16:19,820 --> 01:16:21,650
KISSES ON EACH CHEEK AND THE
2156
01:16:21,650 --> 01:16:22,250
ROMANCE OF A LANGUAGE WRITTEN
2157
01:16:22,250 --> 01:16:22,820
FOR PASSION IN LIFE ITSELF.
2158
01:16:22,820 --> 01:16:24,650
IF THERE'S ONE THING WE CAN
2159
01:16:24,650 --> 01:16:25,720
LEARN FROM VAMPIRES, IT IS THAT
2160
01:16:25,720 --> 01:16:27,280
LIFE IS SHORT BUT THAT IS ITS
2161
01:16:27,280 --> 01:16:28,080
GIFT.
2162
01:16:28,080 --> 01:16:29,480
FIND BEAUTY IN THE EPHEMERAL AND
2163
01:16:29,480 --> 01:16:30,650
GRATITUDE AND WHAT IS NOT
2164
01:16:30,650 --> 01:16:31,420
PROMISED, AND ALWAYS INVEST IN
2165
01:16:31,420 --> 01:16:33,480
THE PEOPLE WHO WANT TO SEE
2166
01:16:33,480 --> 01:16:34,920
BLOSSOM AS YOUR TRUEST SELF, AND
2167
01:16:34,920 --> 01:16:37,920
HOLD THAT SPACE FOR THEM.
2168
01:16:37,920 --> 01:16:40,880
I DEDICATE THIS WORD TO MY LATE
2169
01:16:40,880 --> 01:16:41,380
MENTOR, RALPH.
2170
01:16:41,380 --> 01:16:41,650
THANK YOU.
2171
01:16:41,650 --> 01:16:41,920
[APPLAUSE]
2172
01:16:41,920 --> 01:16:45,580
*
2173
01:16:45,580 --> 01:16:48,380
*
2174
01:16:48,380 --> 01:16:49,080
>> Announcer: PLEASE WELCOME
2175
01:16:49,080 --> 01:16:50,280
QUEEN LATIFAH.
2176
01:16:50,280 --> 01:16:51,450
[APPLAUSE]
2177
01:16:51,450 --> 01:16:55,180
*
2178
01:16:55,180 --> 01:16:56,520
>> WHAT DOES IT TAKE TO BECOME
2179
01:16:56,520 --> 01:17:00,320
THE LONGEST-RUNNING REVIVAL IN
2180
01:17:00,320 --> 01:17:01,880
BROADWAY HISTORY, PLAYING TO
2181
01:17:01,880 --> 01:17:03,780
RECORD NUMBERS AT THE
2182
01:17:03,780 --> 01:17:04,780
AMBASSADOR THEATER AND AROUND
2183
01:17:04,780 --> 01:17:08,450
THE WORLD?
2184
01:17:08,450 --> 01:17:10,850
A LITTLE RAZZLE-DAZZLE, A WHOLE
2185
01:17:10,850 --> 01:17:12,380
LOT OF MURDER, AND ALL THAT
2186
01:17:12,380 --> 01:17:17,220
JAZZ.
2187
01:17:17,220 --> 01:17:17,950
[APPLAUSE]
2188
01:17:17,950 --> 01:17:19,820
AT 30 YEARS AND COUNTING,
2189
01:17:19,820 --> 01:17:21,220
"CHICAGO" HAS PROVEN TO HAVE
2190
01:17:21,220 --> 01:17:22,850
MORE THAN JUST STAYING POWER,
2191
01:17:22,850 --> 01:17:24,080
AND I COUNT MYSELF LUCKY TO
2192
01:17:24,080 --> 01:17:29,820
SHARE IN THAT LEGACY.
2193
01:17:29,820 --> 01:17:32,280
AND NOW, LADIES AND GENTLEMEN..
2194
01:17:32,280 --> 01:17:33,180
FROM ONE MOTHER HEN TO
2195
01:17:33,180 --> 01:17:35,180
ANOTHER...
2196
01:17:35,180 --> 01:17:36,950
THE KEEPER OF THE KEYS, THE
2197
01:17:36,950 --> 01:17:38,480
COUNTESS OF THE CLINK, THE
2198
01:17:38,480 --> 01:17:40,850
MISTRESS OF MURDERESS ROW...
2199
01:17:40,850 --> 01:17:43,420
MATRON "MAMA" MORTON!
2200
01:17:43,420 --> 01:17:46,880
[CHEERS AND APPLAUSE]
2201
01:17:46,880 --> 01:17:49,080
*
2202
01:17:49,080 --> 01:17:50,580
*
2203
01:17:50,580 --> 01:17:53,080
>> * GOT A LITTLE MOTTO
2204
01:17:53,080 --> 01:17:55,480
* ALWAYS SEES ME THROUGH
2205
01:17:55,480 --> 01:17:58,250
* WHEN YOU'RE GOOD TO MAMA
2206
01:17:58,250 --> 01:18:03,080
* MAMA'S GOOD TO YOU
2207
01:18:03,080 --> 01:18:04,680
* THE FOLKS ATOP THE LADDER
2208
01:18:04,680 --> 01:18:05,820
* ARE THE ONES THE WORLD
2209
01:18:05,820 --> 01:18:08,120
ADORES *
2210
01:18:08,120 --> 01:18:09,320
* SO BOOST ME UP MY LADDER,
2211
01:18:09,320 --> 01:18:11,080
KID *
2212
01:18:11,080 --> 01:18:14,220
* AND I'LL BOOST YOU UP YOURS
2213
01:18:14,220 --> 01:18:16,520
* LET'S ALL STROKE TOGETHER
2214
01:18:16,520 --> 01:18:19,550
* LIKE THE PRINCETON CREW
2215
01:18:19,550 --> 01:18:22,520
* WHEN YOU'RE STROKIN' MAMA
2216
01:18:22,520 --> 01:18:30,120
* MAMA'S STROKIN' YOU
2217
01:18:30,120 --> 01:18:31,250
* SO WHAT'S THE ONE CONCLUSION
2218
01:18:31,250 --> 01:18:39,080
* I CAN BRING THIS NUMBER TO?
2219
01:18:39,080 --> 01:18:46,550
* WHEN YOU'RE GOOD TO MAMA
2220
01:18:46,550 --> 01:18:51,850
* MAMA'S GOOD TO YOU!
2221
01:18:51,850 --> 01:18:54,520
* TO YOU
2222
01:18:54,520 --> 01:19:01,250
* TO YOU
2223
01:19:01,250 --> 01:19:05,780
[CHEERS AND APPLAUSE]
2224
01:19:05,780 --> 01:19:06,220
>> * POP
2225
01:19:06,220 --> 01:19:07,220
*
2226
01:19:07,220 --> 01:19:08,550
>> * SIX
2227
01:19:08,550 --> 01:19:10,580
>> * SQUISH
2228
01:19:10,580 --> 01:19:12,380
>> * UH-UH
2229
01:19:12,380 --> 01:19:14,250
>> * CICERO
2230
01:19:14,250 --> 01:19:16,720
>> * LIPSHITZ
2231
01:19:16,720 --> 01:19:17,350
>> * POP
2232
01:19:17,350 --> 01:19:18,080
>> * SIX
2233
01:19:18,080 --> 01:19:18,780
>> * SQUISH
2234
01:19:18,780 --> 01:19:19,520
>> * UH-UH
2235
01:19:19,520 --> 01:19:20,220
>> * CICERO
2236
01:19:20,220 --> 01:19:21,850
>> * LIPSHITZ
2237
01:19:21,850 --> 01:19:23,180
>> * HE HAD IT COMING
2238
01:19:23,180 --> 01:19:24,620
* HE HAD IT COMING
2239
01:19:24,620 --> 01:19:27,080
* HE ONLY HAD HIMSELF TO BLAME
2240
01:19:27,080 --> 01:19:28,480
* IF YOU'D HAVE BEEN THERE
2241
01:19:28,480 --> 01:19:30,520
* IF YOU'D HAVE SEEN IT
2242
01:19:30,520 --> 01:19:31,620
* I BETCHA YOU WOULD HAVE DONE
2243
01:19:31,620 --> 01:19:34,680
THE SAME *
2244
01:19:34,680 --> 01:19:35,420
* HE HAD IT COMING, HE HAD IT
2245
01:19:35,420 --> 01:19:37,250
COMING *
2246
01:19:37,250 --> 01:19:40,550
* HE ONLY HAD HIMSELF TO BLAME
2247
01:19:40,550 --> 01:19:42,350
* IF YOU'D HAVE BEEN THERE
2248
01:19:42,350 --> 01:19:44,450
* IF YOU'D HAVE SEEN IT
2249
01:19:44,450 --> 01:19:45,480
* I BETCHA YOU WOULD HAVE DONE
2250
01:19:45,480 --> 01:19:46,850
THE SAME *
2251
01:19:46,850 --> 01:19:47,650
*
2252
01:19:47,650 --> 01:19:48,420
>> YOU POP THAT GUM ONE MORE
2253
01:19:48,420 --> 01:19:49,680
TIME...
2254
01:19:49,680 --> 01:19:50,750
>> SINGLE MY ASS!
2255
01:19:50,750 --> 01:19:51,850
>> TEN TIMES!
2256
01:19:51,850 --> 01:19:52,980
>> NOT GUILTY!
2257
01:19:52,980 --> 01:19:54,320
>> NUMBER 17, THE SPREAD EAGLE!
2258
01:19:54,320 --> 01:19:56,480
>> ARTISTIC DIFFERENCES.
2259
01:19:56,480 --> 01:19:57,980
>> * I BETCHA YOU WOULD HAVE
2260
01:19:57,980 --> 01:20:01,150
DONE THE SAME *
2261
01:20:01,150 --> 01:20:03,820
*
2262
01:20:03,820 --> 01:20:08,920
*
2263
01:20:08,920 --> 01:20:13,420
*
2264
01:20:13,420 --> 01:20:17,250
*
2265
01:20:17,250 --> 01:20:18,380
>> * COME ON, BABE, WHY DON'T
2266
01:20:18,380 --> 01:20:21,180
WE PAINT THE TOWN *
2267
01:20:21,180 --> 01:20:23,920
* AND ALL THAT JAZZ
2268
01:20:23,920 --> 01:20:25,350
* I'M GONNA ROUGE MY KNEES AND
2269
01:20:25,350 --> 01:20:28,420
ROLL MY STOCKINGS DOWN *
2270
01:20:28,420 --> 01:20:33,150
* AND ALL THAT JAZZ
2271
01:20:33,150 --> 01:20:33,950
* START THE CAR, I KNOW A
2272
01:20:33,950 --> 01:20:35,720
WHOOPEE SPOT *
2273
01:20:35,720 --> 01:20:36,920
* WHERE THE GIN IS COLD, BUT TH
2274
01:20:36,920 --> 01:20:39,220
PIANO'S HOT *
2275
01:20:39,220 --> 01:20:40,480
* IT'S JUST A NOISY HALL WHERE
2276
01:20:40,480 --> 01:20:41,880
THERE'S A NIGHTLY BRAWL *
2277
01:20:41,880 --> 01:20:44,080
* AND ALL
2278
01:20:44,080 --> 01:20:46,350
* THAT
2279
01:20:46,350 --> 01:20:49,120
* JAZZ
2280
01:20:49,120 --> 01:20:51,820
*
2281
01:20:51,820 --> 01:20:53,620
*
2282
01:20:53,620 --> 01:20:54,480
>> * COME ON, BABE, WHY DON'T
2283
01:20:54,480 --> 01:20:55,280
WE PAINT THE TOWN *
2284
01:20:55,280 --> 01:20:56,480
>> * OH, WE'RE GONNA SEE YOUR
2285
01:20:56,480 --> 01:20:57,380
SHEBA SHIMMY SHAKE *
2286
01:20:57,380 --> 01:20:58,380
>> * AND ALL THAT JAZZ
2287
01:20:58,380 --> 01:20:59,780
>> * AND ALL THAT JAZZ
2288
01:20:59,780 --> 01:21:00,850
>> * I'M GONNA ROUGE MY KNEES
2289
01:21:00,850 --> 01:21:01,820
AND ROLL MY STOCKINGS DOWN *
2290
01:21:01,820 --> 01:21:02,820
>> * OH, SHE'S GONNA SHIMMY
2291
01:21:02,820 --> 01:21:03,820
TILL HER GARTERS BREAK *
2292
01:21:03,820 --> 01:21:04,920
>> * AND ALL THAT JAZZ
2293
01:21:04,920 --> 01:21:06,220
>> * AND ALL THAT JAZZ
2294
01:21:06,220 --> 01:21:07,380
>> * START THE CAR, I KNOW I A
2295
01:21:07,380 --> 01:21:08,380
WHOOPEE SPOT *.
2296
01:21:08,380 --> 01:21:09,280
>> * SHOW HER WHERE TO PARK HER
2297
01:21:09,280 --> 01:21:10,120
GIRDLE *
2298
01:21:10,120 --> 01:21:10,980
>> * WHERE THE GIN IS COLD, BUT
2299
01:21:10,980 --> 01:21:11,680
THE PIANO'S HOT *
2300
01:21:11,680 --> 01:21:12,480
>> * OH, HER MOTHER'S BLOOD'D
2301
01:21:12,480 --> 01:21:13,220
CURDLE *
2302
01:21:13,220 --> 01:21:13,950
>> * IT'S JUST A NOISY HALL
2303
01:21:13,950 --> 01:21:14,620
WHERE THERE'S A NIGHTLY BRAWL *
2304
01:21:14,620 --> 01:21:15,350
>> * IF SHE'D HEAR HER BABY'S
2305
01:21:15,350 --> 01:21:16,080
QUEER *
2306
01:21:16,080 --> 01:21:17,450
>> * AND ALL
2307
01:21:17,450 --> 01:21:19,350
* THAT
2308
01:21:19,350 --> 01:21:20,920
*
2309
01:21:20,920 --> 01:21:23,180
*
2310
01:21:23,180 --> 01:21:24,820
* NO, I'M NO ONE'S WIFE, BUT
2311
01:21:24,820 --> 01:21:27,350
* OH, I LOVE MY LIFE
2312
01:21:27,350 --> 01:21:29,150
* AND ALL
2313
01:21:29,150 --> 01:21:30,720
*
2314
01:21:30,720 --> 01:21:33,150
* THAT
2315
01:21:33,150 --> 01:21:35,080
*
2316
01:21:35,080 --> 01:21:39,380
* JAZZ
2317
01:21:39,380 --> 01:21:41,080
>> * THAT JAZZ
2318
01:21:41,080 --> 01:21:42,250
*
2319
01:21:42,250 --> 01:21:51,780
[CHEERS AND APPLAUSE]
2320
01:21:51,780 --> 01:21:55,420
*
2321
01:21:55,420 --> 01:22:01,450
*
2322
01:22:01,450 --> 01:22:02,380
>> THE EVENTS OF THE EVENING AR
2323
01:22:02,380 --> 01:22:03,520
AS FOLLOWS...
2324
01:22:03,520 --> 01:22:04,580
A GAGGLE OF VAMPIRES WILL
2325
01:22:04,580 --> 01:22:06,420
DESCEND UPON OUR STAGE,
2326
01:22:06,420 --> 01:22:07,720
ANNETTE BENING SHALL FIND
2327
01:22:07,720 --> 01:22:09,480
HERSELF IN THE CLUTCHES OF OUR
2328
01:22:09,480 --> 01:22:10,580
TALE, AND FINALLY, WE SHALL ALL
2329
01:22:10,580 --> 01:22:12,120
BE SUBJECTED TO A STRANGE,
2330
01:22:12,120 --> 01:22:14,480
HEAVY, PENDULOUS PERFORMANCE BY
2331
01:22:14,480 --> 01:22:15,480
THE COMPANY OF
2332
01:22:15,480 --> 01:22:16,550
"RICHARD O'BRIEN'S ROCKY HORROR
2333
01:22:16,550 --> 01:22:17,850
SHOW."
2334
01:22:17,850 --> 01:22:19,080
THIS IS THE TONYS.
2335
01:22:19,080 --> 01:22:22,080
THIS IS CBS.
2336
01:22:26,820 --> 01:22:28,780
*
2337
01:22:28,780 --> 01:22:29,880
>> THE ONLY WAY TO BE TRUE TO
2338
01:22:29,880 --> 01:22:30,820
THE SPIRIT OF THE ORIGINAL IS T
2339
01:22:30,820 --> 01:22:32,820
BRING IT TO NOW.
2340
01:22:32,820 --> 01:22:34,080
>> THERE ARE LINES LIKE,
2341
01:22:34,080 --> 01:22:35,420
"THEY'VE DRAGGED US BACKWARDS T
2342
01:22:35,420 --> 01:22:36,720
THE DAYS WHEN RUMORS AND LIES
2343
01:22:36,720 --> 01:22:41,650
WERE THE SAME THING AS TRUTH."
2344
01:22:41,650 --> 01:22:42,780
IT COULD BE ARGUED WE ARE NOT
2345
01:22:42,780 --> 01:22:44,250
LIVING IN DISSIMILAR WORLD NOW.
2346
01:22:44,250 --> 01:22:45,520
>> LOTS HAS CHANGED AROUND US.
2347
01:22:45,520 --> 01:22:46,280
THE HUMAN CONDITION DOESN'T.
2348
01:22:46,280 --> 01:22:47,580
>> THE FACT THAT THE STORY IS
2349
01:22:47,580 --> 01:22:49,120
TWO-AND-A-HALF-THOUSAND YEARS
2350
01:22:49,120 --> 01:22:50,520
OLD IS INCREDIBLE, AND MAKES YO
2351
01:22:50,520 --> 01:22:58,320
REALIZE HOW VITAL THEATER IS.
2352
01:22:58,320 --> 01:22:58,580
[APPLAUSE]
2353
01:22:58,580 --> 01:23:01,550
*
2354
01:23:01,550 --> 01:23:04,150
>> Announcer: PLEASE WELCOME
2355
01:23:04,150 --> 01:23:05,150
TWO-TIME TONY NOMINEE
2356
01:23:05,150 --> 01:23:06,320
ANNETTE BENING.
2357
01:23:06,320 --> 01:23:07,480
[APPLAUSE]
2358
01:23:07,480 --> 01:23:14,080
*
2359
01:23:14,080 --> 01:23:15,520
>> I DON'T CARE IF YOU ARE A
2360
01:23:15,520 --> 01:23:17,120
SEASONED VET OR A TOTAL
2361
01:23:17,120 --> 01:23:19,480
ROOKIE -- THAT MOMENT RIGHT
2362
01:23:19,480 --> 01:23:20,350
BEFORE YOU GO ON STAGE, IT'S
2363
01:23:20,350 --> 01:23:26,420
THRILLING.
2364
01:23:26,420 --> 01:23:27,380
YOU STEP OUT THERE, YOU SHUT OU
2365
01:23:27,380 --> 01:23:28,220
THE WORLD, AND CREATE A TOTALLY
2366
01:23:28,220 --> 01:23:30,080
NEW ONE.
2367
01:23:30,080 --> 01:23:31,620
THAT FEELING, IT'S A RUSH.
2368
01:23:31,620 --> 01:23:33,120
IT'S LIFE-GIVING.
2369
01:23:33,120 --> 01:23:38,520
ISN'T IT JUST THE BEST?
2370
01:23:38,520 --> 01:23:41,650
[APPLAUSE]
2371
01:23:41,650 --> 01:23:42,850
SO MANY WOMEN THIS SEASON
2372
01:23:42,850 --> 01:23:43,780
DELIVERED PERFORMANCES THAT ARE
2373
01:23:43,780 --> 01:23:44,720
BRIMMING WITH THAT EXHILARATING
2374
01:23:44,720 --> 01:23:46,280
ENERGY.
2375
01:23:46,280 --> 01:23:47,320
HERE ARE THE NOMINEES FOR LEAD
2376
01:23:47,320 --> 01:23:52,950
ACTRESS IN A PLAY.
2377
01:23:52,950 --> 01:23:53,950
*
2378
01:23:53,950 --> 01:23:56,550
>> ROSE BYRNE, "FALLEN ANGELS."
2379
01:23:56,550 --> 01:23:59,280
CARRIE COON, "BUG."
2380
01:23:59,280 --> 01:24:01,650
SUSANNAH FLOOD, "LIBERATION."
2381
01:24:01,650 --> 01:24:04,180
LESLEY MANVILLE, "OEDIPUS."
2382
01:24:04,180 --> 01:24:09,150
KELLI O'HARA, "FALLEN ANGELS."
2383
01:24:09,150 --> 01:24:10,180
[APPLAUSE]
2384
01:24:10,180 --> 01:24:16,850
>> AND THE TONY AWARD GOES TO..
2385
01:24:16,850 --> 01:24:19,080
LESLEY MANVILLE.
2386
01:24:19,080 --> 01:24:24,080
[CHEERS AND APPLAUSE]
2387
01:24:24,080 --> 01:24:25,280
>> Announcer: THIS IS THE
2388
01:24:25,280 --> 01:24:26,520
FIRST NOMINATION AND TONY WIN
2389
01:24:26,520 --> 01:24:29,850
FOR TWO-TIME OLIVIER WINNER
2390
01:24:29,850 --> 01:24:33,550
LESLEY MANVILLE.
2391
01:24:33,550 --> 01:24:33,820
[APPLAUSE]
2392
01:24:33,820 --> 01:24:38,520
*
2393
01:24:38,520 --> 01:24:48,820
*
2394
01:24:48,820 --> 01:24:50,620
>> OH, GOD, A TONY AND
2395
01:24:50,620 --> 01:24:51,080
ANNETTE BENING.
2396
01:24:51,080 --> 01:24:52,150
I MEAN, REALLY.
2397
01:24:52,150 --> 01:24:54,650
THE DAY COULDN'T GET ANY BETTER.
2398
01:24:54,650 --> 01:24:57,220
THANK YOU, ANNETTE.
2399
01:24:57,220 --> 01:24:58,620
I'M A BIT OVERWHELMED.
2400
01:24:58,620 --> 01:25:00,080
IT WAS MY FIRST TIME ON
2401
01:25:00,080 --> 01:25:02,080
BROADWAY, SO THIS IS SUCH A BIG
2402
01:25:02,080 --> 01:25:04,080
DEAL.
2403
01:25:04,080 --> 01:25:06,980
[APPLAUSE]
2404
01:25:06,980 --> 01:25:11,820
UM, MY FORMIDABLE COMPETITION,
2405
01:25:11,820 --> 01:25:18,080
CARRIE, I SALUTE YOU FOR A
2406
01:25:20,420 --> 01:25:21,080
TO MYFORMIDABLE ACTIONS.
2407
01:25:21,080 --> 01:25:22,850
I DON'T KNOW YOU, I MET BROSE
2408
01:25:22,850 --> 01:25:23,250
BRIEFLY.
2409
01:25:23,250 --> 01:25:25,780
WOULD YOU LIKE TO WRITE A PLAY
2410
01:25:25,780 --> 01:25:28,320
FOR FIVE WOMEN?
2411
01:25:28,320 --> 01:25:29,220
[APPLAUSE]
2412
01:25:29,220 --> 01:25:33,450
WE ARE QUITE BANKABLE, YOU KNOW.
2413
01:25:33,450 --> 01:25:34,220
ANYWAY, OEDIPUS.
2414
01:25:34,220 --> 01:25:38,680
YES, OUR GENIUS DIRECTOR AND
2415
01:25:38,680 --> 01:25:41,820
WRITER, ROBERT ICKE, TOOK A
2416
01:25:41,820 --> 01:25:42,780
2500-YEAR-OLD PLAY AND BROUGHT
2417
01:25:42,780 --> 01:25:46,250
IT UP TO THE PRESENT DAY WITH
2418
01:25:46,250 --> 01:25:51,180
SHOCKING, STARTLING RESULTS, AND
2419
01:25:51,180 --> 01:25:54,180
IT WAS AN EXTRAORDINARY THING TO
2420
01:25:54,180 --> 01:25:54,650
DO EVERY NIGHT.
2421
01:25:54,650 --> 01:25:57,780
BUT REALLY SHOCKING HOW LITTLE
2422
01:25:57,780 --> 01:25:58,380
HAS CHANGED IN THOSE TWO AND A
2423
01:25:58,380 --> 01:26:04,650
HALF THOUSAND YEARS FOR WOMEN.
2424
01:26:04,650 --> 01:26:06,080
IT'S BEEN VERY SLOW.
2425
01:26:06,080 --> 01:26:08,180
IT WAS THE MOST WONDERFUL
2426
01:26:08,180 --> 01:26:10,650
EXPERIENCE.
2427
01:26:10,650 --> 01:26:11,750
ROB WROTE ME THE MOST GLORIOUS
2428
01:26:11,750 --> 01:26:17,680
SPEECH THAT I DID EVERY NIGHT TO
2429
01:26:17,680 --> 01:26:19,920
MY FANTASTIC COPARTNER ON STAGE,
2430
01:26:19,920 --> 01:26:22,180
MARK STRONG.
2431
01:26:22,180 --> 01:26:24,450
[APPLAUSE]
2432
01:26:24,450 --> 01:26:25,720
YOU SAT AND LISTENED TO, AND
2433
01:26:25,720 --> 01:26:28,650
IT'S AMAZING THAT YOU DID THAT
2434
01:26:28,650 --> 01:26:32,320
WITH SUCH STYLE AND GRACE.
2435
01:26:32,320 --> 01:26:39,320
WE HAD A DIFFICULT ROLE, ROLES,
2436
01:26:39,320 --> 01:26:39,550
TO PLAY.
2437
01:26:39,550 --> 01:26:40,180
I HAD TO BE YOUR WIFE AND YOUR
2438
01:26:40,180 --> 01:26:42,080
MOTHER.
2439
01:26:42,080 --> 01:26:44,120
[LAUGHTER]
2440
01:26:44,120 --> 01:26:48,080
I PREFERRED THE FORMER, FRANKLY.
2441
01:26:48,080 --> 01:26:50,820
AND A WONDERFUL CAST THAT WE HAD
2442
01:26:50,820 --> 01:26:51,080
HERE.
2443
01:26:51,080 --> 01:26:52,550
IT WAS JUST A SPECTACULAR
2444
01:26:52,550 --> 01:26:59,180
PRODUCTION TO DO EVERY NIGHT.
2445
01:26:59,180 --> 01:27:03,250
OUR PRODUCERS, I SAID THIS TO
2446
01:27:03,250 --> 01:27:05,080
YOU A LONG TIME AGO, I FEEL LIKE
2447
01:27:05,080 --> 01:27:07,650
YOU ARE MY FAIRY GODMOTHER,
2448
01:27:07,650 --> 01:27:10,120
BECAUSE YOU'VE GIVEN ME THE TWO
2449
01:27:10,120 --> 01:27:12,650
MOST SIGNIFICANT PLACE OF MY
2450
01:27:12,650 --> 01:27:15,450
CAREER, "GHOSTS" AND "OEDIPUS."
2451
01:27:15,450 --> 01:27:17,650
LIKE ME, THEATER IS IN YOUR
2452
01:27:17,650 --> 01:27:19,250
BLOOD AND YOUR BONES AND YOU
2453
01:27:19,250 --> 01:27:20,250
WANT TO BRING IMPORTANT PLAYS
2454
01:27:20,250 --> 01:27:22,480
LIKE THIS TO A WIDER COMMERCIAL
2455
01:27:22,480 --> 01:27:22,750
AUDIENCE.
2456
01:27:22,750 --> 01:27:25,650
AND YOU ARE TO BE SALUTED FOR
2457
01:27:25,650 --> 01:27:28,080
THAT, ABSOLUTELY.
2458
01:27:28,080 --> 01:27:31,750
[APPLAUSE]
2459
01:27:31,750 --> 01:27:34,750
MY THANKS TO MY AMAZING AGENT,
2460
01:27:34,750 --> 01:27:37,320
SUE LATIMER, MY TEAM AT HOME,
2461
01:27:37,320 --> 01:27:40,450
AND MY LOVELY FAMILY, MY LITTLE
2462
01:27:40,450 --> 01:27:40,950
FAMILY BACK IN LONDON.
2463
01:27:40,950 --> 01:27:43,620
IT ALL MATTERS.
2464
01:27:43,620 --> 01:27:46,080
AND I CLOSED A PLAY LAST NIGHT
2465
01:27:46,080 --> 01:27:48,420
IN LONDON.
2466
01:27:48,420 --> 01:27:50,420
TO ALL OF THAT LOVELY COMPANY,
2467
01:27:50,420 --> 01:27:51,080
TOO.
2468
01:27:51,080 --> 01:27:52,820
YOU LEAVE ONE FAMILY AND YOU
2469
01:27:52,820 --> 01:27:54,420
JOIN ANOTHER ONE, BUT LET'S HOPE
2470
01:27:54,420 --> 01:27:55,820
IT GOES ON FOREVER.
2471
01:27:55,820 --> 01:27:58,780
THANK YOU SO MUCH.
2472
01:27:58,780 --> 01:27:59,150
I'M SO HONORED.
2473
01:27:59,150 --> 01:27:59,420
[APPLAUSE]
2474
01:27:59,420 --> 01:28:02,780
*
2475
01:28:02,780 --> 01:28:05,080
*
2476
01:28:05,080 --> 01:28:05,880
>> Announcer: PLEASE WELCOME
2477
01:28:05,880 --> 01:28:06,880
THE CAST OF "RICHARD O'BRIEN'S
2478
01:28:06,880 --> 01:28:07,950
THE ROCKY HORROR SHOW."
2479
01:28:07,950 --> 01:28:11,680
[APPLAUSE]
2480
01:28:11,680 --> 01:28:13,320
>> I WOULD LIKE, IF I MAY, TO
2481
01:28:13,320 --> 01:28:17,080
TAKE YOU ON A STRANGE JOURNEY.
2482
01:28:17,080 --> 01:28:18,350
*
2483
01:28:18,350 --> 01:28:19,450
IT SEEMED A VERY ORDINARY NIGHT
2484
01:28:19,450 --> 01:28:24,080
WHEN BRAD MAJORS...
2485
01:28:24,080 --> 01:28:25,380
AND HIS FIANCEE.
2486
01:28:25,380 --> 01:28:26,820
JANET WEISS...
2487
01:28:26,820 --> 01:28:28,150
>> SLUT!
2488
01:28:28,150 --> 01:28:29,350
>> TWO YOUNG, ORDINARY, HEALTHY
2489
01:28:29,350 --> 01:28:30,280
KIDS, LEFT DENTON THAT LATE
2490
01:28:30,280 --> 01:28:33,520
NOVEMBER EVENING.
2491
01:28:33,520 --> 01:28:34,920
IT'S TRUE THAT THE SPARE TIRE
2492
01:28:34,920 --> 01:28:36,820
THEY WERE CARRYING WAS BADLY IN
2493
01:28:36,820 --> 01:28:39,350
NEED OF SOME AIR, BUT THEY,
2494
01:28:39,350 --> 01:28:41,080
BEING NORMAL KIDS AND ON A NIGH
2495
01:28:41,080 --> 01:28:42,450
OUT -- WELL, THEY WERE NOT GOIN
2496
01:28:42,450 --> 01:28:43,980
TO LET A STORM SPOIL THE EVENTS
2497
01:28:43,980 --> 01:28:51,350
OF THEIR EVENING.
2498
01:28:51,350 --> 01:28:51,950
ON A NIGHT OUT.
2499
01:28:51,950 --> 01:28:52,620
[THUNDER]
2500
01:28:52,620 --> 01:28:53,380
IT WAS A NIGHT OUT THEY WERE TO
2501
01:28:53,380 --> 01:28:54,080
REMEMBER FOR A VERY --
2502
01:28:54,080 --> 01:28:54,980
[THUNDER]
2503
01:28:54,980 --> 01:28:55,880
LONG --
2504
01:28:55,880 --> 01:28:56,820
[THUNDER]
2505
01:28:56,820 --> 01:28:57,920
TIME.
2506
01:28:57,920 --> 01:28:59,150
[THUNDER]
2507
01:28:59,150 --> 01:29:01,580
*
2508
01:29:01,580 --> 01:29:03,880
*
2509
01:29:03,880 --> 01:29:05,680
>> * HOW DO YOU DO, I
2510
01:29:05,680 --> 01:29:08,080
* SEE YOU'VE MET MY
2511
01:29:08,080 --> 01:29:09,580
* FAITHFUL HANDYMAN
2512
01:29:09,580 --> 01:29:11,780
*
2513
01:29:11,780 --> 01:29:12,920
* HE'S A LITTLE BROUGHT DOWN
2514
01:29:12,920 --> 01:29:14,520
BECAUSE *
2515
01:29:14,520 --> 01:29:16,320
* WHEN YOU KNOCKED HE
2516
01:29:16,320 --> 01:29:17,480
* THOUGHT YOU WERE THE
2517
01:29:17,480 --> 01:29:19,280
CANDYMAN *
2518
01:29:19,280 --> 01:29:21,220
DIDN'T YOU, FREAKY!
2519
01:29:21,220 --> 01:29:23,080
* DON'T GET STRUNG OUT
2520
01:29:23,080 --> 01:29:25,650
* BY THE WAY THAT I LOOK
2521
01:29:25,650 --> 01:29:27,080
* DON'T JUDGE A BOOK BY ITS
2522
01:29:27,080 --> 01:29:29,920
COVER *
2523
01:29:29,920 --> 01:29:31,550
* I'M NOT MUCH OF A MAN BY THE
2524
01:29:31,550 --> 01:29:34,620
LIGHT OF DAY *
2525
01:29:34,620 --> 01:29:35,780
* BUT BY NIGHT I'M ONE HELL OF
2526
01:29:35,780 --> 01:29:38,680
LOVER *
2527
01:29:38,680 --> 01:29:40,080
* I'M JUST A SWEET
2528
01:29:40,080 --> 01:29:43,680
TRANSVESTITE *
2529
01:29:43,680 --> 01:29:46,320
* FROM TRANSSEXUAL
2530
01:29:46,320 --> 01:29:56,550
TRANSYLVANIA *
2531
01:29:56,550 --> 01:30:01,150
[CHEERS AND APPLAUSE]
2532
01:30:01,150 --> 01:30:04,580
SO COME UP TO THE LAB.
2533
01:30:04,580 --> 01:30:09,620
AND SEE WHAT'S ON THE SLAB.
2534
01:30:09,620 --> 01:30:14,350
I SEE YOU SHIVER IN ANTICI--
2535
01:30:14,350 --> 01:30:18,420
>> SAY IT, SAY IT!
2536
01:30:18,420 --> 01:30:20,080
>> --PATION.
2537
01:30:20,080 --> 01:30:22,820
*
2538
01:30:22,820 --> 01:30:25,950
>> * IT'S ASTOUNDING
2539
01:30:25,950 --> 01:30:28,550
* TIME IS FLEETING
2540
01:30:28,550 --> 01:30:32,850
* MADNESS TAKES ITS TOLL
2541
01:30:32,850 --> 01:30:37,520
* BUT LISTEN CLOSELY
2542
01:30:37,520 --> 01:30:40,520
* NOT FOR VERY MUCH LONGER
2543
01:30:40,520 --> 01:30:41,450
* I'VE GOT TO
2544
01:30:41,450 --> 01:30:42,350
* KEEP CONTROL
2545
01:30:42,350 --> 01:30:43,920
>> DO IT, DO IT!
2546
01:30:43,920 --> 01:30:45,650
>> * I REMEMBER
2547
01:30:45,650 --> 01:30:48,950
* DOING THE TIME WARP
2548
01:30:48,950 --> 01:30:50,650
* DRINKING
2549
01:30:50,650 --> 01:30:53,450
* THOSE MOMENTS WHEN
2550
01:30:53,450 --> 01:30:55,880
* THE BLACKNESS WOULD HIT ME
2551
01:30:55,880 --> 01:30:56,950
>> * AND THE VOID WOULD BE
2552
01:30:56,950 --> 01:30:59,350
CALLING *
2553
01:30:59,350 --> 01:31:00,720
>> * LET'S DO THE TIME WARP
2554
01:31:00,720 --> 01:31:04,550
AGAIN *
2555
01:31:04,550 --> 01:31:06,250
* LET'S DO THE TIME WARP
2556
01:31:06,250 --> 01:31:09,220
AGAIN *
2557
01:31:09,220 --> 01:31:09,980
>> * IT'S JUST A JUMP TO THE
2558
01:31:09,980 --> 01:31:11,880
LEFT *
2559
01:31:11,880 --> 01:31:12,850
>> * AND THEN A STEP TO THE
2560
01:31:12,850 --> 01:31:15,080
RI-IGH-IGH-IGH-IGHT *
2561
01:31:15,080 --> 01:31:15,750
>> * WITH YOUR HANDS ON YOUR
2562
01:31:15,750 --> 01:31:17,120
HIPS *
2563
01:31:17,120 --> 01:31:18,280
>> * YOU BRING YOUR KNEES IN
2564
01:31:18,280 --> 01:31:19,950
TIGHT *
2565
01:31:19,950 --> 01:31:22,080
* BUT IT'S THE PELVIC THRUST
2566
01:31:22,080 --> 01:31:23,080
* THAT REALLY DRIVES YOU
2567
01:31:23,080 --> 01:31:26,150
INSA-A-A-A-A-A-ANE *
2568
01:31:26,150 --> 01:31:27,250
* LET'S DO THE TIME WARP
2569
01:31:27,250 --> 01:31:30,920
AGAIN *
2570
01:31:30,920 --> 01:31:32,680
* LET'S DO THE TIME WARP
2571
01:31:32,680 --> 01:31:36,750
AGAIN *
2572
01:31:36,750 --> 01:31:39,650
>> * IT'S SO DREAMY
2573
01:31:39,650 --> 01:31:42,320
* OH, FANTASY, FREE ME
2574
01:31:42,320 --> 01:31:44,550
* SO YOU CAN'T SEE ME
2575
01:31:44,550 --> 01:31:47,520
* NO, NOT AT ALL
2576
01:31:47,520 --> 01:31:48,220
* WHEN YOU'RE SPACED OUT ON
2577
01:31:48,220 --> 01:31:51,280
SENSATION *
2578
01:31:51,280 --> 01:31:52,080
>> * LIKE YOU'RE UNDER
2579
01:31:52,080 --> 01:31:53,280
SEDATION *
2580
01:31:53,280 --> 01:31:54,520
>> * LET'S DO THE TIME WARP
2581
01:31:54,520 --> 01:31:57,650
AGAIN *
2582
01:31:57,650 --> 01:31:59,320
* LET'S DO THE TIME WARP
2583
01:31:59,320 --> 01:32:02,280
AGAIN *
2584
01:32:02,280 --> 01:32:02,980
>> * IT'S JUST A JUMP TO THE
2585
01:32:02,980 --> 01:32:04,980
LEFT *
2586
01:32:04,980 --> 01:32:05,780
>> * AND THEN A STEP TO THE
2587
01:32:05,780 --> 01:32:07,820
RI-IGH-IGH-IGH-IGHT *
2588
01:32:07,820 --> 01:32:08,620
>> * WITH YOUR HANDS ON YOUR
2589
01:32:08,620 --> 01:32:10,320
HIPS *
2590
01:32:10,320 --> 01:32:11,320
>> * YOU BRING YOUR KNEES IN
2591
01:32:11,320 --> 01:32:13,180
TIGHT *
2592
01:32:13,180 --> 01:32:15,220
* BUT IT'S THE PELVIC THRUST
2593
01:32:15,220 --> 01:32:16,220
* THAT REALLY DRIVES YOU
2594
01:32:16,220 --> 01:32:19,380
INSA-A-A-A-A-A-ANE *
2595
01:32:19,380 --> 01:32:20,620
* LET'S DO THE TIME WARP
2596
01:32:20,620 --> 01:32:24,250
AGAIN *
2597
01:32:24,250 --> 01:32:25,780
* LET'S DO THE TIME WARP
2598
01:32:25,780 --> 01:32:29,920
AGAIN *
2599
01:32:29,920 --> 01:32:31,320
* LET'S DO THE TIME WARP
2600
01:32:31,320 --> 01:32:34,420
AGAIN *
2601
01:32:34,420 --> 01:32:37,080
*
2602
01:32:37,080 --> 01:32:40,420
[CHEERS AND APPLAUSE]
2603
01:32:40,420 --> 01:32:49,450
*
2604
01:32:49,450 --> 01:32:57,520
*
2605
01:32:57,520 --> 01:33:01,550
*
2606
01:33:01,550 --> 01:33:02,520
>> WE'LL BE RIGHT BACK WITH MOR
2607
01:33:02,520 --> 01:33:05,420
FUN AT THE TONY AWARDS!
2608
01:33:05,420 --> 01:33:08,480
*
2609
01:33:15,080 --> 01:33:15,650
*
2610
01:33:15,650 --> 01:33:16,750
>> BETWEEN THE TWO OF US, YOU
2611
01:33:16,750 --> 01:33:19,080
KNOW, I'M JUST A LITTLE TIRED.
2612
01:33:19,080 --> 01:33:20,980
>> YOU CAN FIND ALL THESE
2613
01:33:20,980 --> 01:33:22,450
SOCIOECONOMIC THEORIES ABOUT TH
2614
01:33:22,450 --> 01:33:25,580
PLAY, BUT IT IS ULTIMATELY GOIN
2615
01:33:25,580 --> 01:33:26,980
TO BE ABOUT A FAMILY THAT LOVES
2616
01:33:26,980 --> 01:33:28,480
EACH OTHER BUT IS DEALING WITH
2617
01:33:28,480 --> 01:33:31,480
FATHER WHO IS FALLING APART.
2618
01:33:31,480 --> 01:33:32,320
>> HE'S A HUMAN BEING, AND A
2619
01:33:32,320 --> 01:33:33,180
TERRIBLE THING IS HAPPENING TO
2620
01:33:33,180 --> 01:33:34,650
HIM!
2621
01:33:34,650 --> 01:33:36,120
>> IT FEELS REALLY ALIVE.
2622
01:33:36,120 --> 01:33:37,180
IT IS SO THRILLING.
2623
01:33:37,180 --> 01:33:38,120
IT IS A TESTAMENT TO WHAT MILLE
2624
01:33:38,120 --> 01:33:39,680
HAS GIVEN US.
2625
01:33:39,680 --> 01:33:47,120
*
2626
01:33:47,120 --> 01:33:47,380
[APPLAUSE]
2627
01:33:47,380 --> 01:33:47,920
>> THE POWERS THAT BE ARE
2628
01:33:47,920 --> 01:33:49,080
CLOSING IN ON THE
2629
01:33:49,080 --> 01:33:50,420
FIRST AMENDMENT.
2630
01:33:50,420 --> 01:33:51,920
AS THE STRONGHOLDS OF FREE
2631
01:33:51,920 --> 01:33:54,780
SPEECH FALL, I THINK IT'S
2632
01:33:54,780 --> 01:33:56,080
IMPORTANT THAT BROADWAY STANDS
2633
01:33:56,080 --> 01:33:58,520
STRONG AND STICKS TO ITS VALUES
2634
01:33:58,520 --> 01:34:00,080
[APPLAUSE]
2635
01:34:00,080 --> 01:34:02,750
HELL YEAH!
2636
01:34:02,750 --> 01:34:03,720
SOON YOU MAY NOT BE ABLE TO SAY
2637
01:34:03,720 --> 01:34:04,780
WHAT YOU BELIEVE.
2638
01:34:04,780 --> 01:34:05,680
SO TONIGHT I WANT TO MAKE SURE
2639
01:34:05,680 --> 01:34:06,680
ALL OF OUR VOICES ARE HEARD.
2640
01:34:06,680 --> 01:34:07,550
YOU THERE, WHAT DO YOU WANT THE
2641
01:34:07,550 --> 01:34:12,880
WORLD TO KNOW?
2642
01:34:12,880 --> 01:34:14,950
>> I DON'T KNOW, BUT I'M PRETTY
2643
01:34:14,950 --> 01:34:16,450
SURE THAT CATS TRY TO EAT YOUR
2644
01:34:16,450 --> 01:34:17,080
HAIR WHILE YOU'RE SLEEPING.
2645
01:34:17,080 --> 01:34:30,420
>> UM, OKAY...
2646
01:34:30,420 --> 01:34:31,080
I THOUGHT IT WAS GOING TO BE A
2647
01:34:31,080 --> 01:34:31,650
TRUTH WE ALL NEEDED TO HEAR, BUT
2648
01:34:31,650 --> 01:34:31,980
GOOD FOR YOU.
2649
01:34:31,980 --> 01:34:32,250
ALL RIGHT.
2650
01:34:32,250 --> 01:34:32,880
WOULD YOU LIKE TO USE YOUR VOICE
2651
01:34:32,880 --> 01:34:33,250
FOR FREE SPEECH?
2652
01:34:33,250 --> 01:34:33,820
>> I WOULD LOVE TO, P!NK.
2653
01:34:33,820 --> 01:34:34,420
SLOTHS ONLY MOVE THAT SLOW TO
2654
01:34:34,420 --> 01:34:38,580
GET ATTENTION.
2655
01:34:38,580 --> 01:34:39,480
>> TECHNICALLY FREE SPEECH.
2656
01:34:39,480 --> 01:34:40,920
THANK YOU SO MUCH.
2657
01:34:40,920 --> 01:34:42,820
HOW ABOUT YOU?
2658
01:34:42,820 --> 01:34:46,620
>> I THINK YOU SHOULD BE ALLOWE
2659
01:34:46,620 --> 01:34:48,620
TO TEXT DURING THE REALLY SLOW
2660
01:34:48,620 --> 01:34:49,120
BORING PARTS.
2661
01:34:49,120 --> 01:34:50,180
>> NO!
2662
01:34:50,180 --> 01:34:51,180
COME ON, GUYS!
2663
01:34:51,180 --> 01:34:55,380
THIS IS OUR CHANCE!
2664
01:34:55,380 --> 01:34:56,980
WE CAN SAY SOMETHING REALLY
2665
01:34:56,980 --> 01:34:57,980
IMPORTANT!
2666
01:34:57,980 --> 01:34:58,650
DO YOU HAVE ANYTHING IMPORTANT
2667
01:34:58,650 --> 01:34:59,680
TO SAY?
2668
01:34:59,680 --> 01:35:01,080
>> UM, I THINK I'M SCARED OF HO
2669
01:35:01,080 --> 01:35:02,420
FREE SPEECH IS SLOWLY ERODING
2670
01:35:02,420 --> 01:35:04,750
BEFORE OUR EYES, BUT I'M
2671
01:35:04,750 --> 01:35:08,780
ENCOURAGED, BECAUSE I THINK
2672
01:35:08,780 --> 01:35:09,950
BROADWAY IS ACTUALLY SUCCEEDING
2673
01:35:09,950 --> 01:35:10,850
AT THE TASK OF SPEAKING TRUTH TO
2674
01:35:10,850 --> 01:35:11,780
POWER, AND I'M PROUD TO BE PART
2675
01:35:11,780 --> 01:35:14,580
OF THIS COMMUNITY.
2676
01:35:14,580 --> 01:35:15,480
[APPLAUSE]
2677
01:35:15,480 --> 01:35:17,780
>> THANK YOU!
2678
01:35:17,780 --> 01:35:18,680
>> ALSO, I THINK BIGFOOT IS
2679
01:35:18,680 --> 01:35:21,080
REAL.
2680
01:35:21,080 --> 01:35:24,150
[LAUGHTER]
2681
01:35:24,150 --> 01:35:25,680
>> OH, DEAR GOD.
2682
01:35:25,680 --> 01:35:25,880
OKAY.
2683
01:35:25,880 --> 01:35:26,850
NEXT UP, PLEASE WELCOME THE
2684
01:35:26,850 --> 01:35:28,580
CREATOR AND STAR OF "THE LAST
2685
01:35:28,580 --> 01:35:30,250
SHIP" AT THE MET, STING!
2686
01:35:30,250 --> 01:35:32,350
[APPLAUSE]
2687
01:35:32,350 --> 01:35:36,950
*
2688
01:35:36,950 --> 01:35:40,220
*
2689
01:35:40,220 --> 01:35:41,850
>> IT IS NOTHING LESS THAN A
2690
01:35:41,850 --> 01:35:44,080
PRIVILEGE TO RETURN TO AN OLD
2691
01:35:44,080 --> 01:35:46,580
WORK -- A WORK YOU MAY THINK YO
2692
01:35:46,580 --> 01:35:49,480
KNOW BOTH INSIDE AND OUT -- AND
2693
01:35:49,480 --> 01:35:51,180
THEN SUDDENLY DISCOVERING A
2694
01:35:51,180 --> 01:35:52,180
WHOLE NEW MEANING OR
2695
01:35:52,180 --> 01:35:55,350
SIGNIFICANCE THAT WASN'T
2696
01:35:55,350 --> 01:35:58,980
APPARENT BEFORE.
2697
01:35:58,980 --> 01:36:00,280
A GREAT PIECE OF THEATER IS
2698
01:36:00,280 --> 01:36:01,420
CONSTANTLY EVOLVING, REVEALING
2699
01:36:01,420 --> 01:36:02,750
WHO WE ONCE WERE, WHO WE ARE
2700
01:36:02,750 --> 01:36:03,620
NOW, AND PERHAPS WHAT WE MIGHT
2701
01:36:03,620 --> 01:36:05,520
BECOME.
2702
01:36:05,520 --> 01:36:08,580
HERE ARE THE NOMINEES FOR BEST
2703
01:36:08,580 --> 01:36:11,950
REVIVAL OF A MUSICAL.
2704
01:36:11,950 --> 01:36:15,420
*
2705
01:36:15,420 --> 01:36:20,750
>> "CATS: THE JELLICLE BALL."
2706
01:36:20,750 --> 01:36:22,080
*
2707
01:36:22,080 --> 01:36:26,550
"RAGTIME."
2708
01:36:26,550 --> 01:36:27,350
*
2709
01:36:27,350 --> 01:36:28,820
"RICHARD O'BRIEN'S THE ROCKY
2710
01:36:28,820 --> 01:36:31,950
HORROR SHOW."
2711
01:36:31,950 --> 01:36:34,080
*
2712
01:36:34,080 --> 01:36:38,480
>> AND THE TONY AWARD GOES TO..
2713
01:36:38,480 --> 01:36:41,850
"RAGTIME."
2714
01:36:41,850 --> 01:36:42,320
[CHEERS AND APPLAUSE]
2715
01:36:42,320 --> 01:36:45,880
*
2716
01:36:45,880 --> 01:36:48,380
>> ACCEPTING THE AWARD FOR
2717
01:36:48,380 --> 01:36:57,550
RAGTIME, ARTISTIC DIRECTOR AT
2718
01:36:57,550 --> 01:37:03,080
LINCOLN CENTER, LEAR DEBESSONET.
2719
01:37:03,080 --> 01:37:03,280
[APPLAUSE]
2720
01:37:03,280 --> 01:37:09,650
*
2721
01:37:09,650 --> 01:37:10,850
>> THANK YOU!
2722
01:37:10,850 --> 01:37:13,850
THANK YOU SO MUCH.
2723
01:37:13,850 --> 01:37:14,680
THANK YOU TO THE
2724
01:37:14,680 --> 01:37:15,280
AMERICAN THEATRE WING AND THE
2725
01:37:15,280 --> 01:37:16,250
BROADWAY LEAGUE ON BEHALF OF ALL
2726
01:37:16,250 --> 01:37:18,480
OF US AT LINCOLN CENTER THEATER.
2727
01:37:18,480 --> 01:37:19,120
THANK YOU TO OUR INCREDIBLE
2728
01:37:19,120 --> 01:37:22,320
STAFF AND BOARD.
2729
01:37:22,320 --> 01:37:25,150
[LISTING NAMES]
2730
01:37:25,150 --> 01:37:28,420
TO OUR PRODUCERS.
2731
01:37:28,420 --> 01:37:33,850
[LISTING NAMES]
2732
01:37:33,850 --> 01:37:36,150
WE WANT TO THANK EVERY SINGLE
2733
01:37:36,150 --> 01:37:37,850
HUMAN BEING WHO POURED THEIR
2734
01:37:37,850 --> 01:37:40,450
LOVE AND GIFTS INTO "RAGTIME,"
2735
01:37:40,450 --> 01:37:42,080
ON STAGE AND OFF.
2736
01:37:42,080 --> 01:37:44,250
YOU ARE EXTRAORDINARY CAST LED
2737
01:37:44,250 --> 01:37:45,750
BY JOSHUA HENRY, CASEY LEAVY,
2738
01:37:45,750 --> 01:37:50,580
AND BRANDON URANOWITZ.
2739
01:37:50,580 --> 01:37:51,620
TO THE BEAUMONT CREW.
2740
01:37:51,620 --> 01:37:54,180
I SHARE THIS WITH ELEANOR SCOTT
2741
01:37:54,180 --> 01:37:56,450
AND OUR DESIGN TEAM.
2742
01:37:56,450 --> 01:37:56,750
THANK YOU.
2743
01:37:56,750 --> 01:38:04,320
[LISTING NAMES]
2744
01:38:04,320 --> 01:38:04,580
THANK YOU.
2745
01:38:04,580 --> 01:38:04,920
ABOVE ALL --
2746
01:38:04,920 --> 01:38:05,580
[LISTING NAMES]
2747
01:38:05,580 --> 01:38:10,280
IT IS SO GREAT, WONDERFUL, AND
2748
01:38:10,280 --> 01:38:10,750
GRATIFYING TO SEE HER
2749
01:38:10,750 --> 01:38:13,080
MASTERPIECE CELEBRATED.
2750
01:38:13,080 --> 01:38:17,450
WE BELIEVE THE ARTS ARE AN
2751
01:38:17,450 --> 01:38:18,850
ANEANTIDOTE TO DESPAIR AND WE WE
2752
01:38:18,850 --> 01:38:20,450
PROUD TO PARTNER WITH THE
2753
01:38:20,450 --> 01:38:21,980
THEATER COMMUNITY IN THE PROJECT
2754
01:38:21,980 --> 01:38:24,550
OF BUILDING TOWARD HOPE,
2755
01:38:24,550 --> 01:38:26,850
EMPATHY, AND DEMOCRACY.
2756
01:38:26,850 --> 01:38:28,420
>> SPEAKING FOR MYSELF AND
2757
01:38:28,420 --> 01:38:30,650
TERENCE, WHO IS PRESENT TONIGHT,
2758
01:38:30,650 --> 01:38:31,180
THANK YOU SO MUCH FOR THIS
2759
01:38:31,180 --> 01:38:33,520
HONOR.
2760
01:38:33,520 --> 01:38:34,250
[APPLAUSE]
2761
01:38:34,250 --> 01:38:36,980
>> AND JUST TO SAY THAT TER
2762
01:38:36,980 --> 01:38:37,280
TERRENCE --
2763
01:38:37,280 --> 01:38:39,120
*
2764
01:38:39,120 --> 01:38:43,150
[APPLAUSE]
2765
01:38:43,150 --> 01:38:48,620
*
2766
01:38:48,620 --> 01:38:49,420
>> Announcer: PLEASE WELCOME
2767
01:38:49,420 --> 01:38:50,380
TONY AWARD NOMINEE
2768
01:38:50,380 --> 01:38:51,580
PATRICK WILSON.
2769
01:38:51,580 --> 01:38:53,480
[APPLAUSE]
2770
01:38:53,480 --> 01:38:54,480
>> I'M THRILLED TO BE HERE
2771
01:38:54,480 --> 01:38:56,520
REPRESENTING MY ALMA MATER,
2772
01:38:56,520 --> 01:38:59,850
CARNEGIE MELLON UNIVERSITY, WHO
2773
01:38:59,850 --> 01:39:04,420
TOGETHER WITH THE TONYS
2774
01:39:04,420 --> 01:39:05,220
CO-PRESENTED THE "EXCELLENCE IN
2775
01:39:05,220 --> 01:39:06,080
THEATRE EDUCATION AWARD,"
2776
01:39:06,080 --> 01:39:06,880
RECOGNIZING ARTS EDUCATORS
2777
01:39:06,880 --> 01:39:07,920
NATIONWIDE.
2778
01:39:07,920 --> 01:39:09,280
EARLIER, THIS YEAR'S AWARD WAS
2779
01:39:09,280 --> 01:39:10,950
PRESENTED TO FREDDIE HENDRICKS,
2780
01:39:10,950 --> 01:39:12,080
THEATER TEACHER AT UTOPIAN
2781
01:39:12,080 --> 01:39:12,950
ACADEMY FOR THE ARTS IN
2782
01:39:12,950 --> 01:39:15,980
ELLENWOOD, GEORGIA.
2783
01:39:15,980 --> 01:39:18,380
[APPLAUSE]
2784
01:39:18,380 --> 01:39:20,180
CONGRATULATIONS, FREDDIE, AND
2785
01:39:20,180 --> 01:39:21,250
THANK YOU FOR INSPIRING THE NEX
2786
01:39:21,250 --> 01:39:25,380
GENERATION OF TONY WINNERS.
2787
01:39:25,380 --> 01:39:26,280
CONGRATULATIONS.
2788
01:39:26,280 --> 01:39:27,220
SUBMISSIONS ARE OPEN FOR NEXT
2789
01:39:27,220 --> 01:39:28,650
YEAR'S AWARD.
2790
01:39:28,650 --> 01:39:29,680
SO TELL US ABOUT A THEATER
2791
01:39:29,680 --> 01:39:30,620
EDUCATOR WHO HAS MADE A
2792
01:39:30,620 --> 01:39:31,680
DIFFERENCE IN YOUR LIFE.
2793
01:39:31,680 --> 01:39:36,650
[APPLAUSE]
2794
01:39:36,650 --> 01:39:38,620
>> AND NOW, TO HONOR THOSE WE
2795
01:39:38,620 --> 01:39:40,220
LOST THIS PAST YEAR, PERFORMING
2796
01:39:40,220 --> 01:39:41,480
"WITHOUT YOU," PLEASE WELCOME
2797
01:39:41,480 --> 01:39:42,620
TONY AWARD WINNER
2798
01:39:42,620 --> 01:39:47,780
LESLIE ODOM JR.
2799
01:39:47,780 --> 01:39:48,080
[APPLAUSE]
2800
01:39:48,080 --> 01:39:51,850
*
2801
01:39:51,850 --> 01:39:58,080
*
2802
01:39:58,080 --> 01:40:03,420
>> *WITHOUT YOU*
2803
01:40:03,420 --> 01:40:05,820
* THE GROUND THAWS
2804
01:40:05,820 --> 01:40:09,420
* THE RAIN FALLS
2805
01:40:09,420 --> 01:40:15,880
* THE GRASS GROWS
2806
01:40:15,880 --> 01:40:17,920
* WITHOUT YOU
2807
01:40:17,920 --> 01:40:22,220
* THE SEEDS ROOT
2808
01:40:22,220 --> 01:40:27,550
* THE FLOWERS BLOOM
2809
01:40:27,550 --> 01:40:31,350
* THE CHILDREN PLAY
2810
01:40:31,350 --> 01:40:34,350
* THE STARS GLEAM
2811
01:40:34,350 --> 01:40:38,650
* THE POETS DREAM
2812
01:40:38,650 --> 01:40:41,520
* THE EAGLES FLY
2813
01:40:41,520 --> 01:40:47,680
* WITHOUT YOU
2814
01:40:47,680 --> 01:40:51,180
* THE EARTH TURNS
2815
01:40:51,180 --> 01:40:57,580
* THE SUN BURNS
2816
01:40:57,580 --> 01:41:10,320
* BUT I DIE, WITHOUT YOU
2817
01:41:10,320 --> 01:41:15,720
* WITHOUT YOU
2818
01:41:15,720 --> 01:41:17,220
* THE BREEZE WARMS
2819
01:41:17,220 --> 01:41:20,980
* THE GIRL SMILES
2820
01:41:20,980 --> 01:41:26,080
* THE CLOUD MOVES
2821
01:41:26,080 --> 01:41:28,750
* THE CROWDS ROAR
2822
01:41:28,750 --> 01:41:37,880
* THE DAYS SOAR
2823
01:41:37,880 --> 01:41:44,080
* BUT I DIE, WITHOUT YOU
2824
01:41:44,080 --> 01:41:53,450
*
2825
01:41:53,450 --> 01:42:04,520
*
2826
01:42:04,520 --> 01:42:08,920
*
2827
01:42:08,920 --> 01:42:14,380
*
2828
01:42:14,380 --> 01:42:17,380
* WITHOUT YOU
2829
01:42:17,380 --> 01:42:21,250
* THE HAND GROPES
2830
01:42:21,250 --> 01:42:25,580
* THE EAR HEARS
2831
01:42:25,580 --> 01:42:29,520
* THE PULSE BEATS
2832
01:42:29,520 --> 01:42:35,220
* WITHOUT YOU
2833
01:42:35,220 --> 01:42:38,750
* THE EYES GAZE
2834
01:42:38,750 --> 01:42:45,450
* THE LEGS WALK
2835
01:42:45,450 --> 01:42:51,450
* THE LUNGS BREATHE
2836
01:42:51,450 --> 01:42:54,080
* THE MIND CHURNS
2837
01:42:54,080 --> 01:42:57,780
* THE HEART YEARNS
2838
01:42:57,780 --> 01:43:06,820
* THE TEARS DRY, WITHOUT YOU
2839
01:43:06,820 --> 01:43:12,680
* LIFE GOES ON, BUT I'M GONE
2840
01:43:12,680 --> 01:43:28,120
* 'CAUSE I'D DIE
2841
01:43:28,120 --> 01:43:30,650
[SUSTAINED NOTE]
2842
01:43:30,650 --> 01:43:30,980
[APPLAUSE]
2843
01:43:30,980 --> 01:43:39,320
* WITHOUT YOU
2844
01:43:39,320 --> 01:43:44,080
[APPLAUSE]
2845
01:43:47,680 --> 01:43:49,080
*
2846
01:43:49,080 --> 01:43:50,420
>> EVERYONE, THIS IS BECKY.
2847
01:43:50,420 --> 01:43:51,720
>> BECKY JUST WANTS TO BE LOVED
2848
01:43:51,720 --> 01:43:53,820
SHE WANTS TO BE ACCEPTED.
2849
01:43:53,820 --> 01:43:54,880
IT'S, LIKE, THE MOST PRIMAL
2850
01:43:54,880 --> 01:44:01,520
HUMAN NEEDS.
2851
01:44:01,520 --> 01:44:02,480
>> I GOT A BOYFRIEND AND I
2852
01:44:02,480 --> 01:44:03,320
DUMPED ALL MY FRIENDS.
2853
01:44:03,320 --> 01:44:04,220
>> ALL THESE CHARACTERS HAVE
2854
01:44:04,220 --> 01:44:05,120
SUCH A RICH LIGHT AND SHADOW.
2855
01:44:05,120 --> 01:44:05,980
>> EVERYONE IN THE AUDIENCE IS
2856
01:44:05,980 --> 01:44:06,820
GOING TO HAVE A DIFFERENT
2857
01:44:06,820 --> 01:44:07,580
OPINION ABOUT WHO IS RIGHT, WHO
2858
01:44:07,580 --> 01:44:08,650
IS WRONG.
2859
01:44:08,650 --> 01:44:09,950
>> IT HITS ON: WHAT IS LOVE,
2860
01:44:09,950 --> 01:44:11,320
EXACTLY, AND CAN IT EXIST
2861
01:44:11,320 --> 01:44:13,350
WITHOUT POWER AND TRANSACTION?
2862
01:44:13,350 --> 01:44:20,150
*
2863
01:44:20,150 --> 01:44:21,520
[APPLAUSE]
2864
01:44:21,520 --> 01:44:22,850
*
2865
01:44:22,850 --> 01:44:23,780
>> Announcer: PLEASE WELCOME
2866
01:44:23,780 --> 01:44:25,780
PAUL RUDD.
2867
01:44:25,780 --> 01:44:27,950
[APPLAUSE]
2868
01:44:27,950 --> 01:44:31,450
*
2869
01:44:31,450 --> 01:44:35,450
*
2870
01:44:35,450 --> 01:44:36,920
>> THIS SEASON MORE THAN
2871
01:44:36,920 --> 01:44:38,880
16 MILLION AUDIENCE MEMBERS SAW
2872
01:44:38,880 --> 01:44:41,280
A BROADWAY LEAGUE TOURING
2873
01:44:41,280 --> 01:44:43,220
PRODUCTION IN 115 CITIES ACROSS
2874
01:44:43,220 --> 01:44:44,420
THE COUNTRY, PROVING THERE
2875
01:44:44,420 --> 01:44:45,350
REALLY IS NOTHING LIKE SEEING
2876
01:44:45,350 --> 01:44:48,550
LIVE THEATER.
2877
01:44:48,550 --> 01:44:52,820
[APPLAUSE]
2878
01:44:52,820 --> 01:44:54,750
BUT, WHAT MAKES A STAGE
2879
01:44:54,750 --> 01:44:56,150
PERFORMANCE TRULY GREAT?
2880
01:44:56,150 --> 01:44:57,080
IS IT HOURS SPENT IN REHEARSAL?
2881
01:44:57,080 --> 01:44:57,980
FULL IMMERSION IN YOUR
2882
01:44:57,980 --> 01:44:59,280
CHARACTER?
2883
01:44:59,280 --> 01:45:00,320
A WELL-PLACED MIC IN THE MIDDLE
2884
01:45:00,320 --> 01:45:02,380
OF YOUR FOREHEAD?
2885
01:45:02,380 --> 01:45:03,220
THE POUFY THING THAT PUTS THE
2886
01:45:03,220 --> 01:45:04,220
MAKEUP POWDER ALL OVER YOUR
2887
01:45:04,220 --> 01:45:11,150
FACE?
2888
01:45:11,150 --> 01:45:11,850
OR MAYBE JUST A SAUCY LITTLE
2889
01:45:11,850 --> 01:45:13,080
WIG?
2890
01:45:13,080 --> 01:45:13,950
NO ONE REALLY KNOWS THE ANSWER.
2891
01:45:13,950 --> 01:45:14,880
IT'S A TOTAL MYSTERY, BUT ONE
2892
01:45:14,880 --> 01:45:15,820
THAT WAS SOLVED BY EVERY NOMINE
2893
01:45:15,820 --> 01:45:18,750
FOR FEATURED ACTOR IN A PLAY.
2894
01:45:18,750 --> 01:45:20,850
*
2895
01:45:20,850 --> 01:45:21,980
>> CHRISTOPHER ABBOTT.
2896
01:45:21,980 --> 01:45:22,750
"ARTHUR MILLER'S DEATH OF A
2897
01:45:22,750 --> 01:45:24,520
SALESMAN."
2898
01:45:24,520 --> 01:45:25,550
DANNY BURSTEIN.
2899
01:45:25,550 --> 01:45:27,520
"MARJORIE PRIME."
2900
01:45:27,520 --> 01:45:28,420
BRANDON J. DIRDEN,
2901
01:45:28,420 --> 01:45:30,550
"WAITING FOR GODOT."
2902
01:45:30,550 --> 01:45:32,550
ALDEN EHRENREICH, "BECKY SHAW."
2903
01:45:32,550 --> 01:45:34,550
RUBEN SANTIAGO-HUDSON.
2904
01:45:34,550 --> 01:45:35,550
"AUGUST WILSON'S JOE TURNER'S
2905
01:45:35,550 --> 01:45:37,580
COME AND GONE."
2906
01:45:37,580 --> 01:45:40,380
RICHARD THOMAS, "THE BALUSTERS.
2907
01:45:40,380 --> 01:45:43,450
[APPLAUSE]
2908
01:45:43,450 --> 01:45:44,120
>> AND THE
2909
01:45:44,120 --> 01:45:45,250
AMERICAN THEATRE WING'S TONY
2910
01:45:45,250 --> 01:45:49,250
AWARD GOES TO...
2911
01:45:49,250 --> 01:45:52,780
ALDEN EHRENREICH, "BECKY SHAW."
2912
01:45:52,780 --> 01:45:53,250
[CHEERS AND APPLAUSE]
2913
01:45:53,250 --> 01:46:00,080
*
2914
01:46:00,080 --> 01:46:01,680
>> FROM HIS BROADWAY DEBUT AS
2915
01:46:01,680 --> 01:46:05,680
MAX, ALDEN EHRENREICH EARNS HIS
2916
01:46:05,680 --> 01:46:11,580
FIRST TONY NOMINATION AND WIN.
2917
01:46:11,580 --> 01:46:11,850
[APPLAUSE]
2918
01:46:11,850 --> 01:46:18,180
*
2919
01:46:18,180 --> 01:46:27,520
*
2920
01:46:27,520 --> 01:46:30,420
[APPLAUSE]
2921
01:46:30,420 --> 01:46:31,620
>> THANK YOU SO MUCH.
2922
01:46:31,620 --> 01:46:33,220
I WANT TO THANK THE
2923
01:46:33,220 --> 01:46:35,220
AMERICAN THEATRE WING AND THE
2924
01:46:35,220 --> 01:46:36,080
BROADWAY LEAGUE.
2925
01:46:36,080 --> 01:46:42,650
I WANT TO THANK GIA GIONFRIDDO,
2926
01:46:42,650 --> 01:46:44,320
OUR PLAYWRIGHT, WHO CARES TO
2927
01:46:44,320 --> 01:46:45,750
MATT ABOUT THESE CHARACTERS.
2928
01:46:45,750 --> 01:46:48,750
I WANT TO THANK OUR INCREDIBLE
2929
01:46:48,750 --> 01:46:52,620
CAST.
2930
01:46:52,620 --> 01:46:53,780
[LISTING NAMES]
2931
01:46:53,780 --> 01:46:54,620
YOU ARE WITH ME EVERY NIGHT.
2932
01:46:54,620 --> 01:46:57,620
I SHARE THIS WITH YOU.
2933
01:46:57,620 --> 01:46:59,650
ARE BACK- OF-HOUSE CREW.
2934
01:46:59,650 --> 01:47:00,080
[LISTING NAMES]
2935
01:47:00,080 --> 01:47:03,450
AND THE HANDS THAT HOLD THIS UP.
2936
01:47:03,450 --> 01:47:06,220
I WANT TO THANK MY TEAM, MY
2937
01:47:06,220 --> 01:47:10,820
MANAGER SINCE I WAS 16 YEARS
2938
01:47:10,820 --> 01:47:10,980
OLD.
2939
01:47:10,980 --> 01:47:15,250
[LISTING NAMES]
2940
01:47:15,250 --> 01:47:17,780
I WANT TO THANK A LOT OF PEOPLE.
2941
01:47:17,780 --> 01:47:21,820
EVERYONE AT THE THEATER IN L.A.
2942
01:47:21,820 --> 01:47:23,650
JESSE ATLAS, MY BROTHER IN ARMS
2943
01:47:23,650 --> 01:47:25,880
IN THIS, WHO KEEPS THE FIRE FOR
2944
01:47:25,880 --> 01:47:28,620
THIS ART ALIVE FOR ME.
2945
01:47:28,620 --> 01:47:31,080
ALL MY FRIENDS, MY FAMILY.
2946
01:47:31,080 --> 01:47:32,250
HARRY, WHO RAISED ME.
2947
01:47:32,250 --> 01:47:33,720
MY MOTHER, WHO IS JOYFUL AND
2948
01:47:33,720 --> 01:47:36,450
STRONG IN THE FACE OF TRAGEDY
2949
01:47:36,450 --> 01:47:38,550
AND BELIEVED IN EVERY DREAM I
2950
01:47:38,550 --> 01:47:40,420
EVER HAD.
2951
01:47:40,420 --> 01:47:42,450
MY PARTNER, WHO IS THE MOST
2952
01:47:42,450 --> 01:47:46,450
COMPASSIONATE, STRONG, BAD-ASS,
2953
01:47:46,450 --> 01:47:47,780
WONDERFUL PERSON I COULD WISH
2954
01:47:47,780 --> 01:47:48,080
FOR.
2955
01:47:48,080 --> 01:47:49,380
THIS ART OF ACTING HAS GIVEN ME
2956
01:47:49,380 --> 01:47:50,220
SO MUCH.
2957
01:47:50,220 --> 01:47:52,220
IT'S GIVEN ME A LIFE, AN
2958
01:47:52,220 --> 01:47:53,320
OPPORTUNITY TO BE AROUND ARTISTS
2959
01:47:53,320 --> 01:47:55,620
LIKE THE PEOPLE IN THIS ROOM.
2960
01:47:55,620 --> 01:47:58,180
MOST OF ALL, IT HAS SHOWN ME
2961
01:47:58,180 --> 01:47:59,520
THAT WHEN I AM VERY AFRAID AND
2962
01:47:59,520 --> 01:48:04,080
THINGS ARE VERY HARD, IN THIS
2963
01:48:04,080 --> 01:48:06,280
PRESENT MOMENT RIGHT HERE, RIGHT
2964
01:48:06,280 --> 01:48:07,680
NOW, THERE IS A SUSTAINING
2965
01:48:07,680 --> 01:48:08,920
MYSTERY THAT IS THERE TO CATCH
2966
01:48:08,920 --> 01:48:09,880
YOU.
2967
01:48:09,880 --> 01:48:11,680
AND I AM GRATEFUL FOR THAT, AND
2968
01:48:11,680 --> 01:48:13,120
THE MAGIC THAT IT IS ALLOWED TO
2969
01:48:13,120 --> 01:48:15,250
HAPPEN IN MY LIFE.
2970
01:48:15,250 --> 01:48:16,750
THANK YOU SO MUCH FOR THIS
2971
01:48:16,750 --> 01:48:17,880
HONOR.
2972
01:48:17,880 --> 01:48:18,980
I CAN'T BELIEVE IT.
2973
01:48:18,980 --> 01:48:19,250
THANK YOU.
2974
01:48:19,250 --> 01:48:19,520
[APPLAUSE]
2975
01:48:19,520 --> 01:48:22,750
*
2976
01:48:22,750 --> 01:48:26,450
*
2977
01:48:26,450 --> 01:48:27,750
>> AN EPIC SPECTACLE UNLIKE
2978
01:48:27,750 --> 01:48:29,580
ANYTHING BROADWAY HAS SEEN IN
2979
01:48:29,580 --> 01:48:31,180
DECADES, "THE LOST BOYS" IS A
2980
01:48:31,180 --> 01:48:32,950
HIGH-FLYING THRILL RIDE
2981
01:48:32,950 --> 01:48:34,420
FEATURING EYE-POPPING STAGECRAF
2982
01:48:34,420 --> 01:48:35,220
THAT MUST BE SEEN TO BE
2983
01:48:35,220 --> 01:48:38,220
BELIEVED.
2984
01:48:38,220 --> 01:48:39,820
NOMINATED FOR 12 TONY AWARDS,
2985
01:48:39,820 --> 01:48:41,220
INCLUDING BEST MUSICAL, THIS IS
2986
01:48:41,220 --> 01:48:43,580
"THE LOST BOYS."
2987
01:48:43,580 --> 01:48:48,350
*
2988
01:48:48,350 --> 01:48:49,580
[APPLAUSE]
2989
01:48:49,580 --> 01:48:51,950
*
2990
01:48:51,950 --> 01:48:53,350
>> * I'VE BEEN DREAMING OF THIS
2991
01:48:53,350 --> 01:48:55,880
DAY FOR YEARS *
2992
01:48:55,880 --> 01:48:59,650
* TAKING OFF FOR NEW FRONTIERS
2993
01:48:59,650 --> 01:49:01,480
* I'M STARTING OVER, NO
2994
01:49:01,480 --> 01:49:04,350
SOUVENIRS *
2995
01:49:04,350 --> 01:49:07,250
* NO REGRETS, NO, NO
2996
01:49:07,250 --> 01:49:09,480
* NO MORE TEARS, OH, YEAH
2997
01:49:09,480 --> 01:49:11,220
* IF IT'S THE DEATH OF ME,
2998
01:49:11,220 --> 01:49:14,780
UH-HUH *
2999
01:49:14,780 --> 01:49:16,680
>> * NO MORE NIGHTMARES
3000
01:49:16,680 --> 01:49:17,980
* IT'S CALIFORNIA DREAMIN' FROM
3001
01:49:17,980 --> 01:49:22,720
HERE ON OUT *
3002
01:49:22,720 --> 01:49:23,480
* THINGS ARE LOOKING UP, NO,
3003
01:49:23,480 --> 01:49:24,520
NO *
3004
01:49:24,520 --> 01:49:25,380
* NOTHING'S GOING TO SLOW US
3005
01:49:25,380 --> 01:49:27,120
DOWN, YEAH *
3006
01:49:27,120 --> 01:49:28,880
* WHAT COULD GO WRONG IN THIS
3007
01:49:28,880 --> 01:49:32,680
CHARMING LITTLE TOWN? *
3008
01:49:32,680 --> 01:49:34,120
>> * OH, MAYBE THE JOCKS WILL
3009
01:49:34,120 --> 01:49:37,720
SKIP OVER ME HERE *
3010
01:49:37,720 --> 01:49:38,850
* THE LUNCHROOM WON'T FILL ME
3011
01:49:38,850 --> 01:49:41,150
WITH FEAR *
3012
01:49:41,150 --> 01:49:42,120
* AND I'LL MAKE IT THROUGH
3013
01:49:42,120 --> 01:49:48,080
FRESHMAN YEAR *
3014
01:49:48,080 --> 01:49:49,380
>> * MAYBE A CHANGE'LL DO ME
3015
01:49:49,380 --> 01:49:52,820
SOME GOOD *
3016
01:49:52,820 --> 01:49:53,750
* I'VE GOT NOTHIN' TO LOSE IN A
3017
01:49:53,750 --> 01:49:55,080
NEW NEIGHBORHOOD *
3018
01:49:55,080 --> 01:49:57,780
* FROM NOW ON
3019
01:49:57,780 --> 01:49:59,080
>> * FROM NOW ON
3020
01:49:59,080 --> 01:50:01,680
>> * FEARS BE GONE
3021
01:50:01,680 --> 01:50:06,980
* NO MORE MONSTERS
3022
01:50:06,980 --> 01:50:09,720
>> * OH, WHOA, OH, OH
3023
01:50:09,720 --> 01:50:11,750
* NO MORE MONSTERS
3024
01:50:11,750 --> 01:50:16,050
*
3025
01:50:16,050 --> 01:50:20,080
*
3026
01:50:20,080 --> 01:50:23,250
*
3027
01:50:23,250 --> 01:50:24,620
>> * I NEED A QUICK HIT
3028
01:50:24,620 --> 01:50:26,480
* COME ON AND GIMME IT
3029
01:50:26,480 --> 01:50:31,520
* DON'T GIMME COUNTERFEIT
3030
01:50:31,520 --> 01:50:32,620
* NO, GIMME THE GOOD --
3031
01:50:32,620 --> 01:50:38,150
*
3032
01:50:38,150 --> 01:50:39,250
>> * I'LL MAKE YOU WORK FOR
3033
01:50:39,250 --> 01:50:40,980
IT *
3034
01:50:40,980 --> 01:50:41,850
* YOU'RE GONNA SWEAT A BIT
3035
01:50:41,850 --> 01:50:42,520
>> * THE CRIMES WE COULD
3036
01:50:42,520 --> 01:50:45,280
COMMIT *
3037
01:50:45,280 --> 01:50:49,380
* WHEN WE COME TOGETHER, BABY
3038
01:50:49,380 --> 01:50:50,180
>> * I HAVE TO HAVE YOU
3039
01:50:50,180 --> 01:50:51,650
>> * I HAVE TO HAVE YOU
3040
01:50:51,650 --> 01:50:52,520
>> * OH, YEAH, I'M KNOCKING ON
3041
01:50:52,520 --> 01:50:53,950
YOUR DOOR *
3042
01:50:53,950 --> 01:50:56,180
* LET ME INSIDE
3043
01:50:56,180 --> 01:50:57,020
* DON'T LET ME BE DENIED
3044
01:50:57,020 --> 01:50:58,650
>> * I HAVE TO HAVE YOU
3045
01:50:58,650 --> 01:50:59,420
>> * ON MY BREATH, ON MY
3046
01:50:59,420 --> 01:51:00,620
TONGUE *
3047
01:51:00,620 --> 01:51:01,920
>> * I HAVE TO HAVE YOU
3048
01:51:01,920 --> 01:51:02,780
>> * IN MY LUNGS, KEEP ME
3049
01:51:02,780 --> 01:51:03,680
YOUNG *
3050
01:51:03,680 --> 01:51:05,120
>> * I HAVE TO HAVE YOU
3051
01:51:05,120 --> 01:51:06,520
>> * GIMME SOME
3052
01:51:06,520 --> 01:51:08,780
* GIMME SOME
3053
01:51:08,780 --> 01:51:10,450
>> * I HAVE TO HAVE YOU
3054
01:51:10,450 --> 01:51:12,320
* I HAVE TO HAVE YOU
3055
01:51:12,320 --> 01:51:15,920
*
3056
01:51:15,920 --> 01:51:16,720
>> * WHO IS THAT BOLT OF
3057
01:51:16,720 --> 01:51:18,520
LIGHTNING? *
3058
01:51:18,520 --> 01:51:21,980
* I HAVE TO KNOW HER NAME
3059
01:51:21,980 --> 01:51:22,820
* SHE'S ALL FIRE AND IT'S
3060
01:51:22,820 --> 01:51:24,180
FRIGHTENING *
3061
01:51:24,180 --> 01:51:25,850
* BUT, MY GOD, SHE BURNS SO
3062
01:51:25,850 --> 01:51:29,620
BRIGHT *
3063
01:51:29,620 --> 01:51:31,080
>> * LOOK AT THIS LITTLE LAMB
3064
01:51:31,080 --> 01:51:33,550
* HE THINKS HE KNOWS WHO I AM
3065
01:51:33,550 --> 01:51:35,150
* HE'S GOT NO CLUE WHAT HE'S
3066
01:51:35,150 --> 01:51:37,150
GETTING INTO *
3067
01:51:37,150 --> 01:51:38,080
* I'M TROUBLE THROUGH AND
3068
01:51:38,080 --> 01:51:39,750
THROUGH *
3069
01:51:39,750 --> 01:51:40,920
* I'M AFRAID
3070
01:51:40,920 --> 01:51:42,080
>> * I KNOW WHAT I WANNA DO
3071
01:51:42,080 --> 01:51:43,920
>> * OF WHAT I WANNA DO
3072
01:51:43,920 --> 01:51:47,650
>> * I HAVE TO HAVE YOU
3073
01:51:47,650 --> 01:51:48,850
>> * YOUR PULSE IS RACING
3074
01:51:48,850 --> 01:51:49,780
>> * WE CAN TAKE IT ALL THE
3075
01:51:49,780 --> 01:51:50,820
WAY *
3076
01:51:50,820 --> 01:51:52,320
>> * IT DRIVES ME CRAZY
3077
01:51:52,320 --> 01:51:53,220
>> * STAY UP ALL NIGHT AND SLEE
3078
01:51:53,220 --> 01:51:54,820
ALL DAY *
3079
01:51:54,820 --> 01:51:56,120
>> * I'M GONNA LOSE MYSELF
3080
01:51:56,120 --> 01:51:56,980
>> * COME ON AND LOSE
3081
01:51:56,980 --> 01:51:59,450
YOURSELF *
3082
01:51:59,450 --> 01:52:00,580
>> * COME ON, SANTA CARLA
3083
01:52:00,580 --> 01:52:02,380
* GIMME WHAT YOU GOT
3084
01:52:02,380 --> 01:52:05,450
* I HAVE TO HAVE YOU
3085
01:52:05,450 --> 01:52:10,320
* I HAVE TO HAVE YOU
3086
01:52:10,320 --> 01:52:12,920
>> * HOW CAN YOU BLAME ME?
3087
01:52:12,920 --> 01:52:13,880
>> * YOU'RE SO BEAUTIFUL,
3088
01:52:13,880 --> 01:52:16,920
BABY *
3089
01:52:16,920 --> 01:52:18,080
>> * IN THIS BIG BLACK HOLE
3090
01:52:18,080 --> 01:52:19,280
WITH NEON LIGHTS *
3091
01:52:19,280 --> 01:52:20,080
* I'M GONNA FIND A WAY TO FEEL
3092
01:52:20,080 --> 01:52:26,180
ALL RIGHT *
3093
01:52:26,180 --> 01:52:28,080
>> * I WANT TO LOSE MYSELF
3094
01:52:28,080 --> 01:52:29,920
>> * I HAVE TO HAVE YOU
3095
01:52:29,920 --> 01:52:30,620
>> * 'CAUSE IF YOU WANT TO FIND
3096
01:52:30,620 --> 01:52:32,480
YOURSELF *
3097
01:52:32,480 --> 01:52:33,480
* YOU GOT TO LOSE YOURSELF
3098
01:52:33,480 --> 01:52:35,450
>> * I HAVE TO HAVE YOU
3099
01:52:35,450 --> 01:52:41,320
>> * OH, TONIGHT
3100
01:52:41,320 --> 01:52:45,480
*
3101
01:52:45,480 --> 01:52:49,180
>> THANK YOU, RADIO CITY!
3102
01:52:49,180 --> 01:52:49,950
LET'S MAKE SOME NOISE!
3103
01:52:49,950 --> 01:52:52,180
LET'S HEAR IT FOR THE BAND!
3104
01:52:52,180 --> 01:52:56,350
COME ON, LET'S GO!
3105
01:52:56,350 --> 01:52:56,650
>> YEAH!
3106
01:52:56,650 --> 01:52:59,920
*
3107
01:52:59,920 --> 01:53:05,180
*
3108
01:53:05,180 --> 01:53:06,620
>> STICK AROUND.
3109
01:53:06,620 --> 01:53:07,620
A PERFORMANCE FROM
3110
01:53:07,620 --> 01:53:08,480
"THE BOOK OF MORMON" IS COMING
3111
01:53:08,480 --> 01:53:09,320
UP ON THE 79TH ANNUAL
3112
01:53:09,320 --> 01:53:11,850
TONY AWARDS!
3113
01:53:22,280 --> 01:53:22,720
*
3114
01:53:22,720 --> 01:53:24,480
>> LIKE A GLASS OF CHAMPAGNE,
3115
01:53:24,480 --> 01:53:25,950
THIS PLAY IS VERY MUCH AN ESCAPE
3116
01:53:25,950 --> 01:53:27,720
FROM REALITY WHICH WE ARE TRYING
3117
01:53:27,720 --> 01:53:29,550
TO CAPTURE FOR THE AUDIENCE.
3118
01:53:29,550 --> 01:53:31,220
>> IT'S ABOUT TWO WOMEN WHO ARE
3119
01:53:31,220 --> 01:53:33,080
DOING SOME VERY FANTASTIC THINGS
3120
01:53:33,080 --> 01:53:34,350
AND HAVING IT THE WAY THEY WANT
3121
01:53:34,350 --> 01:53:36,120
TO HAVE IT.
3122
01:53:36,120 --> 01:53:38,080
NOEL COWARD WAS GIVING THE WOMEN
3123
01:53:38,080 --> 01:53:39,280
A LITTLE NIGHT OF
3124
01:53:39,280 --> 01:53:40,120
RIDICULOUSNESS.
3125
01:53:40,120 --> 01:53:41,580
>> THE MOST DEPRAVED PIECE OF
3126
01:53:41,580 --> 01:53:42,350
WRITING THAT'S EVER EXISTED.
3127
01:53:42,350 --> 01:53:45,120
THAT'S WHAT THEY SAID IN THE
3128
01:53:45,120 --> 01:53:45,520
'20s.
3129
01:53:45,520 --> 01:53:47,120
AND GUESS WHAT?
3130
01:53:47,120 --> 01:53:49,420
IT IS STILL ALL THOSE THINGS.
3131
01:53:49,420 --> 01:53:49,680
[APPLAUSE]
3132
01:53:49,680 --> 01:53:53,080
*
3133
01:53:53,080 --> 01:53:55,320
>> 21 YEARS AGO, "700 SUNDAYS"
3134
01:53:55,320 --> 01:53:57,150
WON A TONY AWARD AND WENT ON TO
3135
01:53:57,150 --> 01:53:59,450
BECOME THE HIGHEST-GROSSING
3136
01:53:59,450 --> 01:54:00,550
NON-MUSICAL IN BROADWAY HISTORY
3137
01:54:00,550 --> 01:54:04,120
AT THE TIME.
3138
01:54:04,120 --> 01:54:05,620
I'M GOING TO LEARN HOW TO READ
3139
01:54:05,620 --> 01:54:07,080
BY NEXT WEEK, I PROMISE.
3140
01:54:07,080 --> 01:54:07,620
[LAUGHTER]
3141
01:54:07,620 --> 01:54:09,080
THE SHOW'S CREATOR AND STAR IS
3142
01:54:09,080 --> 01:54:10,280
COMING BACK TO BROADWAY ON
3143
01:54:10,280 --> 01:54:11,350
OCTOBER 1ST IN HIS NEW PLAY,
3144
01:54:11,350 --> 01:54:13,250
"860."
3145
01:54:13,250 --> 01:54:15,220
PLEASE WELCOME TWO-TIME TONY
3146
01:54:15,220 --> 01:54:17,150
NOMINEE BILLY CRYSTAL!
3147
01:54:17,150 --> 01:54:20,250
[APPLAUSE]
3148
01:54:20,250 --> 01:54:23,850
*
3149
01:54:23,850 --> 01:54:37,520
*
3150
01:54:37,520 --> 01:54:43,280
TICKETS ARE ON SALE SOON.
3151
01:54:43,280 --> 01:54:44,080
>> THANK YOU.
3152
01:54:44,080 --> 01:54:46,280
I WASN'T EXPECTING THAT...
3153
01:54:46,280 --> 01:54:46,880
[LAUGHTER]
3154
01:54:46,880 --> 01:54:48,480
WELL, WE ARE AT THE HALFWAY
3155
01:54:48,480 --> 01:54:50,880
POINT OF THE SHOW.
3156
01:54:50,880 --> 01:54:54,280
[LAUGHTER]
3157
01:54:54,280 --> 01:54:55,380
I'M TRULY HONORED TO COME BACK
3158
01:54:55,380 --> 01:54:56,620
AND BE PART OF THE COMMUNITY
3159
01:54:56,620 --> 01:54:58,480
WHICH I REALLY LOVE, AND I HAVE
3160
01:54:58,480 --> 01:55:00,750
TO TELL YOU, FOR THE ACTOR IT IS
3161
01:55:00,750 --> 01:55:02,550
THE ULTIMATE EXPERIENCE TO DO
3162
01:55:02,550 --> 01:55:03,880
WORK THAT DOESN'T STOP BECAUSE
3163
01:55:03,880 --> 01:55:05,450
OF A FOCUSED PROBLEM, OR BEING
3164
01:55:05,450 --> 01:55:07,120
TOLD IT'S GOING TO BE ANOTHER
3165
01:55:07,120 --> 01:55:08,780
HOUR WHILE WE LIGHT THE SET.
3166
01:55:08,780 --> 01:55:10,520
WHEN THE CURTAIN GOES UP, IT'S
3167
01:55:10,520 --> 01:55:11,120
ALL ON THE LINE.
3168
01:55:11,120 --> 01:55:11,980
YOU AND A THEATER FILLED WITH
3169
01:55:11,980 --> 01:55:12,880
STRANGERS LISTENING TO EVERY
3170
01:55:12,880 --> 01:55:15,080
WORD, AND OCCASIONALLY TEXTING.
3171
01:55:15,080 --> 01:55:18,180
[LAUGHTER]
3172
01:55:18,180 --> 01:55:19,420
THEN WE REST AND WE GET TO DO IT
3173
01:55:19,420 --> 01:55:20,150
ALL OVER AGAIN FOR A NEW
3174
01:55:20,150 --> 01:55:23,120
AUDIENCE.
3175
01:55:23,120 --> 01:55:24,920
FOR ME, AFTER ALL I'VE DONE,
3176
01:55:24,920 --> 01:55:25,980
THERE'S NOTHING LIKE BEING ON
3177
01:55:25,980 --> 01:55:26,750
BROADWAY.
3178
01:55:26,750 --> 01:55:29,720
AS I VENTURE OUT THERE ALONE 7-8
3179
01:55:29,720 --> 01:55:30,950
TIMES A WEEK -- THIS FALL,
3180
01:55:30,950 --> 01:55:33,320
TICKETS ARE ON SALE SOON -- I
3181
01:55:33,320 --> 01:55:34,080
THINK OF SOMETHING THE GREAT
3182
01:55:34,080 --> 01:55:35,580
ELAINE STRETCH TOLD ME SO MANY
3183
01:55:35,580 --> 01:55:36,080
YEARS AGO.
3184
01:55:36,080 --> 01:55:37,420
"DO FIVE AND CHARGE MORE!"
3185
01:55:37,420 --> 01:55:43,080
[LAUGHTER]
3186
01:55:43,080 --> 01:55:43,280
[APPLAUSE]
3187
01:55:43,280 --> 01:55:44,320
WE'VE SEEN SOME MOMENTS FROM TH
3188
01:55:44,320 --> 01:55:47,420
PRODUCTIONS NOMINATED FOR BEST
3189
01:55:47,420 --> 01:55:48,250
REVIVAL OF A PLAY.
3190
01:55:48,250 --> 01:55:49,080
ONCE AGAIN, THEY ARE:
3191
01:55:49,080 --> 01:55:49,920
"ARTHUR MILLER'S DEATH OF A
3192
01:55:49,920 --> 01:55:51,520
SALESMAN."
3193
01:55:51,520 --> 01:55:53,780
"BECKY SHAW."
3194
01:55:53,780 --> 01:55:57,620
"EVERY BRILLIANT THING."
3195
01:55:57,620 --> 01:56:00,920
"FALLEN ANGELS."
3196
01:56:00,920 --> 01:56:02,080
AND "OEDIPUS."
3197
01:56:02,080 --> 01:56:05,350
[APPLAUSE]
3198
01:56:05,350 --> 01:56:06,180
AND THE AMERICAN THEATRE WING'S
3199
01:56:06,180 --> 01:56:12,720
TONY AWARD GOES TO...
3200
01:56:12,720 --> 01:56:14,980
THE WOODS ARE BURNING, BOYS.
3201
01:56:14,980 --> 01:56:16,420
"ARTHUR MILLER'S DEATH OF A
3202
01:56:16,420 --> 01:56:19,920
SALESMAN."
3203
01:56:19,920 --> 01:56:20,380
[CHEERS AND APPLAUSE]
3204
01:56:20,380 --> 01:56:23,550
*
3205
01:56:23,550 --> 01:56:24,680
>> ACCEPTING THE AWARD FOR
3206
01:56:24,680 --> 01:56:27,620
"ARTHUR MILLER'S DEATH OF A
3207
01:56:27,620 --> 01:56:28,120
SALESMAN," NATHAN LANE.
3208
01:56:28,120 --> 01:56:34,880
*
3209
01:56:34,880 --> 01:56:38,420
*
3210
01:56:38,420 --> 01:56:48,150
*
3211
01:56:48,150 --> 01:56:51,680
>> THANK YOU.
3212
01:56:51,680 --> 01:56:52,280
THANK YOU.
3213
01:56:52,280 --> 01:56:54,680
ON BEHALF OF EVERYONE ASSOCIATED
3214
01:56:54,680 --> 01:56:57,880
WITH "DEATH OF A SALESMAN,"
3215
01:56:57,880 --> 01:56:59,120
EVERYONE WHO WORKS NIGHTLY AT
3216
01:56:59,120 --> 01:57:00,820
THE WINTER GARDEN THEATRE, OUR
3217
01:57:00,820 --> 01:57:05,120
ENTIRE CAST, CREW, CREATIVE
3218
01:57:05,120 --> 01:57:07,550
TEAM, DESIGN TEAM, AND PRODUCING
3219
01:57:07,550 --> 01:57:09,680
TEAM, OUR HEARTFELT THANKS TO
3220
01:57:09,680 --> 01:57:10,820
THE AMERICAN THEATRE WING FOR
3221
01:57:10,820 --> 01:57:11,750
THIS TREMENDOUS HONOR.
3222
01:57:11,750 --> 01:57:14,180
OF COURSE WE ALL WOULDN'T BE
3223
01:57:14,180 --> 01:57:15,750
STANDING HERE WITHOUT THE GENIUS
3224
01:57:15,750 --> 01:57:19,080
OF JOE MANTELLO, WHO CREATED
3225
01:57:19,080 --> 01:57:21,480
THIS REVELATORY PRODUCTION.
3226
01:57:21,480 --> 01:57:24,520
[APPLAUSE]
3227
01:57:24,520 --> 01:57:27,080
AND MOST IMPORTANTLY, THE GENIUS
3228
01:57:27,080 --> 01:57:28,580
OF ARTHUR MILLER, WHO CREATED
3229
01:57:28,580 --> 01:57:31,880
THIS MONUMENTAL MASTERPIECE,
3230
01:57:31,880 --> 01:57:33,980
WHICH IS STILL, SADLY, AS
3231
01:57:33,980 --> 01:57:37,380
RELEVANT AS IT WAS IN 1949, AND
3232
01:57:37,380 --> 01:57:38,280
STILL CONTINUES TO TEACH US WHO
3233
01:57:38,280 --> 01:57:40,650
WE ARE AS HUMANS AND AMERICANS.
3234
01:57:40,650 --> 01:57:43,420
THANK YOU SO MUCH.
3235
01:57:43,420 --> 01:57:43,680
[APPLAUSE]
3236
01:57:43,680 --> 01:57:47,620
*
3237
01:57:47,620 --> 01:57:49,650
*
3238
01:57:49,650 --> 01:57:50,780
>> Announcer: PLEASE WELCOME
3239
01:57:50,780 --> 01:57:52,080
TONY AWARD WINNERS TREY PARKER,
3240
01:57:52,080 --> 01:57:53,520
MATT STONE, AND ROBERT LOPEZ.
3241
01:57:53,520 --> 01:57:55,480
[APPLAUSE]
3242
01:57:55,480 --> 01:58:00,080
*
3243
01:58:00,080 --> 01:58:17,580
*
3244
01:58:17,580 --> 01:58:18,220
>> MANY, MANY YEARS AGO, THE
3245
01:58:18,220 --> 01:58:18,850
GREAT CHRISTIAN PROPHET, JOSEPH
3246
01:58:18,850 --> 01:58:19,080
SMITH --
3247
01:58:19,080 --> 01:58:19,350
[LAUGHTER]
3248
01:58:19,350 --> 01:58:19,950
DISCOVERED THE BOOK OF MORMON
3249
01:58:19,950 --> 01:58:20,480
WRITTEN ON GOLDEN PLATES.
3250
01:58:20,480 --> 01:58:25,520
HE HAD NO IDEA THAT IT WOULD ON
3251
01:58:25,520 --> 01:58:27,120
DAY BE A TONY AWARD WINNING
3252
01:58:27,120 --> 01:58:28,820
MUSICAL THAT HAS NOW GONE ON TO
3253
01:58:28,820 --> 01:58:31,950
ENDURE FOR OVER 5500
3254
01:58:31,950 --> 01:58:34,480
PERFORMANCES ON BROADWAY.
3255
01:58:34,480 --> 01:58:37,120
[APPLAUSE]
3256
01:58:37,120 --> 01:58:39,280
>> WE HAVE HAD AN INCREDIBLE
3257
01:58:39,280 --> 01:58:42,450
15-YEAR RUN BY TAKING JOSEPH'S
3258
01:58:42,450 --> 01:58:43,080
WORK, ADDING SOME SONGS, AND
3259
01:58:43,080 --> 01:58:46,720
MAKING IT SLIGHTLY LESS RACIST.
3260
01:58:46,720 --> 01:58:48,350
>> AND NOW, HERE TO PERFORM A
3261
01:58:48,350 --> 01:58:55,780
VERY SPIRITUAL HYMN FROM "THE
3262
01:58:55,780 --> 01:58:56,180
BOOK OF MORMON" IS
3263
01:58:56,180 --> 01:58:56,750
JOSH GAD, ANDREW RANNELLS,
3264
01:58:56,750 --> 01:58:57,650
NIKKI M. JAMES, RORY O'MALLEY,
3265
01:58:57,650 --> 01:59:00,750
AND MEMBERS OF THE ORIGINAL
3266
01:59:00,750 --> 01:59:01,920
A COMPANY OF "THE
3267
01:59:01,920 --> 01:59:04,280
BOOK OF MORMON."
3268
01:59:04,280 --> 01:59:04,550
[APPLAUSE]
3269
01:59:04,550 --> 01:59:06,720
*
3270
01:59:06,720 --> 01:59:08,250
>> * WHAT DID JESUS DO WHEN
3271
01:59:08,250 --> 01:59:10,750
THEY SENTENCED HIM TO DIE? *
3272
01:59:10,750 --> 01:59:13,820
* DID HE TRY TO RUN AWAY?
3273
01:59:13,820 --> 01:59:14,880
* DID HE JUST BREAK DOWN AND
3274
01:59:14,880 --> 01:59:17,280
CRY? *
3275
01:59:17,280 --> 01:59:18,450
* NO
3276
01:59:18,450 --> 01:59:20,780
* JESUS DUG DOWN DEEP
3277
01:59:20,780 --> 01:59:23,380
* KNOWING WHAT HE HAD TO DO
3278
01:59:23,380 --> 01:59:24,650
* WHEN FACED WITH HIS OWN
3279
01:59:24,650 --> 01:59:30,080
DEATH *
3280
01:59:30,080 --> 01:59:33,080
* JESUS KNEW THAT HE HAD TO
3281
01:59:33,080 --> 01:59:34,780
* MAN UP
3282
01:59:34,780 --> 01:59:37,120
* HE HAD TO MAN UP
3283
01:59:37,120 --> 01:59:37,850
* SO HE CRAWLED UP ON THAT
3284
01:59:37,850 --> 01:59:39,250
CROSS *
3285
01:59:39,250 --> 01:59:40,820
* AND HE STUCK IT OUT
3286
01:59:40,820 --> 01:59:42,820
* AND HE MANNED UP
3287
01:59:42,820 --> 01:59:46,080
* CHRIST, HE MANNED UP
3288
01:59:46,080 --> 01:59:49,480
* AND TAUGHT US ALL WHAT REAL
3289
01:59:49,480 --> 01:59:51,880
MANNING UP IS ABOUT *
3290
01:59:51,880 --> 01:59:53,550
*
3291
01:59:53,550 --> 01:59:55,480
*
3292
01:59:55,480 --> 01:59:56,550
* AND NOW IT'S UP TO ME, AND
3293
01:59:56,550 --> 01:59:58,750
IT'S TIME TO MAN UP *
3294
01:59:58,750 --> 02:00:00,080
* JESUS HAD HIS TIME TO
3295
02:00:00,080 --> 02:00:01,120
* NOW IT'S MINE TO MAN UP
3296
02:00:01,120 --> 02:00:03,620
* I'M TAKING THE REINS
3297
02:00:03,620 --> 02:00:05,750
* I'M CROSSING THE BEAR
3298
02:00:05,750 --> 02:00:06,580
* JUST LIKE JESUS, I'M GROWING
3299
02:00:06,580 --> 02:00:08,620
PAIR *
3300
02:00:08,620 --> 02:00:09,850
* I'VE GOT TO STAND UP
3301
02:00:09,850 --> 02:00:11,520
* CAN'T JUST CLAM UP
3302
02:00:11,520 --> 02:00:15,880
* IT'S TIME TO MAN UP
3303
02:00:15,880 --> 02:00:18,380
*
3304
02:00:18,380 --> 02:00:21,880
>> * 'CAUSE THERE'S A TIME IN
3305
02:00:21,880 --> 02:00:22,680
YOUR LIFE WHEN YOU KNOW *
3306
02:00:22,680 --> 02:00:23,550
* YOU'VE GOT TO MAN UP
3307
02:00:23,550 --> 02:00:24,280
* DON'T LET IT PASS YOU BY
3308
02:00:24,280 --> 02:00:25,080
* THERE'S JUST ONE TIME TO MAN
3309
02:00:25,080 --> 02:00:26,350
UP *
3310
02:00:26,350 --> 02:00:27,320
* WATCH ME MAN UP LIKE NOBODY
3311
02:00:27,320 --> 02:00:29,520
ELSE *
3312
02:00:29,520 --> 02:00:32,950
* I'M GONNA MAN UP ALL OVER
3313
02:00:32,950 --> 02:00:34,480
MYSELF *
3314
02:00:34,480 --> 02:00:35,180
* I'VE GOT TO GET READY
3315
02:00:35,180 --> 02:00:36,280
* IT'S TIME TO
3316
02:00:36,280 --> 02:00:37,050
* TIME TO
3317
02:00:37,050 --> 02:00:37,980
* TIME TO
3318
02:00:37,980 --> 02:00:41,420
* TIME TO
3319
02:00:41,420 --> 02:00:42,880
>> * SALT LAKE CITY
3320
02:00:42,880 --> 02:00:47,750
* A PLACE OF HOPE AND JOY
3321
02:00:47,750 --> 02:00:49,020
* AND IF WE WANT TO GO THERE
3322
02:00:49,020 --> 02:00:49,980
* WE JUST HAVE TO FOLLOW THAT
3323
02:00:49,980 --> 02:00:52,180
WHITE BOY *
3324
02:00:52,180 --> 02:00:53,880
>> * HEAVENLY FATHER
3325
02:00:53,880 --> 02:00:55,180
* WHY DO YOU LET BAD THINGS
3326
02:00:55,180 --> 02:00:59,080
HAPPEN? *
3327
02:00:59,080 --> 02:00:59,820
>> * DID YOU SEE MY POST?
3328
02:00:59,820 --> 02:01:00,850
>> * MORE TO THE POINT
3329
02:01:00,850 --> 02:01:01,880
* WHY DO YOU LET BAD THINGS
3330
02:01:01,880 --> 02:01:04,080
HAPPEN TO ME *
3331
02:01:04,080 --> 02:01:04,820
>> * WE SEE YOUR POST
3332
02:01:04,820 --> 02:01:06,120
>> * I'M SURE YOU DON'T THINK
3333
02:01:06,120 --> 02:01:08,920
I'M A FLAKE *
3334
02:01:08,920 --> 02:01:09,720
* BECAUSE YOU CLEARLY MADE A
3335
02:01:09,720 --> 02:01:10,680
MISTAKE *
3336
02:01:10,680 --> 02:01:12,220
>> * TURN IT OFF
3337
02:01:12,220 --> 02:01:13,320
>> * I'M GOING WHERE YOU NEED
3338
02:01:13,320 --> 02:01:15,480
ME MOST *
3339
02:01:15,480 --> 02:01:17,350
* ORLANDO
3340
02:01:17,350 --> 02:01:19,080
>> * ORLANDO
3341
02:01:19,080 --> 02:01:20,320
>> * WE WILL LISTEN TO THE
3342
02:01:20,320 --> 02:01:21,220
WEIRD WHITE GUY *
3343
02:01:21,220 --> 02:01:21,950
>> * MY TIME TO
3344
02:01:21,950 --> 02:01:22,750
* TIME TO
3345
02:01:22,750 --> 02:01:23,480
* NOW IT'S MY TIME TO
3346
02:01:23,480 --> 02:01:28,080
* TIME TO
3347
02:01:28,080 --> 02:01:28,850
* NO!
3348
02:01:28,850 --> 02:01:29,680
* TIME TO, NOT TIME TO, NO
3349
02:01:29,680 --> 02:01:30,520
* NOW IT'S TIME TO
3350
02:01:30,520 --> 02:01:31,620
* TIME TO, TIME TO
3351
02:01:31,620 --> 02:01:32,620
* I'M IN THE LEAD FOR THE VERY
3352
02:01:32,620 --> 02:01:33,720
FIRST TIME *
3353
02:01:33,720 --> 02:01:34,780
>> * I'M GOING WHERE THE SUN
3354
02:01:34,780 --> 02:01:36,480
ALWAYS SHINES *
3355
02:01:36,480 --> 02:01:38,180
>> * I'VE GOT TO STAND UP
3356
02:01:38,180 --> 02:01:39,820
* GET MY FLIPPIN' CAN UP
3357
02:01:39,820 --> 02:01:41,850
* IT'S TIME TO
3358
02:01:41,850 --> 02:01:45,950
* TIME TO MAN UP
3359
02:01:45,950 --> 02:01:46,750
>> * SALT LAKE CITY
3360
02:01:46,750 --> 02:01:47,850
>> * TURN IT OFF
3361
02:01:47,850 --> 02:01:49,550
>> * SALT LAKE CITY
3362
02:01:49,550 --> 02:01:51,820
>> * ORLANDO
3363
02:01:51,820 --> 02:01:53,180
>> * TURN IT OFF
3364
02:01:53,180 --> 02:01:54,380
>> * ORLANDO
3365
02:01:54,380 --> 02:01:55,620
* I'M COMING
3366
02:01:55,620 --> 02:01:56,880
>> * SALT LAKE CITY
3367
02:01:56,880 --> 02:01:58,620
>> * ORLANDO
3368
02:01:58,620 --> 02:02:00,850
>> * SALT LAKE CITY
3369
02:02:00,850 --> 02:02:03,880
>> * IT IS TIME TO
3370
02:02:03,880 --> 02:02:05,850
* I HAVE MAGGOTS IN MY
3371
02:02:05,850 --> 02:02:13,080
SCROTUM *
3372
02:02:13,080 --> 02:02:13,520
[CHEERS AND APPLAUSE]
3373
02:02:13,520 --> 02:02:21,780
*
3374
02:02:21,780 --> 02:02:35,580
*
3375
02:02:35,580 --> 02:02:41,880
*
3376
02:02:41,880 --> 02:02:44,520
>> NICOLE AND I ARE ABOUT TO
3377
02:02:44,520 --> 02:02:46,750
PRESENT LEAD ACTOR AND LEAD
3378
02:02:46,750 --> 02:02:47,580
ACTRESS IN A MUSICAL, AND
3379
02:02:47,580 --> 02:02:49,880
RACHEL ZEGLER'S GOT SOMETHING
3380
02:02:49,880 --> 02:02:50,680
SPECIAL TO CELEBRATE, THE 50TH
3381
02:02:50,680 --> 02:02:51,480
ANNIVERSARY OF "A CHORUS LINE."
3382
02:02:51,480 --> 02:02:52,580
IT'S THE TONY AWARDS.
3383
02:02:52,580 --> 02:02:54,250
THIS IS CBS.
3384
02:02:59,550 --> 02:03:01,850
*
3385
02:03:01,850 --> 02:03:03,080
>> FIVE, SIX, SEVEN, EIGHT!
3386
02:03:03,080 --> 02:03:04,720
*
3387
02:03:04,720 --> 02:03:07,120
*
3388
02:03:07,120 --> 02:03:09,720
*
3389
02:03:09,720 --> 02:03:13,380
*
3390
02:03:13,380 --> 02:03:21,080
*
3391
02:03:21,080 --> 02:03:22,250
[APPLAUSE]
3392
02:03:22,250 --> 02:03:23,620
>> HERE TO CELEBRATE THE 50TH
3393
02:03:23,620 --> 02:03:25,380
ANNIVERSARY OF "A CHORUS LINE,"
3394
02:03:25,380 --> 02:03:27,220
AND HONOR THE ORIGINAL CAST WHO
3395
02:03:27,220 --> 02:03:29,080
CONTRIBUTED TO CREATING IT,
3396
02:03:29,080 --> 02:03:31,520
PLEASE WELCOME RACHEL ZEGLER.
3397
02:03:31,520 --> 02:03:33,480
[APPLAUSE]
3398
02:03:33,480 --> 02:03:40,080
*
3399
02:03:40,080 --> 02:03:46,480
>> * KISS TODAY GOODBYE
3400
02:03:46,480 --> 02:03:53,420
* THE SWEETNESS AND THE SORROW
3401
02:03:53,420 --> 02:03:55,920
* WISH ME LUCK, THE SAME TO
3402
02:03:55,920 --> 02:04:02,280
YOU *
3403
02:04:02,280 --> 02:04:03,450
* AND I CAN'T REGRET WHAT I DID
3404
02:04:03,450 --> 02:04:05,680
FOR LOVE *
3405
02:04:05,680 --> 02:04:12,580
* WHAT I DID FOR LOVE
3406
02:04:12,580 --> 02:04:19,280
* LOOK, MY EYES ARE DRY
3407
02:04:19,280 --> 02:04:25,480
* THE GIFT WAS OURS TO BORROW
3408
02:04:25,480 --> 02:04:35,950
* IT'S AS IF WE ALWAYS KNEW
3409
02:04:35,950 --> 02:04:36,980
* AND I WON'T FORGET WHAT I DID
3410
02:04:36,980 --> 02:04:40,920
FOR LOVE *
3411
02:04:40,920 --> 02:04:47,180
* WHAT I DID FOR LOVE
3412
02:04:47,180 --> 02:04:53,680
* GONE
3413
02:04:53,680 --> 02:04:58,950
* LOVE IS NEVER GONE
3414
02:04:58,950 --> 02:05:05,080
* AS WE TRAVEL ON
3415
02:05:05,080 --> 02:05:10,350
* LOVE'S WHAT WE'LL REMEMBER
3416
02:05:10,350 --> 02:05:18,350
* KISS TODAY GOODBYE
3417
02:05:18,350 --> 02:05:25,720
* AND POINT ME TOWARD TOMORROW
3418
02:05:25,720 --> 02:05:34,450
* WE DID WHAT WE HAD TO DO
3419
02:05:34,450 --> 02:05:38,450
* WON'T FORGET, CAN'T REGRET
3420
02:05:38,450 --> 02:05:45,350
* WHAT I DID FOR LOVE
3421
02:05:45,350 --> 02:05:51,980
* WHAT I DID FOR LOVE
3422
02:05:51,980 --> 02:05:54,650
* WHAT I DID FOR
3423
02:05:54,650 --> 02:06:00,350
* LOVE
3424
02:06:00,350 --> 02:06:09,080
[APPLAUSE]
3425
02:06:09,080 --> 02:06:14,550
*
3426
02:06:14,550 --> 02:06:15,680
>> Announcer: PLEASE WELCOME
3427
02:06:15,680 --> 02:06:16,720
TONY AWARD WINNERS DARREN CRISS
3428
02:06:16,720 --> 02:06:18,680
AND NICOLE SCHERZINGER.
3429
02:06:18,680 --> 02:06:20,480
[APPLAUSE]
3430
02:06:20,480 --> 02:06:24,780
*
3431
02:06:24,780 --> 02:06:39,680
*
3432
02:06:39,680 --> 02:06:41,320
>> THE RIGHT ROLE AT JUST THE
3433
02:06:41,320 --> 02:06:41,680
RIGHT TIME.
3434
02:06:41,680 --> 02:06:43,320
IT'S EVERY ACTOR'S DREAM.
3435
02:06:43,320 --> 02:06:44,280
I CERTAINLY KNOW THAT FROM THE
3436
02:06:44,280 --> 02:06:48,680
ROLE I GOT TO PLAY LAST YEAR.
3437
02:06:48,680 --> 02:06:49,520
>> ABSOLUTELY.
3438
02:06:49,520 --> 02:06:52,080
NORMA DESMOND WAS THAT FOR ME.
3439
02:06:52,080 --> 02:06:53,820
[APPLAUSE]
3440
02:06:53,820 --> 02:06:56,280
WE GAVE THE WORLD NEW WAYS TO
3441
02:06:56,280 --> 02:07:00,520
DREAM, BUT WE, DARREN, YOU GAVE
3442
02:07:00,520 --> 02:07:04,520
THE WORLD
3443
02:07:04,520 --> 02:07:06,520
"MAYBE HAPPY ENDING'S."
3444
02:07:06,520 --> 02:07:07,150
>> DID I?
3445
02:07:07,150 --> 02:07:08,720
>> YOU ARE A GIVE.
3446
02:07:08,720 --> 02:07:09,750
>> I AM.
3447
02:07:09,750 --> 02:07:12,520
WHAT CAN I SAY, I'M A MAN OF
3448
02:07:12,520 --> 02:07:14,580
SERVICE.
3449
02:07:14,580 --> 02:07:15,080
HAPPY PRIDE, EVERYONE.
3450
02:07:15,080 --> 02:07:18,920
[LAUGHTER AND APPLAUSE]
3451
02:07:18,920 --> 02:07:21,120
>> EVERY SINGLE LEAD OF THIS
3452
02:07:21,120 --> 02:07:21,950
YEAR'S MUSICALS STEPPED UP TO
3453
02:07:21,950 --> 02:07:26,080
MEET THE MOMENT WITH RELENTLESS
3454
02:07:26,080 --> 02:07:28,120
COMMITMENT.
3455
02:07:28,120 --> 02:07:29,080
>> THE TWO OF US KNOW VERY WELL
3456
02:07:29,080 --> 02:07:30,280
THE TOLL IT TAKES TO GIVE
3457
02:07:30,280 --> 02:07:31,950
EVERYTHING YOU'VE GOT TO PUT ON
3458
02:07:31,950 --> 02:07:33,720
A GREAT SHOW EIGHT TIMES A WEEK.
3459
02:07:33,720 --> 02:07:36,180
>> HERE ARE THE NOMINEES FOR
3460
02:07:36,180 --> 02:07:37,250
LEAD ACTRESS IN A MUSICAL.
3461
02:07:37,250 --> 02:07:39,620
*
3462
02:07:39,620 --> 02:07:40,980
>> SARA CHASE, "SCHMIGADOON!"
3463
02:07:40,980 --> 02:07:42,350
STEPHANIE HSU,
3464
02:07:42,350 --> 02:07:43,350
"RICHARD O'BRIEN'S THE ROCKY
3465
02:07:43,350 --> 02:07:44,920
HORROR SHOW."
3466
02:07:44,920 --> 02:07:47,550
CAISSIE LEVY, "RAGTIME."
3467
02:07:47,550 --> 02:07:50,080
MARLA MINDELLE, "TITANIQUE."
3468
02:07:50,080 --> 02:07:51,150
CHRISTIANI PITTS,
3469
02:07:51,150 --> 02:07:52,380
"TWO STRANGERS (CARRY A CAKE
3470
02:07:52,380 --> 02:07:56,620
ACROSS NEW YORK)."
3471
02:07:56,620 --> 02:07:57,350
[APPLAUSE]
3472
02:07:57,350 --> 02:08:02,850
>> AND THE TONY AWARD GOES TO..
3473
02:08:02,850 --> 02:08:06,080
I'M NERVOUS.
3474
02:08:06,080 --> 02:08:09,280
CAISSIE LEVY!
3475
02:08:09,280 --> 02:08:09,750
[CHEERS AND APPLAUSE]
3476
02:08:09,750 --> 02:08:15,320
*
3477
02:08:15,320 --> 02:08:16,180
>> BROADWAY VETERAN CASEY LEAVY
3478
02:08:16,180 --> 02:08:18,820
EARNS HER FIRST TONY NOMINATION
3479
02:08:18,820 --> 02:08:21,220
AND WIN FOR HER PERFORMANCE AS
3480
02:08:21,220 --> 02:08:21,450
MOTHER.
3481
02:08:21,450 --> 02:08:27,220
*
3482
02:08:27,220 --> 02:08:33,220
*
3483
02:08:33,220 --> 02:08:40,720
*
3484
02:08:40,720 --> 02:08:49,450
[APPLAUSE]
3485
02:08:49,450 --> 02:08:52,080
>> THANK YOU SO MUCH.
3486
02:08:52,080 --> 02:08:54,680
THANK YOU TO THE BROADWAY LEAGUE
3487
02:08:54,680 --> 02:08:55,280
INTO THE AMERICAN THEATRE WING
3488
02:08:55,280 --> 02:08:58,250
FOR THIS INCREDIBLE HONOR.
3489
02:08:58,250 --> 02:09:02,150
I GREW UP IN CANADA WATCHING THE
3490
02:09:02,150 --> 02:09:04,950
TONYS AND DREAMING OF A LIFE ON
3491
02:09:04,950 --> 02:09:05,320
BROADWAY.
3492
02:09:05,320 --> 02:09:05,720
[APPLAUSE]
3493
02:09:05,720 --> 02:09:07,880
I AM 20 YEARS IN, AND THE MOST
3494
02:09:07,880 --> 02:09:08,980
IMPORTANT THING I'VE LEARNED IS
3495
02:09:08,980 --> 02:09:10,950
THAT NO ONE DOES IT ALONE.
3496
02:09:10,950 --> 02:09:17,280
MY PARENTS, MARK AND LISA LEVY,
3497
02:09:17,280 --> 02:09:18,120
WHO ARE HERE TONIGHT, I LOVE YOU
3498
02:09:18,120 --> 02:09:19,920
SO MUCH.
3499
02:09:19,920 --> 02:09:20,720
THANK YOU FOR TEACHING ME BY
3500
02:09:20,720 --> 02:09:22,080
EXAMPLE HOW TO BE A GOOD PERSON
3501
02:09:22,080 --> 02:09:23,720
AND A TEAM PLAYER.
3502
02:09:23,720 --> 02:09:25,120
MY HUSBAND, DAVID.
3503
02:09:25,120 --> 02:09:26,150
WHERE ARE YOU?
3504
02:09:26,150 --> 02:09:26,920
OH, GOD.
3505
02:09:26,920 --> 02:09:27,750
WAVE AT ME.
3506
02:09:27,750 --> 02:09:27,920
HI.
3507
02:09:27,920 --> 02:09:29,720
I'M SO PROUD OF THE LIFE WE'VE
3508
02:09:29,720 --> 02:09:30,550
BUILT TOGETHER.
3509
02:09:30,550 --> 02:09:30,950
I LOVE YOU.
3510
02:09:30,950 --> 02:09:32,850
YOU ARE THE BEST THING THAT EVER
3511
02:09:32,850 --> 02:09:33,580
HAPPENED TO ME.
3512
02:09:33,580 --> 02:09:35,080
THANK YOU TO EVERYONE THAT
3513
02:09:35,080 --> 02:09:36,620
INNOVATIVE.
3514
02:09:36,620 --> 02:09:39,280
MY BROTHERS, AND EVERY
3515
02:09:39,280 --> 02:09:40,350
BABYSITTER WHO'S MADE IT
3516
02:09:40,350 --> 02:09:42,350
POSSIBLE FOR ME TO BE BOTH A
3517
02:09:42,350 --> 02:09:44,880
BROADWAY ACTOR AND A MOTHER.
3518
02:09:44,880 --> 02:09:46,480
[APPLAUSE]
3519
02:09:46,480 --> 02:09:48,680
THANK YOU TO MY "RAGTIME"
3520
02:09:48,680 --> 02:09:48,920
FAMILY.
3521
02:09:48,920 --> 02:09:51,720
LEERED TO PASS IN IT, OUR
3522
02:09:51,720 --> 02:09:53,280
PRODUCERS, OUR CAST AND
3523
02:09:53,280 --> 02:09:54,520
ORCHESTRA.
3524
02:09:54,520 --> 02:09:56,080
[LISTING NAMES]
3525
02:09:56,080 --> 02:09:57,320
THANK YOU FOR YOUR MASTERPIECE.
3526
02:09:57,320 --> 02:09:58,680
PLAYING MOTHER HAS BEEN ONE OF
3527
02:09:58,680 --> 02:10:00,120
THE GREATEST GIFTS OF MY
3528
02:10:00,120 --> 02:10:01,650
ARTISTIC LIFE, AND BEING MOTHER
3529
02:10:01,650 --> 02:10:03,180
TO MY KIDS HAS BEEN THE GREATEST
3530
02:10:03,180 --> 02:10:05,450
JOY OF MY LIFE.
3531
02:10:05,450 --> 02:10:06,880
ISAIAH AND TALLULAH, I LOVE YOU.
3532
02:10:06,880 --> 02:10:08,320
ALTHOUGH I AM NOT THERE TO
3533
02:10:08,320 --> 02:10:09,880
10 FEET IN EACH NIGHT, YOU HAVE
3534
02:10:09,880 --> 02:10:12,280
TO KNOW THAT A PART OF MY HEART
3535
02:10:12,280 --> 02:10:13,480
STAYS HOME WITH YOU.
3536
02:10:13,480 --> 02:10:16,680
I LOVE ACTING, I LOVE THEATER.
3537
02:10:16,680 --> 02:10:17,280
I LOVE THIS INCREDIBLE
3538
02:10:17,280 --> 02:10:17,880
COMMUNITY.
3539
02:10:17,880 --> 02:10:20,250
I AM SO, SO HONORED.
3540
02:10:20,250 --> 02:10:21,820
THANK YOU SO MUCH.
3541
02:10:21,820 --> 02:10:22,080
[APPLAUSE]
3542
02:10:22,080 --> 02:10:24,750
*
3543
02:10:24,750 --> 02:10:33,350
*
3544
02:10:33,350 --> 02:10:38,350
*
3545
02:10:38,350 --> 02:10:41,880
>> CONGRATULATIONS, CAISSIE!
3546
02:10:41,880 --> 02:10:45,120
DARREN, TAKE IT AWAY.
3547
02:10:45,120 --> 02:10:46,320
>> AND NOW IT'S MY DISTINCT
3548
02:10:46,320 --> 02:10:46,950
HONOR TO PASS THE TORCH, AS
3549
02:10:46,950 --> 02:10:47,880
WELL.
3550
02:10:47,880 --> 02:10:48,650
HERE ARE THE NOMINEES FOR
3551
02:10:48,650 --> 02:10:51,920
LEADING ACTOR IN A MUSICAL.
3552
02:10:51,920 --> 02:10:52,620
*
3553
02:10:52,620 --> 02:10:53,850
>> NICHOLAS CHRISTOPHER,
3554
02:10:53,850 --> 02:10:55,150
"CHESS."
3555
02:10:55,150 --> 02:10:56,150
LUKE EVANS, "RICHARD O'BRIEN'S
3556
02:10:56,150 --> 02:10:59,180
THE ROCKY HORROR SHOW."
3557
02:10:59,180 --> 02:11:01,980
JOSHUA HENRY, "RAGTIME."
3558
02:11:01,980 --> 02:11:03,280
SAM TUTTY, "TWO STRANGERS (CARR
3559
02:11:03,280 --> 02:11:05,620
A CAKE ACROSS NEW YORK)."
3560
02:11:05,620 --> 02:11:12,280
BRANDON URANOWITZ, "RAGTIME."
3561
02:11:12,280 --> 02:11:12,550
[APPLAUSE]
3562
02:11:12,550 --> 02:11:21,250
>> AND THE TONY AWARD GOES TO..
3563
02:11:21,250 --> 02:11:21,580
JOSHUA HENRY.
3564
02:11:21,580 --> 02:11:22,080
[CHEERS AND APPLAUSE]
3565
02:11:22,080 --> 02:11:28,550
*
3566
02:11:28,550 --> 02:11:30,320
>> FOR HIS PERFORMANCE AS COLE
3567
02:11:30,320 --> 02:11:34,150
HAS WALKER JR., JOSHUA A
3568
02:11:35,080 --> 02:11:37,080
HENRY EARNS HIS FIRST NOMINATION
3569
02:11:37,080 --> 02:11:37,380
ANTONI WIN.
3570
02:11:37,380 --> 02:11:45,320
*
3571
02:11:49,180 --> 02:11:51,220
[CHEERS AND APPLAUSE]
3572
02:11:51,220 --> 02:11:56,980
THANK YOU.
3573
02:11:56,980 --> 02:12:00,820
THANK YOU ALL SO MUCH.
3574
02:12:00,820 --> 02:12:01,450
THANK YOU TO THE BROADWAY LEAGUE
3575
02:12:01,450 --> 02:12:05,080
AND THE AMERICAN THEATRE WING
3576
02:12:05,080 --> 02:12:05,880
FOR THIS INCREDIBLE AWARD AND
3577
02:12:05,880 --> 02:12:09,620
ALL THE INCREDIBLE MEN IN MY
3578
02:12:09,620 --> 02:12:11,080
CATEGORY, TO.
3579
02:12:11,080 --> 02:12:16,820
I HAVE TO THANK GOD, AND ENDLESS
3580
02:12:16,820 --> 02:12:18,850
CREATIVE SOURCE FOR GIFTS, LIKE
3581
02:12:18,850 --> 02:12:19,250
CATHERINE HANNAY.
3582
02:12:19,250 --> 02:12:20,120
THANK YOU FOR DREAMING IS ME
3583
02:12:20,120 --> 02:12:22,080
EVEN WHEN IT'S BEEN HARD.
3584
02:12:22,080 --> 02:12:23,150
THANK YOU FOR PUTTING OUR KIDS
3585
02:12:23,150 --> 02:12:23,950
TO BED.
3586
02:12:23,950 --> 02:12:26,080
THANK YOU FOR YOUR LOVE AND YOUR
3587
02:12:26,080 --> 02:12:26,350
SACRIFICE.
3588
02:12:26,350 --> 02:12:29,450
AND TO MY BOYS, SAMSON THE
3589
02:12:29,450 --> 02:12:32,320
CHAMPION, LEO MY HERO, AND MAX
3590
02:12:32,320 --> 02:12:33,850
THE GREAT, THIS IS INCREDIBLE,
3591
02:12:33,850 --> 02:12:35,380
BUT REMEMBER IT IS THE PRACTICE
3592
02:12:35,380 --> 02:12:37,180
YOU DO WHEN NO ONE IS LOOKING,
3593
02:12:37,180 --> 02:12:38,650
AND HOW YOU FALL DOWN AND HOW
3594
02:12:38,650 --> 02:12:39,880
YOU GET BACK UP AGAIN.
3595
02:12:39,880 --> 02:12:42,220
THAT'S WHAT MAKES YOU GREAT.
3596
02:12:42,220 --> 02:12:44,080
EVERYONE TELLING THE STORY ON
3597
02:12:44,080 --> 02:12:45,980
THE STAGE, BACKSTAGE, ONSTAGE,
3598
02:12:45,980 --> 02:12:46,980
THANKS FOR MAKING IT A JOY TO
3599
02:12:46,980 --> 02:12:49,850
COME TO WORK EVERY SINGLE DAY.
3600
02:12:49,850 --> 02:12:51,720
THE ENSEMBLE IS "RAGTIME," EACH
3601
02:12:51,720 --> 02:12:56,620
AND EVERY ONE OF YOU ARE STARS.
3602
02:12:56,620 --> 02:12:58,280
LEAR DEBESSONET, THANK YOU FOR
3603
02:12:58,280 --> 02:12:59,620
YOUR VISION AND PURSUIT OF
3604
02:12:59,620 --> 02:13:00,680
EXCELLENT.
3605
02:13:00,680 --> 02:13:02,850
AND SPEAKING OF EXCELLENCE,
3606
02:13:02,850 --> 02:13:03,820
AUDRA McDONALD AND BRIAN
3607
02:13:03,820 --> 02:13:05,880
STOKES MITCHELL, THANK YOU FOR
3608
02:13:05,880 --> 02:13:08,520
YOUR "BLACK DON'T CRACK" LEGACY
3609
02:13:08,520 --> 02:13:09,280
OF ARTISTIC BRILLIANCE,
3610
02:13:09,280 --> 02:13:10,380
SHOWING US THAT WE CAN SHINE IN
3611
02:13:10,380 --> 02:13:13,080
THE FULLNESS OF WHO WE ARE!
3612
02:13:13,080 --> 02:13:15,350
IT IS AN HONOR TO PLAY THIS
3613
02:13:15,350 --> 02:13:17,250
ROLE, COALHOUSE WALKER JR., A
3614
02:13:17,250 --> 02:13:20,280
BLACK MUSICIAN WHOSE ART LED HIM
3615
02:13:20,280 --> 02:13:22,450
TO HIS LOVE AND HIS DREAM.
3616
02:13:22,450 --> 02:13:25,450
AND EVEN IN THE FACE OF PAIN AND
3617
02:13:25,450 --> 02:13:27,320
TRAGEDY, HE FOUND A WAY TO BE
3618
02:13:27,320 --> 02:13:27,720
HEARD.
3619
02:13:27,720 --> 02:13:28,950
EVERY ARTIST IN THIS ROOM, EVERY
3620
02:13:28,950 --> 02:13:32,820
ARTIST AT HOME, FIGHT TO BE
3621
02:13:32,820 --> 02:13:33,080
HEARD.
3622
02:13:33,080 --> 02:13:36,150
I WANT TO DEDICATE THIS TO MY
3623
02:13:36,150 --> 02:13:37,820
FIRST VOICE TEACHER.
3624
02:13:37,820 --> 02:13:38,250
SHE IS HERE TODAY.
3625
02:13:38,250 --> 02:13:39,350
SHE GAVE ME FREE VOICE LESSONS
3626
02:13:39,350 --> 02:13:40,650
AND TOLD ME I COULD DO THIS WHEN
3627
02:13:40,650 --> 02:13:43,320
I DIDN'T EVEN KNOW WHAT SHE WAS
3628
02:13:43,320 --> 02:13:43,880
TALKING ABOUT.
3629
02:13:43,880 --> 02:13:44,450
[APPLAUSE]
3630
02:13:44,450 --> 02:13:46,280
I LOVE YOU SO MUCH!
3631
02:13:46,280 --> 02:13:48,520
THANK YOU ALL.
3632
02:13:48,520 --> 02:13:48,780
GOD BLESS.
3633
02:13:48,780 --> 02:13:49,250
[CHEERS AND APPLAUSE]
3634
02:13:49,250 --> 02:13:51,780
*
3635
02:13:51,780 --> 02:13:58,350
*
3636
02:13:58,350 --> 02:14:10,880
*
3637
02:14:13,820 --> 02:14:14,720
>> Announcer: WE'LL BE RIGHT
3638
02:14:14,720 --> 02:14:15,550
BACK WITH OUR FINAL AWARD OF TH
3639
02:14:15,550 --> 02:14:16,580
EVENING.
3640
02:14:16,580 --> 02:14:17,580
THE TONY AWARDS.
3641
02:14:17,580 --> 02:14:21,550
THIS IS CBS.
3642
02:14:25,750 --> 02:14:38,180
*
3643
02:14:38,180 --> 02:14:39,650
>> OH, SORRY!
3644
02:14:39,650 --> 02:14:41,080
PLEASE WELCOME LEGEND OF THE
3645
02:14:41,080 --> 02:14:42,450
STAGE AND SCREEN, MY FAVORITE
3646
02:14:42,450 --> 02:14:43,850
AND YOURS, BROADWAY ICON
3647
02:14:43,850 --> 02:14:47,750
BERNADETTE PETERS!
3648
02:14:47,750 --> 02:14:48,220
[CHEERS AND APPLAUSE]
3649
02:14:48,220 --> 02:14:52,980
*
3650
02:14:52,980 --> 02:15:02,080
*
3651
02:15:02,080 --> 02:15:04,080
>> OH, WELL, HELLO!
3652
02:15:04,080 --> 02:15:05,080
ISN'T THIS EXCITING?
3653
02:15:05,080 --> 02:15:06,280
IT'S THE LAST AWARD OF THE
3654
02:15:06,280 --> 02:15:06,480
NIGHT.
3655
02:15:06,480 --> 02:15:09,420
THERE IS SO MUCH THAT GOES INTO
3656
02:15:09,420 --> 02:15:10,380
THESE INCREDIBLE PRODUCTIONS.
3657
02:15:10,380 --> 02:15:11,920
SO MUCH TIME AND PASSION, SO
3658
02:15:11,920 --> 02:15:12,980
MUCH LOVE, SO MANY PEOPLE
3659
02:15:12,980 --> 02:15:17,580
COLLABORATING AND PUTTING IT
3660
02:15:17,580 --> 02:15:18,550
TOGETHER, BIT BY BIT, PIECE BY
3661
02:15:18,550 --> 02:15:21,080
PIECE.
3662
02:15:21,080 --> 02:15:22,080
[LAUGHTER]
3663
02:15:22,080 --> 02:15:23,380
THROUGHOUT THE EVENING, WE'VE
3664
02:15:23,380 --> 02:15:24,480
ENJOYED PERFORMANCES FROM THE
3665
02:15:24,480 --> 02:15:25,580
SHOWS NOMINATED FOR BEST
3666
02:15:25,580 --> 02:15:27,150
MUSICAL.
3667
02:15:27,150 --> 02:15:28,480
ONCE AGAIN, HERE ARE THE
3668
02:15:28,480 --> 02:15:35,520
NOMINEES.
3669
02:15:35,520 --> 02:15:38,280
*
3670
02:15:38,280 --> 02:15:42,320
>> "THE LOST BOYS."
3671
02:15:42,320 --> 02:15:45,420
*
3672
02:15:45,420 --> 02:15:49,280
"SCHMIGADOON!"
3673
02:15:49,280 --> 02:15:52,120
*
3674
02:15:52,120 --> 02:15:56,120
"TITANIQUE."
3675
02:15:56,120 --> 02:15:58,080
*
3676
02:15:58,080 --> 02:15:59,150
"TWO STRANGERS (CARRY A CAKE
3677
02:15:59,150 --> 02:16:02,780
ACROSS NEW YORK)."
3678
02:16:02,780 --> 02:16:10,620
*
3679
02:16:10,620 --> 02:16:10,880
[APPLAUSE]
3680
02:16:10,880 --> 02:16:17,380
>> AND THE TONY AWARD GOES TO..
3681
02:16:17,380 --> 02:16:21,780
IT'S A GOOD SEAL.
3682
02:16:21,780 --> 02:16:22,080
[LAUGHTER]
3683
02:16:22,080 --> 02:16:23,850
OKAY.
3684
02:16:23,850 --> 02:16:27,980
"SCHMIGADOON!"
3685
02:16:27,980 --> 02:16:28,450
[CHEERS AND APPLAUSE]
3686
02:16:28,450 --> 02:16:34,080
*
3687
02:16:34,080 --> 02:16:35,320
>> Announcer: ACCEPTING THE
3688
02:16:35,320 --> 02:16:39,850
AWARD FOR "SCHMIGADOON'S,"
3689
02:16:39,850 --> 02:16:40,350
PRODUCER LORNE MICHAELS.
3690
02:16:40,350 --> 02:16:44,180
*
3691
02:16:44,180 --> 02:16:54,420
*
3692
02:16:54,420 --> 02:17:04,780
*
3693
02:17:04,780 --> 02:17:16,850
*
3694
02:17:16,850 --> 02:17:17,120
[APPLAUSE]
3695
02:17:17,120 --> 02:17:21,680
>> IT'S BEEN A LONG NIGHT.
3696
02:17:21,680 --> 02:17:22,220
[LAUGHTER]
3697
02:17:22,220 --> 02:17:25,120
SO I JUST WANT TO SAY, ON BEHALF
3698
02:17:25,120 --> 02:17:27,080
OF ALL THE PEOPLE WHO ARE
3699
02:17:27,080 --> 02:17:27,820
STANDING HERE, AND THE OTHERS
3700
02:17:27,820 --> 02:17:32,550
WHO WORK EVERY NIGHT AT
3701
02:17:32,550 --> 02:17:33,120
"SCHMIGADOON," WE ARE REALLY
3702
02:17:33,120 --> 02:17:37,220
GRATEFUL FOR THIS, AND IT MEANS
3703
02:17:37,220 --> 02:17:43,820
EVERYTHING.
3704
02:17:43,820 --> 02:17:45,780
SOMETIMES SINGING, DANCING, A
3705
02:17:45,780 --> 02:17:49,180
LOT OF JOKES, AND A HAPPY ENDING
3706
02:17:49,180 --> 02:17:50,720
IS REALLY ALL YOU NEED.
3707
02:17:50,720 --> 02:17:53,080
THANK YOU.
3708
02:17:53,080 --> 02:17:59,550
[APPLAUSE]
3709
02:17:59,550 --> 02:18:03,080
>> WELL, I THINK I SHOULD START
3710
02:18:03,080 --> 02:18:04,850
BY THANKING APPLETV FOR
3711
02:18:04,850 --> 02:18:06,450
CANCELING THE THIRD SEASON OF
3712
02:18:06,450 --> 02:18:09,420
"OF "SCHMIGADOON" THE TV SHOW.
3713
02:18:09,420 --> 02:18:10,520
WITHOUT THEM DROPPING IT, WE
3714
02:18:10,520 --> 02:18:12,080
COULDN'T HAVE PICKED IT UP AND
3715
02:18:12,080 --> 02:18:13,880
RAN WITH IT.
3716
02:18:13,880 --> 02:18:15,620
SO THANKS, APPLETV.
3717
02:18:15,620 --> 02:18:16,420
[LAUGHTER]
3718
02:18:16,420 --> 02:18:17,720
I ALSO WANT TO EXPRESS MY THANKS
3719
02:18:17,720 --> 02:18:20,980
TO THE THEATER COMMUNITY WHO
3720
02:18:20,980 --> 02:18:22,320
GAVE A WAYWARD LAWYER A CHANCE
3721
02:18:22,320 --> 02:18:24,420
TEN YEARS AGO.
3722
02:18:24,420 --> 02:18:24,980
YOU CHANGED MY LIFE.
3723
02:18:24,980 --> 02:18:28,580
I HAVE BEEN SO GRATEFUL.
3724
02:18:28,580 --> 02:18:30,420
NEXT, THANKS TO MY NO GUARANTEES
3725
02:18:30,420 --> 02:18:32,380
TEAM, YES, THE NAME OF MY
3726
02:18:32,380 --> 02:18:34,720
COMPANY IS "NO GUARANTEES," YOU
3727
02:18:34,720 --> 02:18:36,220
KNOW YOU ARE.
3728
02:18:36,220 --> 02:18:37,650
MACON, TAYLOR, ANN DILLON, YOU
3729
02:18:37,650 --> 02:18:41,080
REALLY BROUGHT THIS ON HOME.
3730
02:18:41,080 --> 02:18:41,680
WITHOUT YOU WE WOULDN'T HAVE
3731
02:18:41,680 --> 02:18:44,620
MADE IT HAPPEN.
3732
02:18:44,620 --> 02:18:45,980
MY COPRODUCERS, BROADWAY VIDEO.
3733
02:18:45,980 --> 02:18:48,080
THAT'S A REALLY GOOD NAME FOR A
3734
02:18:48,080 --> 02:18:49,180
COMPANY TONIGHT.
3735
02:18:49,180 --> 02:18:49,850
LORNE MICHAELS, YOU ARE A LIVING
3736
02:18:49,850 --> 02:18:52,980
LEGEND AND YOU ARE SUPER COOL.
3737
02:18:52,980 --> 02:18:54,580
MICAH AND CAROLINE, YOU'RE JUST
3738
02:18:54,580 --> 02:18:57,780
A DELIGHT TO WORK WITH.
3739
02:18:57,780 --> 02:18:59,780
AND NOW FOR THE CREATIVE TEAM,
3740
02:18:59,780 --> 02:19:00,480
BECAUSE WE ARE NOTHING WITHOUT
3741
02:19:00,480 --> 02:19:04,420
THE CREATIVE TEAM.
3742
02:19:04,420 --> 02:19:06,420
CINCO?
3743
02:19:06,420 --> 02:19:08,220
WHERE IS CINCO?
3744
02:19:08,220 --> 02:19:09,220
OH, MY GOD.
3745
02:19:09,220 --> 02:19:11,120
CINCO, YOUR SINGULAR CREATIVE
3746
02:19:11,120 --> 02:19:11,620
MIND COMBINED WITH YOUR
3747
02:19:11,620 --> 02:19:14,980
AUTHENTIC PERSONAL CHARM HAVE
3748
02:19:14,980 --> 02:19:15,920
BROUGHT FORTH A NEW STAGE
3749
02:19:15,920 --> 02:19:21,080
CLASSIC FILLED WITH THEATER JOY.
3750
02:19:21,080 --> 02:19:22,380
AND CHRISTOPHER GATTELLI, OUR
3751
02:19:22,380 --> 02:19:23,420
DIRECTOR AND CHOREOGRAPHER.
3752
02:19:23,420 --> 02:19:24,750
COME OVER HERE, CHRIS.
3753
02:19:24,750 --> 02:19:26,720
HE TOOK NETWORK FROM THE PAGE,
3754
02:19:26,720 --> 02:19:28,820
AND USING HIS TALENT AND STYLE
3755
02:19:28,820 --> 02:19:29,680
ALONG WITH ARE ABSOLUTELY
3756
02:19:29,680 --> 02:19:32,080
AMAZING CAST, FILLED THE STAGE
3757
02:19:32,080 --> 02:19:33,550
WITH A GLORIOUS SHOW.
3758
02:19:33,550 --> 02:19:36,150
THANKS, EVERYONE.
3759
02:19:36,150 --> 02:19:36,420
[APPLAUSE]
3760
02:19:36,420 --> 02:19:42,380
*
3761
02:19:42,380 --> 02:19:43,780
>> CONGRATULATIONS!
3762
02:19:43,780 --> 02:19:44,980
I HAD A BLAST POSTING.
3763
02:19:44,980 --> 02:19:47,380
I HOPE YOU HAD FUN, TOO.
3764
02:19:47,380 --> 02:19:48,850
IF YOU DIDN'T, I HAD ENOUGH SUN
3765
02:19:48,850 --> 02:19:51,780
FOR ALL OF US.
3766
02:19:51,780 --> 02:19:52,420
CONGRATULATIONS TO ALL OF THE
3767
02:19:52,420 --> 02:19:53,750
WINNERS AND NOMINEES.
3768
02:19:53,750 --> 02:19:57,180
I HATE TO LEAVE, BUT I GOTTA GO
3769
02:19:57,180 --> 02:20:00,180
EVERYONE DESERVES A DRINK.
3770
02:20:00,180 --> 02:20:01,880
GOOD NIGHT, EVERYONE, AND THANKS
3771
02:20:01,880 --> 02:20:04,120
FOR WATCHING THE 79TH ANNUAL
3772
02:20:04,120 --> 02:20:04,420
TONY AWARDS!
3773
02:20:04,420 --> 02:20:04,880
[CHEERS AND APPLAUSE]
3774
02:20:04,880 --> 02:20:07,220
*
3775
02:20:07,220 --> 02:20:13,680
*
3776
02:20:13,680 --> 02:20:19,880
*
3777
02:20:19,880 --> 02:20:25,680
*
3778
02:20:25,680 --> 02:20:32,880
*
3779
02:20:32,880 --> 02:20:39,880
*
3780
02:20:39,880 --> 02:20:48,050
*
3781
02:20:48,050 --> 02:20:59,450
*
3782
02:20:59,450 --> 02:21:27,180
*
229668
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