The 2025 Tony Award Nominations Are Here!
Plus, your weekly round-up of theatre news you may have missed!
Welcome to The Scene, your weekly round-up of theatre news you may have missed. Also in this week’s email,
We preview the 2025 Tony Award Nominations.
Writer Brian Feinstein discusses how creating the musical ‘The Top Job’ became a mission to empower young performers, proving that musical theatre in the classroom can build confidence, deepen learning, and inspire kids to see greatness in themselves and their families.
The latest free read from Playscripts: I Heard You Were Dead by Don Zolidis.
So, raise the curtain and shine the spotlight as we dive into another thrilling week in the theatre world. Welcome to The Scene.
Boop! Leads 2025 Drama Desk Award Nominations With 11 Nods Including Outstanding Musical by Logan Culwell-Block, Andrew Gans, Playbill | Norm Lewis, Frank DiLella, and Rocco Vertuccio announced nominations for the Off-Broadway and Broadway honors on April 30. Read...
Wayne Brady and Taye Diggs Will Return to Broadway in Moulin Rouge! The Musical by Andrew Gans, Playbill |The stage and screen stars will share the stage of the Al Hirschfeld Theatre this summer. Read...
Christine Sherrill, Amy Weaver, Carly Sakolove, Jalynn Steele, and More to Star in Broadway Return of Mamma Mia! by Andrew Gans, Playbill | The international hit, which features the songs of ABBA, will again play the Winter Garden Theatre. Read...
Where Can I Find a Cheap Broadway Ticket? by Michael Paulson, The New York Times | If you are determined to see a celebrity in a popular show on a busy night, you may be out of luck, but with flexibility and persistence, you can cut some costs. Read...
Matthew Lombardo's Conversations With Mother Joins Dramatists Play Service Licensing Catalogue by Logan Culwell-Block, Playbill | Caroline Aaron and Matt Doyle led the work's Off-Broadway premiere earlier this year. Read...
Broadway’s Debacles Live On at Joe Allen’s ‘Flop Wall’ by James Barron, The New York Times | The posters in the theater-district restaurant document the shows that went wrong. Read...
Big Idea Story
The 2025 Tony Award Nominations Are Here!
by Zach Dulli, The Scene
Broadway's brightest stars are set to light up the stage once again, as the nominations for the 2025 Tony Awards have been announced, and what a season it's been! With standout performances, daring new musicals, compelling plays, and unforgettable revivals, this year's nominees have audiences buzzing with anticipation.
Record-Setting Performances
Already a six-time Tony winner, the incomparable Audra McDonald has officially become the most Tony-nominated performer in history, earning a remarkable tenth nomination for her fierce portrayal of Rose in Gypsy. McDonald’s legendary presence is sure to make this year's Best Actress in a Musical category one to watch closely.
Facing off against McDonald are both leading ladies from the musical comedy Death Becomes Her: Broadway favorites Megan Hilty and Jennifer Simard. Joining them is Nicole Scherzinger, who brings her Olivier Award-winning performance from London's West End revival of Sunset Blvd. to Broadway. But even amid these powerhouse veterans, there's room for thrilling newcomers like Jasmine Amy Rogers, making her captivating Broadway debut in BOOP! The Musical.
Drama Takes Center Stage
In the Best Actress in a Play category, powerhouse performances include Laura Donnelly (The Hills of California), screen legend Mia Farrow (The Roommate), and the remarkable LaTanya Richardson Jackson (Purpose). Stranger Things star Sadie Sink earns her first Tony nomination for her gripping performance in John Proctor is the Villain, alongside Sarah Snook's mesmerizing turn in The Picture of Dorian Gray, a role for which she won the 2024 Olivier Best Actress Award.
Meanwhile, the race for Best Actor in a Play has George Clooney, nominated for his role in Good Night, and Good Luck, going head-to-head with Cole Escola (Oh, Mary!), Broadway stalwart Jon Michael Hill, veteran actor Harry Lennix (both for Purpose), Daniel Dae Kim (Yellow Face), and in his Broadway debut, Louis McCartney from Stranger Things: The First Shadow.
Show-Stopping Musicals
Best Actor in a Musical showcases remarkable diversity this season, featuring performances from fan favorites like Darren Criss (Maybe Happy Ending), Jeremy Jordan (Floyd Collins), Jonathan Groff (Just in Time), and James Monroe Iglehart channeling Louis Armstrong in A Wonderful World. Joining them are standout newcomers Andrew Durand (Dead Outlaw) and Tom Francis (Sunset Blvd.).
A Season of Rich Stories
The Best Musical category offers audiences a broad range of fresh storytelling. The Cuban rhythms of Buena Vista Social Club compete with the darkly comedic fantasy of Death Becomes Her, the romantic sci-fi of Maybe Happy Ending, the Western drama of Dead Outlaw, and the clever espionage comedy Operation Mincemeat: A New Musical.
Not to be overshadowed, the Best Play nominees feature the thought-provoking English, nostalgic family drama The Hills of California, powerful contemporary reflection John Proctor is the Villain, irreverent comedy Oh, Mary!, and the deeply resonant Purpose.
Revival Sparks and Creativity Reign
Revival categories celebrate enduring classics. Notable play revivals include the ever-timely Eureka Day, a groundbreaking new adaptation of Shakespeare’s Romeo + Juliet, Thornton Wilder's timeless Our Town, and the revival of David Henry Hwang’s Yellow Face. Musical revivals bringing beloved favorites back to life include the evocative Floyd Collins, dazzling Gypsy, joyous Pirates! The Penzance Musical, and the spectacular revival of Andrew Lloyd Webber's Sunset Blvd..
Creative talent behind the scenes also received their due. Notably, the band from Buena Vista Social Club received a Special Tony Award for their brilliant musicianship, alongside another special recognition for the innovative illusions and effects team of Stranger Things: The First Shadow.
A Look at the Leaders
With ten nominations each, Buena Vista Social Club, Death Becomes Her, and Maybe Happy Ending lead the pack, showcasing the exceptional creativity defining this Broadway season. Close behind, with seven nominations each, are Dead Outlaw, John Proctor is the Villain, Sunset Blvd., and The Hills of California, each proving the diversity and strength of Broadway’s storytelling this year.
Winners will be announced at the Tony Awards ceremony on June 8th, broadcast live from Radio City Music Hall beginning at 8 PM ET on CBS and streaming on Paramount+ in the U.S. Wicked film star and Tony winner Cynthia Erivo is set to host the evening.
Here is the complete list of this year’s Tony nominations:
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY
Laura Donnelly, The Hills of California
Mia Farrow, The Roommate
LaTanya Richardson Jackson, Purpose
Sadie Sink, John Proctor is the Villain
Sarah Snook, The Picture of Dorian Gray
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY
George Clooney, Good Night, and Good Luck
Cole Escola, Oh, Mary!
Jon Michael Hill, Purpose
Daniel Dae Kim, Yellow Face
Harry Lennix, Purpose
Louis McCartney, Stranger Things: The First Shadow
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL
Megan Hilty, Death Becomes Her
Audra McDonald, Gypsy
Jasmine Amy Rogers, BOOP! The Musical
Nicole Scherzinger, Sunset Blvd.
Jennifer Simard, Death Becomes Her
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL
Darren Criss, Maybe Happy Ending
Andrew Durand, Dead Outlaw
Tom Francis, Sunset Blvd.
Jonathan Groff, Just in Time
James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical
Jeremy Jordan, Floyd Collins
BEST MUSICAL
Buena Vista Social Club
Dead Outlaw
Death Becomes Her
Maybe Happy Ending
Operation Mincemeat: A New Musical
BEST PLAY
English
The Hills of California
John Proctor is the Villain
Oh, Mary!
Purpose
BEST BOOK OF A MUSICAL
Buena Vista Social Club, Marco Ramirez
Dead Outlaw, Itamar Moses
Death Becomes Her, Marco Pennette
Maybe Happy Ending, Will Aronson and Hue Park
Operation Mincemeat: A New Musical, David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts
BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATRE
Dead Outlaw, David Yazbek, and Erik Della Penna
Death Becomes Her, Julia Mattison and Noel Carey
Maybe Happy Ending, Will Aronson (music and lyrics) and Hue Park (lyrics)
Operation Mincemeat: A New Musical, David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts
Real Women Have Curves: The Musical, Joy Huerta and Benjamin Velez
BEST SCENIC DESIGN OF A PLAY
Marsha Ginsberg, English
Rob Howell, The Hills of California
Marg Horwell and David Bergman, The Picture of Dorian Gray
Miriam Buether and 59, Stranger Things: The First Shadow
Scott Pask, Good Night, and Good Luck
BEST SCENIC DESIGN OF A MUSICAL
Rachel Hauck, Swept Away
Dane Laffrey and George Reeve, Maybe Happy Ending
Arnulfo Maldonado, Buena Vista Social Club
Derek McLane, Death Becomes Her
Derek McLane, Just in Time
BEST COSTUME DESIGN OF A PLAY
Brenda Abbandandolo, Good Night, and Good Luck
Marg Horwell, The Picture of Dorian Gray
Rob Howell, The Hills of California
Holly Pierson, Oh, Mary!
Brigitte Reiffenstuel, Stranger Things: The First Shadow
BEST COSTUME DESIGN OF A MUSICAL
Dede Ayite, Buena Vista Social Club
Gregg Barnes, BOOP! The Musical
Clint Ramos, Maybe Happy Ending
Paul Tazewell, Death Becomes Her
Catherine Zuber, Just in Time
BEST LIGHTING DESIGN OF A PLAY
Natasha Chivers, The Hills of California
Jon Clark, Stranger Things: The First Shadow
Heather Gilbert and David Bengali, Good Night, and Good Luck
Natasha Katz and Hannah Wasileski, John Proctor is the Villain
Nick Schlieper, The Picture of Dorian Gray
BEST LIGHTING DESIGN OF A MUSICAL
Jack Knowles, Sunset Blvd.
Tyler Micoleau, Buena Vista Social Club
Scott Zielinski and Ruey Horng Sun, Floyd Collins
Ben Stanton, Maybe Happy Ending
Justin Townsend, Death Becomes Her
BEST SOUND DESIGN OF A PLAY
Paul Arditti, Stranger Things: The First Shadow
Palmer Hefferan, John Proctor is the Villain
Daniel Kluger, Good Night, and Good Luck
Nick Powell, The Hills of California
Clemence Williams, The Picture of Dorian Gray
BEST SOUND DESIGN OF A MUSICAL
Jonathan Deans, Buena Vista Social Club
Adam Fisher, Sunset Blvd.
Peter Hylenski, Just in Time
Peter Hylenski, Maybe Happy Ending
Dan Moses Schreier, Floyd Collins
BEST DIRECTION OF A PLAY
Knud Adams, English
Sam Mendes, The Hills of California
Sam Pinkleton, Oh, Mary!
Danya Taymor, John Proctor is the Villain
Kip Williams, The Picture of Dorian Gray
BEST DIRECTION OF A MUSICAL
Saheem Ali, Buena Vista Social Club
Michael Arden, Maybe Happy Ending
David Cromer, Dead Outlaw
Christopher Gattelli, Death Becomes Her
Jamie Lloyd, Sunset Blvd.
BEST CHOREOGRAPHY
Joshua Bergasse, SMASH
Camille A. Brown, Gypsy
Christopher Gattelli, Death Becomes Her
Jerry Mitchell, BOOP! The Musical
Patricia Delgado and Justin Peck, Buena Vista Social Club
BEST ORCHESTRATIONS
Andrew Resnick and Michael Thurber, Just in Time
Will Aronson, Maybe Happy Ending
Bruce Coughlin, Floyd Collins
Marco Paguia, Buena Vista Social Club
David Cullen and Andrew Lloyd Webber, Sunset Blvd.
BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY
Tala Ashe, English
Jessica Hecht, Eureka Day
Marjan Neshat, English
Fina Strazza, John Proctor is the Villain
Kara Young, Purpose
BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY
Glenn Davis, Purpose
Gabriel Ebert, John Proctor is the Villain
Francis Jue, Yellow Face
Bob Odenkirk, Glengarry Glen Ross
Conrad Ricamora, Oh, Mary!
BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
Natalie Venetia Belcon, Buena Vista Social Club
Julia Knitel, Dead Outlaw
Gracie Lawrence, Just in Time
Justina Machado, Real Women Have Curves: The Musical
Joy Woods, Gypsy
BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
Brooks Ashmanskas, SMASH
Jeb Brown, Dead Outlaw
Danny Burstein, Gypsy
Jak Malone, Operation Mincemeat: A New Musical
Taylor Trensch, Floyd Collins
BEST REVIVAL OF A PLAY
Eureka Day, Jonathan Spector
Romeo + Juliet
Thornton Wilder's Our Town
Yellow Face, David Henry Hwang
BEST REVIVAL OF A MUSICAL
Floyd Collins, Tina Landau (book, additional lyrics) and Adam Guettel (music and lyrics)
Gypsy
Pirates! The Penzance Musical
Sunset Blvd.
SPECIAL TONY AWARDS
The musicians who make up the band of Buena Vista Social Club—Marco Paguia (music director, conductor/piano); David Oquendo (associate music director, guitar); Renesito Avich (tres); Gustavo Schartz (bass); Javier Días, Román Diaz, Mauricio Herrera (percussion); Jesus Ricardo (trumpet); Eddie Venegas (trombone); Hery Paz (woodwinds); Leonardo Reyna (piano)
The Illusions & Technical Effects of Stranger Things: The First Shadow (Jamie Harrison, Chris Fisher, Gary Beestone, and Edward Pierce)
SHOWS WITH MULTIPLE NOMINATIONS:
Buena Vista Social Club - 10
Death Becomes Her - 10
Maybe Happy Ending - 10
Dead Outlaw - 7
John Proctor is the Villain - 7
Sunset Blvd. - 7
The Hills of California - 7
Floyd Collins - 6
Just in Time - 6
Purpose - 6
The Picture of Dorian Gray - 6
English - 5
Good Night, and Good Luck - 5
Gypsy - 5
Oh, Mary! - 5
Stranger Things: The First Shadow - 5
Operation Mincemeat: A New Musical - 4
BOOP! The Musical - 3
Yellow Face - 3
Eureka Day - 2
Real Women Have Curves: The Musical - 2
SMASH - 2
Spotlight
From the Classroom to the Stage: Why Musicals Like ‘The Top Job’ Matter
By Brian Feinstein, Special Contributor to The Scene
When I was first commissioned by the Vital Theatre Company in New York City to write The Top Job, a musical adaptation of Elizabeth Cody Kimmel’s charming book (with collaborator Robin Moyer Chung), I had no idea it would take on such a life of its own. What began as a professional opportunity quickly became a passion project. Since its premiere, the show has continued to resonate with elementary school performers, their families, and educators nationwide. And honestly? That’s the dream.
What I love about The Top Job is that it’s so New York City–centric. A job about the person who changes the lightbulbs at the tippy tippy top of the Empire State Building? How awesome is that! It captures the spirit, wonder, and grandeur of the city through the eyes of a child and invites students to think big while celebrating everyday heroes.
While I’ve spent much of my career composing for the professional stage, including having the legendary Eartha Kitt perform in my first Off-Broadway show, some of the most fulfilling work I’ve done has been in the classroom. I’ve been lucky to call artists like Maury Yeston and Bill Finn mentors over the years, and their belief in the power of story and song continues to guide me. That same passion led me to found the FeinLine Musical Theatre Academy, where we teach students of all ages how to write and perform their own musicals.
In working with children in grades 1 through 6, I’ve witnessed something extraordinary: the moment a child realizes they can tell a story, their story, through music and theatre, they light up. It’s the ultimate confidence boost wrapped in creativity.
Shows like The Top Job are ideal for young performers because they balance theatrical fun with emotional depth. At its core, the story is about a child who feels ordinary compared to their classmates, until they discover their parent has a very “top” job. It’s a relatable, empowering narrative that encourages students to take pride in their families and their own unique stories. With an ensemble-friendly structure, plenty of humor, and songs tailored for developing voices, the show is accessible without being watered down. Kids feel challenged and celebrated at the same time.
One of my favorite memories from my FeinLine Musical Theatre Academy was watching a third-grade student, shy, barely audible on day one, sing a solo in front of 200 people by the end of the semester. The transformation wasn’t magic. It was process, support, and the empowering nature of storytelling. I’ve seen this kind of growth repeatedly: students discovering their voices, literally and figuratively, through the unique power of musical theatre.
Theatre builds more than performance skills. It teaches empathy—stepping into someone else’s shoes fosters compassion and curiosity. It teaches resilience—rehearsing, failing, trying again. It also teaches collaboration in the truest sense—listening, responding, and creating something bigger than oneself.
What’s particularly powerful about bringing shows like The Top Job into the classroom is how seamlessly they integrate with the core curriculum. As students work on dialogue, they’re strengthening language arts skills through fluency, vocabulary, and comprehension. The New York City setting ties naturally into social studies as students research the Empire State Building and explore urban careers. Even math sneaks in through rhythm, staging measurements, and the practical geometry of set design. Teachers consistently tell me how much they appreciate these built-in academic connections. It makes arts integration feel not like an “extra,” but like a dynamic teaching tool, one that reinforces classroom learning while keeping students deeply engaged.
We often talk about the importance of arts education, but I believe in being specific: theatre is where children learn to take risks in a safe space. Where they learn timing and listening, generosity and imagination, it’s where a child who struggles in other academic areas might also discover their superpower.
The Top Job is one of those shows that helps make that magic happen. It meets students where they are and then lifts them up. As a composer and educator, I’m proud to have created a show that continues to inspire confidence, creativity, and a deep love for theatre in the next generation.
Outside of The Top Job, I continue to be inspired by coming-of-age stories—whether they unfold at the top of the Empire State Building or on a scrappy Little League baseball field. I’m currently developing a Broadway-bound musical adaptation of the classic and beloved film The Bad News Bears. Like The Top Job, it reminds me how much heart, humor, and humanity can be found in stories about kids learning to believe in themselves.
If you haven’t produced The Top Job yet, I encourage you to consider it for your upcoming season. And if you’re looking to bring more musical theatre into your classroom right now, try this simple exercise: have students choose an everyday hero in their lives and write a short “theme song” for that person using a familiar tune. It’s a perfect entry point to songwriting that builds confidence and connects to The Top Job’s themes.
I also work directly with schools, classrooms, and individual students, whether leading songwriting workshops, creative residencies, or providing one-on-one tutoring. Sessions can be in-person or virtual, depending on your location. If that sounds like a fit for your community, I’d be thrilled to connect and collaborate.
And I’m always eager to hear how your students engage with the show. Feel free to reach out anytime at FeinLineMusic.com to share their musical journeys or to chat about bringing The Top Job to your stage!
About Brian Feinstein
Brian Feinstein is an award-winning NYC-based composer, producer, and educator whose musicals have been produced Off-Broadway, regionally, and internationally. His honors include six ASCAP Plus Awards, the Jonathan Larson Fellowship, and the Anna Sosenko Trust Award. A graduate of USC’s School of Cinema and NYU Tisch’s Graduate Musical Theatre Writing Program, Brian is currently adapting The Bad News Bears into a Broadway-bound musical. Other current projects include The Man Who Ate the 747, Notorious RBG, and the family mystery The Curious Case of the Snot-Nosed Diamonds.
His past works include Mimi Le Duck (Off-Broadway, starring Eartha Kitt), Girlstar (Signature Theatre), and The Top Job, licensed nationally. Brian is the founder of the FeinLine Musical Theatre Academy, where he mentors actors and songwriters of all ages. He is also a passionate dog lover and advocate for animal rescue. Please visit: FeinLineMusic.com
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Free Reads of the Week
Read entire plays for free! Playscripts offers a selection of full-length and one-act plays that you can access for free, which is ideal for use in theatre productions, school performances, or competitions. To explore these titles, click on the cover image below or select the "READ FOR FREE" button at the bottom of this section. This action will direct you to the play's page on the Playscripts website. Once there, click "READ NOW" to begin enjoying the play immediately!
I Heard You Were Dead by Don Zolidis
The Story: Constantine Wright spent his sophomore year in high school surviving lymphocytic leukemia. But going back to school for his junior year might be harder than beating cancer. Especially since the girl of his dreams, Chloe Jimenez, doesn’t realize she inadvertently saved his life. With the help of his best friend Piper, who specializes in writing steamy werewolf fan fiction, he tries to formulate a plan to win her over. But Piper has issues of her own and needs Constantine’s help as much as he needs hers. A play about love, friendship, trauma, and recovery.
Genre: Drama | Run-Time: 100 - 110 minutes | Casting: 5 W, 7 M, 6 Any (5-30 actors possible: 5-6 W, 7-8 M) | Set: Flexible.
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