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“Maybe” schmaybe.
Sunday night was a signed, sealed, delivered happy ending for “Maybe Happy Ending,” the stratospherically original South Korean gem about robots in love starring Darren Criss that deservedly won the Tony Award for Best Musical.
What a stunning achievement for the little show that almost didn’t open.
Gleeky Criss also earned his first Tony for Best Actor in a Musical — one of the production’s five total.
I know, I know — their performance on the telecast was meh. Microscopic in that 50th Street barn. But go see “Maybe Happy Ending” at the intimate Belasco Theatre. It’s sublime in person.
Ditto — but different — for “Purpose,” playwright Branden Jacobs-Jenkins’ scintillating drama at the Hayes about a bickering black political dynasty that took home Best Play. Hysterical and vicious, it’s the season’s meaty tomahawk steak.
The Tonys, back home at Radio City Musical Hall for the first time since 2022, finally felt like they were back to their old selves again. The last few years have been quiet, dinky, dark and apologetic.
But last night was euphoric. And several productions that performed came off fabulously on the broadcast, hosted by “Wicked” star Cynthia Erivo, which is watched by about 3.5 million people.
That’s barely a drop in the viewership bucket compared to the Oscars. The Super Bowl? Fuggedaboutit. But the teeny Tonys exist to sell targeted products that are housed in just 41 theaters across a few blocks in Manhattan. That 3.5 million matters.
What won our wallets?
“Death Becomes Her”’s performance of “For the Gaze” with Megan Hilty was shimmering and hilarious. It’ll sell tickets. “Buena Vista Social Club” showcased its electrifying Tony-winning dance and transportive Cuban music. The show’s box office — or website, anyway — will get a lot of traffic.
The ingenious Tony Award winner for Best Revival of a Musical “Sunset Boulevard” has only a month left. Sprint, don’t run. And star Nicole Scherzinger, who triumphantly won the Tony for Best Actress, shattered every window in Midtown with her glorious rendition of Andrew Lloyd Webber’s “As If We Never Said Goodbye.”
A beaming Lloyd Webber won his first Tony in 30 years.
What will not move a single seat was “Gypsy” star Audra McDonald’s nails-on-a-chalkboard version of “Rose’s Turn.” Awful.
And the smaller musicals, “Dead Outlaw” and “Operation Mincemeat,” were a little weird in the TV context. Both are niche-as-it-gets musicals about corpses. Welcome to the Radio City Music Morgue!
Especially random was “Real Women Have Curves,” which wasn’t even nominated for Best Musical. It should never have been given a slot. It’s gonna flop big time, and you could feel as much through the screen.
Not that “Hamilton” — ever heard of it? — needs the boost, but a reunion medley featuring stars Lin-Manuel Miranda, Leslie Odom Jr. and Phillipa Soo was both energizing and nostalgic.
“This makes me feel old,” a friend texted. Too right.
And it was a deeply moving idea for Sara Bareilles and Erivo to duet on the “Annie” classic tomorrow by the late composer Charles Strouse, who died this year, during the teary In Memoriam.
My favorite moment of any winner’s speech was when Cole Escola, the brilliant writer-director of “Oh, Mary!” recalled meeting fellow nominees, including George Clooney, while accepting Best Actor in a Play.
“It’s been an honor getting to know you over warm salads at all these luncheons,” the always funny Escola quipped. “Oh, Mary!” is another must see.
Sarah Snook, Shiv from “Succession,” snagged Best Actress in a Play for her mind-bending portrayal of 26 separate roles in “The Picture of Dorian Gray.” At risk of repeating myself, check it out.
Erivo didn’t quite defy gravity as host. Elphaba stayed respectably on the ground, played to her strengths (singing, being British) and thankfully didn’t go overboard with bits.
In the end, though, the 2025 Tony Awards did a superb job of celebrating the best work of a veyy creative Broadway season.
Plenty of the winners are still on. Say it with me: Go see ‘em.
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