Producers of the Tonys Discuss New Changes to June 16th Show, Including ‘Stereophonic’ Integration
Last year, Tony Awards producers Glenn Weiss and Ricky Kirshner faced the challenge of hosting the live ceremony without a written script during the writer’s strike, with the assistance of host Ariana DeBose.
This year, the veteran Tonys producers have the advantage of a script and the opportunity to work again with DeBose, who choreographed the opening number. The Tony Awards will be hosted in the Lincoln Center’s David H. Koch Theater for the first time on June 16, after being held at the United Palace theater in Washington Heights last season.
The change in venue has presented some logistical challenges and solutions. For example, Weiss mentioned that this year’s ceremony will not feature a wall coming down between production numbers and awards, opting instead for choreographed transitions on stage.
“We’re aiming to showcase theater more authentically on television, and that is truly exciting,” Weiss stated.
There are plans to continue highlighting plays, which were a significant part of the past Broadway season, and there are rumors of a performance by Stereophonic.
Weiss and Kirshner, producers of the Tony Awards in collaboration with White Cherry Entertainment, the Broadway League, and the American Theatre Wing, discussed their strategies for this year’s ceremony with The Hollywood Reporter.
How are you feeling about the show this year compared to the challenges of last year?
Glenn Weiss: It has been a remarkable Broadway season with a high number of shows opening close to the eligibility deadline. There is excellent material available for us to work with.
Ricky Kirshner: Each year presents its own unique challenges, and we try to approach each show differently. We have learned from our experiences last year and are incorporating those lessons into this year’s production.
Like what?
Kirshner: Last year, we focused more on plays due to the time constraints, and we plan to continue giving plays the attention they deserve. Our intros to performances will vary, featuring sizzle reels and written introductions based on the show’s requirements.
Last year, we included packages on the best play and best play revival categories, which were well-received. We also showcased acting packages for all the nominees in the play category and aim to continue this approach.
One surprise among this year’s performance lineup was the absence of Stereophonic. Have there been discussions about their potential performance?
Weiss: Discussions are ongoing, and decisions are made based on representing the season as effectively as possible within the available time. The Tony Awards always have unforeseen elements, so there is still a possibility for Stereophonic to perform.
There are constant discussions and speculations about the show’s lineup, leaving room for surprises.
How do you decide on which shows to feature during the telecast?
Kirshner: We wish we could include every show, but time constraints limit our options. We aim to offer a comprehensive overview of the Broadway season, ensuring viewers have a satisfying experience during the broadcast.
One new aspect this year involves co-producers being asked to go to the lobby risers when their show’s category is called for a potential live shot if they win. Can you elaborate on this decision?
Kirshner: The decision was made collectively to optimize the show’s flow and structure within the theater’s space constraints. Each year presents unique challenges, and this year’s format was adapted to accommodate everyone involved.
How else did the space influence the show?
Weiss: The new theater layout encouraged us to showcase theater performances in a more organic way, similar to how they unfold live on stage. The absence of a closing wall allows for seamless transitions and dynamic changes directly in front of the audience and on television.
The Tony Awards present a unique challenge due to the live performances and the intricate logistics involved in orchestrating a successful show.