"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
TLK shouldn't have won the Tony even if it was the only show nominated.
"People have their opinions and that doesn't mean that their opinions are wrong or right. I just take it with a grain of salt because opinions are like as*holes, everyone has one".
-Felicia Finley-
Will Rogers Follies winning Millie winning over Urinetown Music Man winning over West Side Story...I know it TMM was so much more popular over WSS...but what were they thinking?
1958 - The Music Man over West Side Story 1960 - Fiorello (in the tie) over Gypsy 1972 - 2 Gentlemen of Verona over Follies 1976 - A Chorus Line over Chicago or Pacific Overtures 1984 - La Cage over Sunday in the Park... 1997 - Titanic over Steel Pier 1998 - The Lion King over Ragtime 1999 - Fosse over Parade 2000 - Contact over The Wild Party (LaChiusa) 2002 - Thoroughly Modern Millie over Urinetown 2004 - Avenue Q over Caroline or Change 2005 - Spamalot over The Light in the Piazza
Don't f*ck with me fellas. This ain't my first time at the rodeo.
The Lion King wasn't the only show nominated that year. It was between Lion King, Ragtime, Side Show and Scarlet Pimpernel. I wouldn't say that it was an upset. The theatricality of Lion King is pretty tremendous. Both shows deserved to win.
I'd say the year of Will Rogers, Once on this Island, Secret Garden and Miss Saigon was close, but I wouldn't call it an upset b/c all four deserved (in some way) to win.
Urinetown should have won of Millie, most definitely.
This last year was very close between the four, all of which were deserving if they were in different seasons.
Another extremely tight race would be in 1961, when Sound of Music, Fiorello!, Gypsy and Once Upon A Matress were all nominated the same year. It ended with a tie between SoM and Fiorello.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Avenue Q over Wicked. I'm not saying (in any way, shape, or form) that Wicked should have won, but if you asked ANYONE who knew anything about the race in the weeks leading up to the Tonys who would win, they would have said that Wicked would, though with the clause that it wasn't the most deserving. I remember my mouth was hanging open from the moment Nathan Lane said "Avenue Q" to the end of the broadcast. Glad they voted their hearts, but I didn't see that one coming.
A Chorus Line is one of the best musicals ever, combined with one of the most successful, and it was considered such almost from the time it opened. Chicago and Pacific Overtures are great shows, but neither were near as loved as A Chorus Line early on, especially PO.
"Who is Stephen Sondheim?" -roninjoey "The man who wishes he had written Phantom of the Opera!" - SueleenGay
I agree with Bjivie2 about Will Rogers, Secret Garden, Once on This Island, and Miss Saigon. I think all of those shows deserved to win, and there would probably be just as many people upset regardless of which show won. What a great year that was!
I'm pretty upset about Will Rogers Follies winning over Miss Saigon... I mean Miss Saigon should have at least won a Tony other than for the performers...
"Hey, you! You're the worst thing to happen to musical theatre since Andrew Lloyd Webber!"
-Family Guy
I agree with children&art's list, except for A Chorus Line, which deserved to win. Chicago is a great show, but it way ahead of its time- people just didn't want to see a dark satires like Chicago.
I would have to agree with everyone who said Lion King over Ragtime. I enjoy The Lion King, but i don't think it can ever compare with Ragtime.
"You drank a charm to kill John Proctor's wife! You drank a charm to kill Goody Proctor!" - Betty Parris to Abigail Williams in Arthur Miller's The Crucible
This is not the Tony's because I am British but for the SWET Awards (Society of West End Theatre - now the Olivier Awards) I am still gobsmacked that 'Annie' beat 'Evita' in 1978 and 'Me and My Girl' beat 'Les Miserables' in 1985. Both wrong decisions in my humble opinion.
Cases in which the other musical(s) should've won or at least tied: 1958- Music Man over West Side Story 1960- Fiorello and Sound of Music over Gypsy 1964- Hello Dolly over Funny Girl and She Loves Me 1966- Man of La Mancha over Sweet Charity 1969- 1776 over Hair (WTF!!!!!!!) 1970- Applause over Purlie 1982- Nine over Dreamgirls 1984- La Cage Aux Folles over Baby and Sunday in the Park with George (WTF!!!!) 1991- Will Rogers Follies over Miss Saigon, Once on this Island and Miss Saigon 1992- Crazy for You over Falsettos (WTF!!!!) 1993- Kiss of the Spiderwoman over Blood Brothers 1998- The Lion King over Ragtime (WTF!!!!!!!!!) 1999- Fosse over Parade 2000- Contact over The Wild Party 2001- The Producers over The Full Monty 2002- Thoroughly Modern Millie over Urinetown (I do love Millie but WTF!!!!!) 2005- Spamalot over Dirty Rotten Scoundrels and Spelling Bee
I know this thread is for Best Musical upsets, but I just want to jump in and say THE PRODUCERS' win over THE FULL MONTY for Best Score was quite an upset. I think THE PRODUCERS deserved to win Best Musical, but MONTY's score was clearly the best.
"Winning a Tony this year is like winning Best Attendance in third grade: no one will care but the winner and their mom."
-Kad
"I have also met him in person, and I find him to be quite funny actually. Arrogant and often misinformed, but still funny."
-bjh2114 (on Michael Riedel)
SPAMALOT. Period. I don't know exactly why I feel this way. I very much enjoyed Spamalot and had an excellent experience with the show, however, it just didn't seem like "Best Musical" material to me. If I were forced to choose, I think the honor should have gone to Piazza.
"I need to know that someone out there cares...Are you there?"
I don't think that Spamalot winning was itself a travisty (I saw it in Chicago and loved it), but since the Wing gave 7 other awards to Piazza, I thought it was almost spineless not to give them Best Musical.
"Who is Stephen Sondheim?" -roninjoey "The man who wishes he had written Phantom of the Opera!" - SueleenGay