a.k.a. "The Oscar Messenger"

Neil Patrick Harris rocked out wildly in the production number from “Hedwig and the Angry Inch.”

A semi-embarassing melange of scenes and speechs by the nominees for Best Play. All the playwrights appeared and spoke about their works. “All the Way” then wins. The only play that wasn’t introduced by its’ playwright. Or was it so short that I missed it? Oh, yes, and Brian Cranston won Best Actor. Both as expected.

Glad that they mentioned Oregon Shakespeare Festival, where the play rather incongruously started.

But once again the plays seem under-served and belittled by comparison to the attention, care and air-time heaped on the musicals. Sad. Makes me angry.

The number from “Violet” makes it look like a spiritual or gospel musical, which it isn’t it. And the African-American singer who wows in the lead in this number(I’ll look her name up immediately) ,looks like the star of the musical, which she isn’t. It’s the pallid Sutton Foster, who just gets a snippet of a song as the title character “Violet.” God, I was bored by that uninteresting, tiresome show. Did NOT understand the critics’ raves for that one.

Robert L. Friedman the librettist of “A Gentleman’s Guide…” was announced as the winner of Best Book of a Musical in a little addendum that they slip in as a sort of a “By-The_Way” in between the commericals. Blink and you’d miss it. Like I must’ve blinked and missed the author of “All the Way” introducing his play.

And now they have a completely irrelevant number from Sting’s upcoming music, which Sting himself sings. Why are they giving all this air-time to something that hasn’t even opened yet?!?

Maddening. This is the perfect example of why people dish the Tonys.

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