Every year, the American theater world gathers in New York to celebrate the best of the best, and every year, writers like me ask why the judges have made increasingly baffling decisions.
On the surface, it seems as if the 79th Tony Awards, hosted by none other than Pink from Radio City Music Hall, were business as usual. The new revival of Death of a Salesman, with Nathan Lane and Laurie Metcalf and directed by Joe Mantello, was the big winner with six awards including Best Revival and Best Featured Actress. It also represented the partial redemption of the once-powerful, now-humbled super-producer Scott Rudin, whose penchant for big-star vehicles based on classic novels and plays was evident.
It was also notable that nobody thanked Rudin by name during their acceptance speeches, suggesting that he will remain a shadowy, behind-the-scenes figure for some time to come. There will be some who bristle at this obscurity – Variety sarcastically asked “did this show produce itself?” It is also a reflection of the way in which the theater world is an uneasy marriage between progressive political ideals and the need to make money. Rudin is, after all, very good at making money for people, and as long as he continues to offer this skill, he will be brought back into the fold. He will not be given any public acknowledgement, however. It’s a strange state of affairs, but that’s showbiz for you in 2026.
