>> HASKINS: Coming up on

"Theater Talk"...

>> RIEDEL: Best Revival of a

Musical -- Susan, the nominees

are...

>> HASKINS: "Falsettos"...

>> GREEN: ♪ Ma ma ma ma ma

>> HASKINS: "Hello, Dolly!"

and "Miss Saigon."

>> RIEDEL: This is a tough one.

>> GREEN: What will we say?

>> RIEDEL: I -- I mean, you

know, that struggling show,

"Hello, Dolly!" with

Bette Midler, I mean, it needs

this award to survive.

>> HASKINS: "Theater Talk" is

made possible in part by...

♪

>> HASKINS: From New York City,

this is "Theater Talk."

I'm Susan Haskins.

>> RIEDEL: And I'm

Michael Riedel of

theNew York Post.

And the Emmy Award goes to...

>> HASKINS: "Theater Talk."

>> RIEDEL: Susan Haskins!

>> MUSTO: Who did you beat,

"The Robin Byrd Show"?

[ Laughter ]

>> PACHECO: You look better in

macrame.

>> HASKINS: We beat seven shows,

and we were the Best

Interview/Discussion Program in

the New York market.

>> MUSTO: Congratulations.

>> HASKINS: 25 years.

>> RIEDEL: All right. Hold on.

Wait, wait, wait.

Would you like to touch it?

>> MUSTO: I've always wanted to

touch this and other things.

>> HASKINS: Jesse, guess what --

>> RIEDEL: Wait, Michael Musto,

Jesse Green...

>> GREEN: Quiet! I'm having a

private moment!

>> PACHECO: Hey!

>> RIEDEL: Patrick Pacheco from

NY1 "On Stage."

And Elisabeth Vincentelli.

Okay, that's enough

congratulating ourselves, but we

are very pleased, after 25 years

in this chop shop we run,

an Emmy for "Theater Talk."

Our guests today are

Elisabeth Vincentelli from

The New Yorker and

The New York Times,

Jesse Green,

Mr.New York Times himself

these days, Patrick Pacheco...

Wh-Where?

[ Laughter ]

>> PACHECO: Let me count the

ways.

LA Times, Artinfo,

and NY1 "On Stage."

>> RIEDEL: And Michael Musto,

who is just michaelmusto.com.

>> MUSTO: And I'm dressed fun

because this season -- after

watching this season,

Patti LuPone describes my look

as "dead behind the eyes."

I just...

>> GREEN: You and Madonna.

>> RIEDEL: I have to say, I was

at the Met seeing

"Rosenkavalier," and it looks

like you stole the Chagall

painting that hangs up there.

This is a serious cultural show,

which is why we won the Emmy.Wen

serious tones, the Tony Award

nominees and who is going to win

and who is going to lose.

He he he he he.

Shall we begin, Susan, with the

first category?

>> HASKINS: Yes, Best Play.

"A Doll's House, Part 2"...

>> [Bleep] you, Nora!

[Bleep] you!

>> HASKINS: ..."Indecent,"

"Oslo," and "Sweat."

>> RIEDEL: Elisabeth, I would

say, I went to "Oslo" just the

other night and was very

impressed with it.

It seems to me to have a heft,

seriousness of purpose, and

probably will win the Tony

because of that.

>> VINCENTELLI: Because of that,

it will probably win the Tony.

Because of that, I was bored to

tears, but I agree.

If we're talking predictions, I

think it's the one to beat.

>> RIEDEL: It's about the

Oslo Accords and the story of

how they came together.

>> VINCENTELLI: I think there's

also a bit of momentum behind

"Sweat."

>> RIEDEL: Oh, you think so?

Well, it won the Pulitzer Prize,

yeah.

>> VINCENTELLI: Because of that.

>> MUSTO: Despite Jesse being on

the committee.

>> VINCENTELLI: I think a lot of

people like Lynn Nottage.

>> PACHECO: Uh-huh.

>> VINCENTELLI: So I wouldn't be

surprised.

>> HASKINS: It is reflecting the

current culture, Patrick.

You've read my mind.

And I think people think, "Oh,

I'm going to vote for that play

about American working people

'cause they're so screwed right

now.

>> PACHECO: Four American plays

are nominated, which is great.

Lucas Hnath, Lynn Nottage,

J.T. Rogers, and Paula Vogel.

And two women.

I think it's a great, great

slate of nominees.

>> MUSTO: All four of these

plays are extremely topical and

are Trump's worst nightmare,

because "Oslo" is about peace in

the Mideast, "Sweat" is about

unhappiness amongst workers,

against corporate machinations.

>> RIEDEL: "Indecent" is about

lesbians.

>> MUSTO: Lesbians and creative

artists fighting oppression and

expressing themselves.

And "Doll's House 2" is a woman

escaping male oppression.

>> GREEN: They're all by

playwrights having their first

Broadway productions, as well,

which is astonishing.

>> RIEDEL: All right, but who

wins, Patrick?

>> PACHECO: I think it's a

really tough vote -- I think

that "Oslo" may well win.

I agree that there is a lot of,

probably, sentiment behind

"Sweat," but there's also a lot

of energy behind

"A Doll's House, Part 2."

I think people like it a lot.

>> VINCENTELLI: When you say

"people," you mean critics,

because not all.

>> PACHECO: But the buzz that

I'm hearing, Elisabeth, is

really good.

People are having a very good

time at this play.

>> RIEDEL: Jesse, let me ask

you, though -- the "Doll's

House, Part 2" is produced by

probably the best producer on

Broadway, Scott Rudin.

Is that noise something that...

>> GREEN: Ka-ching, ka-ching.

>> RIEDEL: ...that he is

generating?

'Cause I just don't feel the --

I don't feel the votes out

there.

I think "Oslo" is going to win,

and I think "Sweat" possibly

could topple --

>> MUSTO: I turned around at the

end of "Doll's House, Part 2" --

>> RIEDEL: I asked Jesse!

>> MUSTO: No, this is about you.

>> RIEDEL: Okay, thank you.

>> MUSTO: And you weren't there

for the curtain call.

Did you leave in the middle?

>> RIEDEL: No, no, no. No, no.

>> HASKINS: No intermission.

>> RIEDEL: No, I leave quickly

so you don't get stuck with all

the people.

>> HASKINS: The hoi polloi,

yeah.

>> RIEDEL: Jesse, would you like

to comment?

>> GREEN: What was the question?

No, when I saw "A Doll's House,

Part 2," admittedly -- I think

this is Elisabeth's point -- it

was a critics' performance -- it

was quite electric.

Having nothing to do with

Scott Rudin or the way the show

was produced, there was a

feeling, "Oh, my God.

A really exciting, funny play of

ideas on Broadway"

by a playwright that many of us

liked Off-Broadway for even more

difficult work.

This is not among his more

difficult works.

So I don't think it's

manufactured, but I do think

"Oslo" will win.

>> PACHECO: And it's a brilliant

cast, too.

"A Doll's House, Part 2," as

well.

>> MUSTO: And let's not forget

the same premise was one of the

worst musicals ever made, one of

the biggest flops --

"A Doll's Life."

>> RIEDEL: It worked for

Hal Prince on "A Doll's Life."

Exactly.

>> GREEN: I object to you saying

it was one of the worst --

>> MUSTO: Okay, it wasthe

worst...up until that point.

Then we had "Scandalous."

>> RIEDEL: Who wins?

>> MUSTO: "Oslo."

It's long, it's important, and

it's actually very well done.

>> VINCENTELLI: You know, I

think it's going to win for the

same reason that the LBJ play

won -- for the exact same

reason.

>> RIEDEL: Historical weight.

>> VINCENTELLI: It makes people

feel smart, which is...

>> HASKINS: Who do you think

will win, Jesse?

>> GREEN: "Oslo."

>> RIEDEL: "Oslo." Susan?

>> HASKINS: I think "Oslo" is

great, I thought it was going to

win for a long time, but I do

think it may go to "Sweat," for

the reasons I stated.

>> RIEDEL: "Sweat," "Oslo,"

"Oslo."

>> PACHECO: "Oslo."

>> VINCENTELLI: "Oslo," but I

would prefer "Sweat."

>> RIEDEL: The play that went

wrong, that's what I think.

[ Laughter ]

All right.

>> PACHECO: The projection that

went wrong.

>> RIEDEL: Best Musical.

>> HASKINS: "Come From Away,"

"Dear Evan Hansen,"

"Groundhog Day The Musical,"

"Natasha, Pierre & The Great

Comet of 1812."

>> RIEDEL: This is interesting

to me, Jesse, because if we had

been talking about this

category, hypothetically, six,

seven months ago, I would have

thought "Groundhog Day

The Musical" is head and

shoulders above everybody else.

It has no chance.

It has no chance. What happened?

>> GREEN: It seems that

the race --

Well, first of all, once

"Dear Evan Hansen" became such a

huge hit -- and deservedly so --

it seemed to wipe out any other

possibilities.

It was sort of like a "Hamilton"

last year for a while.

But then, "Come From Away"

snuck in.

Many people adored it.

I was not one of them.

But now it seems to be a race

between those two shows.

>> RIEDEL: Yeah, what do you

think, Patrick?

>> PACHECO: I agree, I agree

with Jesse.

Again, I think that

"Come From Away" is kind of

miraculous insofar as it breaks

every rule in the book in a way.

Direct address to the audience?

That's what it does all the

time.

It balances all this omnibus of

stories, none of which kind of

create a certain currency that

you follow emotionally, with the

exception of maybe the airline.

>> RIEDEL: I mean, we should say

that it's about that town in

Newfoundland, Gander --

>> PACHECO: Gander.

>> RIEDEL: Gander. Ga--

Not Punxsutawney but Gander.

Where, on September 11, 38 jumbo

jets had to be grounded, and a

tiny town of 2,000 people had to

absorb 15,000 people.

It's about that.

>> PACHECO: Right. And were

inconvenienced for about five to

six days, basically.

>> MUSTO: Poor them.

>> PACHECO: But, again, I think

it's a triumph of direction by

Chris Ashley.

I think he did a terrific job of

staging that show.

But I still think that

"Dear Evan Hansen" takes a far

more complicated story and does

it beautifully, and the score is

complicated and excellent by

Pasek and Paul.

Benj Pasek and Justin Paul.

I think "Dear Evan Hansen" is

still --

>> RIEDEL: Where do you come

down on this one, Elisabeth?

>> VINCENTELLI: For me, I

thought the race was between

"Dear Evan Hansen" and

"The Great Comet."

>> RIEDEL: Really?

>> VINCENTELLI: Yeah. Maybe I'm

in an alternate reality.

>> RIEDEL: Yeah, you are.

>> VINCENTELLI: I guess I am.

>> PACHECO: But it got the most

nominations, "Natasha."

>> VINCENTELLI: But I love both

shows, so I will be perfectly

happy with --

>> RIEDEL: You don't like

"Come From Away"?

>> VINCENTELLI: No, I do not

like "Come From Away."

I mean, actually, I don't think

it's very surprising to see that

it's doing well, because no

producer has ever gone bankrupt,

you know, betting on

sentimentality.

So, that right there...

>> GREEN: Except Ben Sprecher.

[ Laughter ]

>> VINCENTELLI: Yes.

>> RIEDEL: Oh, my God, Ben, I

hope you're watching.

The man behind "Rebecca."

>> VINCENTELLI: It's a fine

show, I didn't have any big

objections, but I was a little

bored at it.

I think the score is terminally

dull.

I'm talking about

"Come From Away."

I just don't see...

I also -- I liked

"Groundhog Day."

I agree it's not in contention

here.

I don't love it, but I like it.

>> PACHECO: Which of the two

would you vote for?

And you vote, do you not?

>> VINCENTELLI: I probably would

vote for...

I -- I -- I don't know know,

actually.

I don't know.

>> HASKINS: Have you decided

yet, Jesse?

>> GREEN: I will not, in fact,

be voting this year.

>> HASKINS: Oh, that's right,

you're atThe New York Times.

>> RIEDEL: You're at

The New York Times now.

You have to take yourself out of

the drama critic circle because

you're above that.

>> GREEN: Well, but I'm not

above having had to have a

prediction in print, so I have

to...say what I predict.

>> RIEDEL: So what do you think?

>> GREEN: I think

"Dear Evan Hansen" will win,

and deservedly.

>> MUSTO: I love "Natasha."

I saw it three time over the

years, each time with free food.

The third time, I actually sat

on stage, which I normally

detest, but it was fun to have

actors...

>> RIEDEL: You're dressed

like it.

>> MUSTO: ...sit around me.

And I thought it was immersive

and inventive.

>> HASKINS: Okay.

>> MUSTO: "Come From Away" --

somehow they pulled off a

feel-good show about 9/11.

I mean, there's discomfort on

the plane -- "When are we going

to disembark?"

There is the character wondering

what happened to her firefighter

son, which is very dramatic.

And there's a little bit of

Muslimophobia.

But otherwise, it's all

feel-good.

The gay couple, like, "We're

going to find homophobia."

They don't. Everyone's nice.

And it's a great show.

I loved it.

But I really think

"Dear Evan Hansen," or "DEH," as

we call it on the boards,

resonates...

[ Laughter ]

...because it's an original

story.

I usually detest when Broadway

musicals try to capture high

school life.

And the good thing about it is

there aren't really scenes in

the high school that much.

There aren't classroom scenes,

which are always fraudulent when

you see them in shows, except

for "Bye Bye Birdie."

>> RIEDEL: It has the ABC

after-school special about it.

>> MUSTO: I don't think so.

I think it's very dark.

>> HASKINS: I'm going to say

"Dear Evan Hansen."

>> MUSTO: Me, too.

>> HASKINS: We had Pasek and

Paul and Levenson on this show

around the piano, and after that

experience with them singing,

boy, did that sell me more.

>> RIEDEL: So,

"Dear Evan Hansen."

>> MUSTO: "Dear Evan Hansen."

>> GREEN: "Dear Evan Hansen."

>> PACHECO: "Dear Evan Hansen."

>> VINCENTELLI: Same.

"Dear Evan Hansen."

>> RIEDEL: I --

Guys, you saw it here first.

"Come From Away" is going to

win.

All right, moving right along,

let us get to, oh, Best Revival

of a Play.

'Cause there have been some

terrific productions this year.

Susan, they are...

>> HASKINS: Best Revival of a

Play -- "August Wilson's

Jitney," "Lillian Hellman's

The Little Foxes,"

"Present Laughter" --

>> RIEDEL: No, "Noel Coward's

Present Laughter."

>> HASKINS: They didn't say

that.

>> RIEDEL: "Noel Coward's

Present Laughter."

"John Guare's"...

>> HASKINS: "Six Degrees of

Separation."

It's a fabulous category, but I

got to tell you, Elisabeth, I

thought --

They're all good, but I thought

"Jitney" was extraordinary this

year.

>> VINCENTELLI: Oh, I agree.

That's my vote.

>> RIEDEL: Yeah, yeah. Patrick?

>> PACHECO: I'd say "Jitney,"

and if "Jitney" wins, it will

be...

August Wilson's 10-play cycle

will now have been nominated for

every one of his plays.

Two posthumously.

Obviously, I think "Radio Golf"

was nominated posthumously, and

now "Jitney" in the Revival

category.

All the other ones were

nominated for Best Play,

originally, but now all 10 --

He only won one -- "Fences."

>> RIEDEL: For "Fences," that's

right.

>> PACHECO: "Fences."

That was the only one.

But I think he will now get

another one.

>> RIEDEL: Jesse, where are you

in this category?

And they're all great, right?

>> GREEN: Yes, but I think

"Jitney" will win.

It's actually, in my opinion,

the least of the 10.

>> RIEDEL: Really?

>> GREEN: Well, it's the first

written, and then he rewrote it.

>> RIEDEL: Did you see

"Radio Golf"?

>> GREEN: Okay, maybe it's not

the least.

[ Laughter ]

But the production --

And the category is Best Revival

of a Play.

You never know quite whether

that's an award for the

production of a play we already

know, or for the play itself

getting another chance.

>> RIEDEL: I think it's the

production.

>> GREEN: Well, in that case --

>> RIEDEL:

Ruben Santiago-Hudson, who

directed it, was absolutely

first rate.

>> GREEN: But it's a good

argument for returning -- or

having an ensemble award in the

Tonys.

>> RIEDEL: That's right, 'cause

the actors -- every single actor

in that play was extraordinary,

and none of them were for

Best Actor, they were all

Featured.

You think "Jitney" wins,

Michael?

>> MUSTO: I do, and I did also

enjoy "Little Foxes," but that's

a pretty straightforward,

old-fashioned version of a

Lillian Hellman potboiler.

And the interesting thing about

this production is the lead

actresses, Cynthia Nixon and

Laura Linney, they alternated

roles, and it proves that Birdie

is one of the best parts in

American theater because they

both were superb as Birdie.

The fluttery neurotic.

But let me just say, "Jitney" is

going to win, also, I think,

'cause of the diversity pressure

now.

Not only was it deserving, but

with the Oscars, with all these

awards, this pressure to award

diversity.

And they're not going to vote

for "Sweat" for best play.

>> VINCENTELLI: No, that feels

like a pity vote almost, and

that's not true.

This show deserves...

>> MUSTO: Oh, no, I follow

awards for a living, and believe

me, it's a very --

>> RIEDEL: But I think the Tonys

have always been quite diverse

well before any problems with

the Oscars or anything.

They've always been diverse.

>> PACHECO: Totally.

>> GREEN: There's an argument to

be made after last year, which

was an incredibly diverse year,

and so offered a lot of

opportunities to reward the best

without reference to diversity.

And you got four black actors in

all the leading categories, and

it was amazing.

And it could be that some voters

feel pressure to not step too

far back from that this year.

>> RIEDEL: Moving right along to

Best Revival of a Musical --

Susan, the nominees are...

>> HASKINS: "Falsettos"...

>> GREEN: ♪ Ma ma ma ma ma

>> HASKINS: "Hello, Dolly!" and

"Miss Saigon."

>> RIEDEL: To me, Elisabeth --

This is a tough one.

>> GREEN: What will we say?

>> RIEDEL: I -- I mean, you

know, that struggling show,

"Hello, Dolly!" with

Bette Midler, I mean, it needs

this award to survive, does it

not, Elisabeth?

>> VINCENTELLI: Yeah, well...

I'm speechless.

What are you going to say?

Clearly, "Hello, Dolly!" is

going to win.

We can go on to the next.

>> RIEDEL: "Bonjour, Dolly!"

Patrick?

>> PACHECO: "Hello, Dolly!"

>> RIEDEL: Jesse?

>> GREEN: Obviously.

>> MUSTO: "Bonjour, Dolly!"

>> RIEDEL: Susan?

>> HASKINS: Okay, "Dolly" will

never -- Okay.

>> RIEDEL: All right, so let's

get into some of the acting

categories.

This is interesting.

Best Performance by a Leading

Actor in a Play.

Some really terrific

performances,

and they are, Susan...

>> HASKINS: Denis Arndt,

"Heisenberg."

Chris Cooper, "A Doll's House,

Part 2."

Corey Hawkins, "Six Degrees of

Separation."

Kevin Kline, "Present Laughter."

And Jefferson Mays, "Oslo."

>> RIEDEL: Jesse, Kevin Kline

seems to have no interest

whatsoever in meeting anyone,

saying hello to anybody, shaking

the hand of anyone in the press

or any Tony voter.

I'm told he doesn't even speak

to the press agent of the show.

Can he win this award by doing

absolutely nothing but his

performance?

>> GREEN: I think so.

>> RIEDEL: You think so?

>> GREEN: I do.

>> MUSTO: You won an Emmy.

[ Laughter ]

Kevin Kline is the Mo'Nique of

the Tonys.

He doesn't have to campaign.

Are you going to also say

Bette Midler's not doing

anything, she's not going to

win?

There's no horse race here.

He's got it in the bag.

Some idiot on the boards said,

"He does italicized acting in

this play."

He's playing a hammy actor.

The whole point of the play is

every character is saying, "Stop

acting in your real life."

He is brilliant, and he's got it

in the bag.

>> RIEDEL: Patrick?

>> PACHECO: I agree.

I think he's got it.

I think it's a great category,

and there may be some surprises,

but I don't think this will be a

surprise.

>> RIEDEL: Elisabeth?

>> VINCENTELLI: I agree.

>> RIEDEL: Kevin Kline.

>> VINCENTELLI: I love

Corey Hawkins.

I think he's the --

>> RIEDEL: They're all terrific,

yeah.

And Jefferson Mays in "Oslo" is

great.

>> VINCENTELLI: Underdog, I

would love to see Mr. Hawkins

win, but...

>> RIEDEL: Kevin Kline.

>> HASKINS: But, Kevin Kline,

you should have come on

"Theater Talk" to talk about

Noel Coward with Noel Coward

expert Barry Day.

You should have.

>> RIEDEL: Yeah, Kevin, that

means none of us are going to

vote for you 'cause you didn't

come on "Theater Talk," and

you're going to really be sorry.

>> HASKINS: If I had a vote...

>> MUSTO: Did Corey Hawkins

come on?

>> RIEDEL: [ Chuckles ]

Best Leading Actress in a Play.

The nominees are...

>> HASKINS: Okay.

Cate Blanchett, "The Present."

Jennifer Ehle, "Oslo."

Sally Field,

"The Glass Menagerie."

Laura Linney, "Lillian Hellman's

The Little Foxes."

And Laurie Metcalf,

"A Doll's House, Part 2."

>> RIEDEL: Patrick, I would say

Laurie Metcalf has advantage

here, but I got to tell you, I

thought Jennifer Ehle was very,

very good.

And in not a flashy role in

"Oslo," but she holds that play

together in many ways.

>> PACHECO: Totally.

I totally agree with you.

But I do think that it is

Laurie Metcalf's year.

And I think Laura Linney is

terrific, as well,

in this category.

It's a very competitive

category.

>> RIEDEL: Elisabeth?

>> VINCENTELLI: I actually liked

Laura Linney better as Birdie,

but she's nominated as Regina.

I liked her better in the other

part, so I'm going to agree that

it's going to be -- the winner

will be Laurie Metcalf, I think.

[ Laughs ] Jennifer Ehle's

always great.

Whatever show she's in, she

always holds it together.

She's just absolutely one of my

favorite actors.

I adore her.

Sally Field -- I just caught up

with "The Glass Menagerie"

fairly recently, and I was blown

away.

I did not expect --

Actually, I really did not have

any expectations, but I loved

that production,

and Sally Field is --

And I really thought I didn't

need to see another

"Glass Menagerie" for another

150 years, but it was fantastic.

I just absolutely loved it.

>> RIEDEL: Michael?

>> MUSTO: It's between Linney

and Metcalf, neither of whom

ever won a Tony, despite

multiple nominations.

But I think it's Metcalf's year.

They even nominated her for

"Misery."

They love her, okay?

>> RIEDEL: She should be

nominated for having to act on

the stage with Bruce Willis!

>> MUSTO: Exactly.

>> RIEDEL: With an earpiece the

size of a phone booth.

>> MUSTO: Laurie Metcalf has the

impossible task of playing Nora

15 years later, coming back to

finalize her divorce and settle

scores.

She's on stage virtually the

entire play.

She has interactions with --

All the actors are amazing, but

she's the whole show,

not like Jennifer Ehle.

>> HASKINS: I'm going to say

heresy.

I think that Laurie will win,

but I saw in her performance

shades of her character Jackie

in "Roseanne."

I really did.

>> MUSTO: And guess what she won

for that part -- the Emmy!

>> HASKINS: Where is it?

>> RIEDEL: There you go!

>> MUSTO: Let me touch it again.

It feels so good.

>> RIEDEL: All right, Jesse,

where are you on this?

>> GREEN: I agree,

Laurie Metcalf.

I also want to put in the same

word for Jennifer Ehle.

It's such an incredibly subtle

performance.

She doesn't even have that many

lines.

>> MUSTO: She's won twice,

hasn't she?

>> RIEDEL: And she's wearing a

gray suit the whole time, and

she stands out!

>> GREEN: This is her

performance.

It's brilliant.

>> VINCENTELLI: The problem --

you just pronounced the kind of

lethal word in Oscar -- in any

awards speak is "subtle."

>> GREEN: Yeah.

>> VINCENTELLI: Subtle does not

win awards.

That's just it.

>> MUSTO: That's why I never

win.

>> RIEDEL: Change your shirt.

All right, we got to hit Leading

Actor in a Musical, 'cause

that's interesting, and the

nominees are...

>> HASKINS: Okay,

Christian Borle, "Falsettos."

Josh Groban, "Natasha, Pierre

& The Great Comet of 1812."

Andy Karl, "Groundhog Day

The Musical."

David Hyde Pierce,

"Hello, Dolly!"

And Ben Platt,

"Dear Evan Hansen."

>> PACHECO: Wow. Wow.

>> RIEDEL: Where are you on this

one, Elisabeth?

>> VINCENTELLI: Oh, I think

Ben Platt.

>> GREEN: Yeah.

>> VINCENTELLI: He's going to

win and should win.

I love Andy Karl.

He had a burst of...

>> RIEDEL: Publicity there when

he hurt his leg.

>> VINCENTELLI: There was a

publicity and an enthusiasm for

his performance, which was just

a terrific performance, great.

There was a burst of excitement

after he busted his knee.

What a trooper, he went back.

He's terrific.

>> GREEN: But then Ben Platt

went and had open heart surgery

on stage, and so he got it right

back.

>> RIEDEL: Patrick, are you with

Elisabeth on this one?

>> PACHECO: I am with Elisabeth

on Ben Platt, but I think that

Andy Karl may well win, and I

think David Hyde Pierce did an

extraordinary job.

>> RIEDEL: Fabulous.

David Hyde Pierce is terrific.

>> PACHECO: He really holds the

stage with Bette Midler.

>> RIEDEL: And by the way, I

want to put in a good word for

David Hyde Pierce because there

was a possibility that he could

have been nominated in

Featured Actor category, which

he probably would have won, but

he wanted Gavin Creel, who was

Cornelius, he wanted Gavin to

have a shot in Featured.

>> MUSTO: Actors are so giving.

You're going to make me cry.

He insisted on being Lead

because he wanted to do it --

Anyway, I was there the night

Andy Karl hurt himself, and he

is brilliant in the show, and he

basically had to crawl off

stage.

They announced, "Everyone clear

the stage.

Is there a doctor in the house?"

15 minutes later, Andy Karl came

back on a walking stick and

finished the show.

That's Ethel Merman-style

trooping, right?

I had to call his wife, Orfeh, a

friend of mine, and tell her

he's okay, 'cause she had heard

gossip.

I was like, "He finished a show.

Don't worry.

He's hurt, but he's going to be

okay.

>> HASKINS: But you still don't

think he'll get it?

>> GREEN: Oh, we should give him

the Emmy for that.

>> RIEDEL: Very well done,

Michael.

You are better --

You are the best personal

publicist I have ever met.

That's it.

>> MUSTO: All right, you people.

But I think Ben Platt has the

edge, just 'cause they love

crowning, like, a new star.

>> RIEDEL: Who is it gonna be?

>> HASKINS: It's gonna be

Ben Platt.

>> RIEDEL: Andy Karl.

"Come From Away," starring

Andy Karl -- go to a sweep.

>> MUSTO: Let's roll back the

tape.

It was Audra against

Cherry Jones, and you said...

Tyne Daly.

>> RIEDEL: That's -- Okay.

Let's do Book and Score.

>> HASKINS: Best Book of a

Musical, "Come From Away,"

"Dear Evan Hansen,"

"Groundhog Day The Musical,"

"Natasha, Pierre &

The Great Comet."

>> RIEDEL: Actually, this is a

boring category.

It's "Dear Evan Hansen," right?

>> VINCENTELLI: Uh, yes.

>> PACHECO: I think in both

cases, and I think

Steve Levenson did a great job,

and if I forget his Off-Broadway

play, it just kind of cements

him as one of the best writers

around.

>> RIEDEL: Jesse?

>> GREEN: Huh?

[ Laughter ]

Bette Midler.

>> MUSTO: Best Book is your book

on Arthur Laurents.

>> RIEDEL: Best Book is

"Razzle Dazzle: The Battle for

Broadway," I got to tell you

guys.

>> GREEN: "Dear Evan Hansen" for

both categories.

>> MUSTO: "DEH," yes.

I think where "Natasha" is gonna

score is in some things like Set

and Choreography, possibly.

It's going to get something.

>> RIEDEL: Yeah, totally.

>> HASKINS: And maybe the

director will get it, what do

you think?

>> MUSTO: I think "DEH."

>> RIEDEL: Who was the director?

>> PACHECO: Rachel Chavkin.

>> HASKINS: Yes, let's look.

Best Direction of a Musical.

Christopher Ashley,

"Come From Away."

Rachel Chavkin,

"Natasha, Pierre."

Michael Greif,

"Dear Evan Hansen."

Matthew Warchus,

"Groundhog Day."

Jerry Zaks, "Hello, Dolly!"

>> RIEDEL: I think it's

Chris Ashley for

"Come From Away."

>> PACHECO: Wow. Could well be.

>> RIEDEL: I do!

>> VINCENTELLI: That is madness.

>> RIEDEL: No, I think this guy

took a little show that no one

was paying any attention to and

turned it into a $10 million

thing.

>> GREEN: She doesn't agree with

you.

>> RIEDEL: No, I...

What do you think?

>> PACHECO: If the show succeeds

at all, it's because of

Chris Ashley.

>> RIEDEL: Exactly!

>> PACHECO: I totally agree.

>> VINCENTELLI: But that does

not make it a good --

Because the show is so mediocre

to begin with.

Like, anything that makes it

passable is -- No!

>> RIEDEL: So you think it's

Michael Greif for

"Dear Evan Hansen."

>> VINCENTELLI: It could be

Michael Greif, or it could be

Rachel Chavkin, or --

And I also love what

Matthew Warchus did with

"Groundhog Day," so...

>> PACHECO: I think it's

Michael Greif.

He's been doing great work for a

long time, and I think it's

between Michael Greif --

>> HASKINS: Did he win for

"Rent"?

>> PACHECO: No. I don't think --

He's never won a Tony, but he's

done terrific work.

>> RIEDEL: Jesse?

>> GREEN: I think it will be,

also, but Rachel Chavkin --

I'm not a huge fan of Natasha or

Pierre or her comet, but that's

one amazing staging, so you

could easily see that happening.

>> HASKINS: And then she did it

three times, three different

versions.

>> GREEN: Well, I've done a lot

of things three times.

Doesn't mean...

>> MUSTO: And you all loved

"Hello, Dolly!" but nobody's

mentioning "Hello, Dolly!" might

win Director.

>> RIEDEL: Jerry Zaks did a

great job.

>> MUSTO: I think he would be

the runner-up.

>> HASKINS: He did, but that

show had been plotted out 50

years ago.

>> RIEDEL: Yeah, but it could

have been a really old-fashioned

thing, and he made it --

>> PACHECO: And it is a really

old-fashioned thing.

>> RIEDEL: He made it fresh

and fun.

>> HASKINS: Wonderful,

wonderful, wonderful.

>> RIEDEL: Kevin Spacey hosting

the Tony Awards.

Not necessarily a

song-and-dance man, but I think

he has a plum.

Could pull it off.

Could be great fun, right,

Patrick?

>> PACHECO: I think it's a

terrific choice.

>> RIEDEL: Jesse -- Kevin Spacey

a good choice to host the Tonys?

>> GREEN: Well, apparently

they've used --

Everyone else on Earth passed,

so, yes.

>> RIEDEL: He's actually going

to be doing a Tina Fey imitation

hosting the Tonys, 'cause that's

the one they wanted.

>> HASKINS: He certainly is

something else, and plus, he's

your good friend,

so there you go.

>> RIEDEL: Susan, I do not like

to drop names.

I don't brag about my --

>> PACHECO: Get him a Tony.

>> RIEDEL: I dropped an Emmy.

>> GREEN: But my friend, Tony.

>> RIEDEL: That's right.

I just want to say, thank you so

much, all the people who helped

me get this Emmy --

Hugh Jackman, Bette Midler,

Kevin Spacey.

>> HASKINS: The little people.

>> RIEDEL: Kevin Kline,

Laurence Olivier, John Gielgud.

Thank you so much.

All right, thank you very much,

Elisabeth Vincentelli from

The New Yorker and

The New York Times,

Patrick Pacheco...

>> PACHECO: NY1 "On Stage."

>> RIEDEL: Jesse Green.

Whoa, atThe New --

>> GREEN: I'm so powerful.

>> RIEDEL: I got to ask you

quick before we go.

Oh, here's a bit of gossip.

I heard that they've taken away

all the desks for the critics at

The New York Times because

they're renting the space out

to, like, a real estate company

because they need --

>> GREEN: That is so false.

It's a ribs restaurant.

[ Laughter ]

You and your gossip.

>> PACHECO: It's fake news.

>> RIEDEL: Jesse Green of the

failingNew York Times.

And Michael Musto.

>> MUSTO: Dead behind the eyes.

>> RIEDEL: And Susan Haskins,

who very much deserved this

Emmy Award.

I could not do this show without

my good friend, Susan Haskins.

>> MUSTO: We love you, Susan!

>> HASKINS: Thank you.

>> VINCENTELLI: Hear, hear!

>> RIEDEL: But I am the star.

Thank you very much for being my

guests here on "Theater Talk."

>> PASEK: ♪ On the outside,

always looking in ♪

♪ Will I ever be more

than I've always been? ♪

♪ 'Cause I'm tap, tap, tapping

on the glass ♪

♪ I'm waving through a window

♪ I

♪ I try to speak,

but nobody can hear ♪

♪ So I wait around for an answer

to appear ♪

♪ While I'm watch, watch,

watching people pass ♪

♪ I'm waving through a window

♪ Ohhh

♪ Can anybody see?

♪ Is anybody waving?

>> HASKINS: Our thanks to the

Friends of "Theater Talk" for

their significant contribution

to this production.

>> ANNOUNCER: We welcome your

questions or comments

for "Theater Talk."

Thank you.