CHILD ACTOR youngest female to win a Tony AWARD DAISY EGAN SIGNED CARD 1991

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Seller: memorabilia111 ✉️ (807) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176270372930 CHILD ACTOR youngest female to win a Tony AWARD DAISY EGAN SIGNED CARD 1991 . A VINTAGE 3X5 CARD SIGNED BY DAISY EGAN AS AN 11 YEAR OLD CHILD IN 1991 INSCRIBED IN BLACK INK

At eleven years old, Daisy Eagan became (and remains today) the youngest actress ever to win the Tony Award for the Best Performance by A Featured Actress when she dazzled New York audiences as Mary Lennox in The Secret Garden.
Daisy Eagan (born November 4, 1979) is an American actress. In 1991, she won the Tony Award for Best Performance by a Featured Actress in a Musical for playing Mary Lennox in The Secret Garden. She was nominated for a Drama Desk Award for Outstanding Actress in a Musical and an Outer Critics Circle Award for Best Actress in a Musical for the role.[1] At eleven years old, she is the youngest female to win a Tony to date (as of 2018), and is the second youngest person to win a Tony (Frankie Michaels was ten when he won his Tony for Mame).[2] In 1992, Eagan sang "Broadway Baby" in the concert Sondheim: A Celebration at Carnegie Hall.[3] She appeared in the Blank Theatre Company's production of The Wild Party in 2005 in Los Angeles as the street waif,[4] and is the recipient of the 2005 LA Weekly Theater Award for Best Supporting Actress in a Musical.[5] She appeared in the Manhattan Concert Productions presentation of The Secret Garden at David Geffen Hall in February 2016 as the housemaid Martha. She reprised her role as Martha in 2016 for the Shakespeare Theatre Company's in Washington DC;[6] this production then moved in 2017 to the 5th Avenue Theatre in Seattle.[7] Her film work includes Losing Isaiah (1995),[8]Ripe (1996)[9] and Tony n' Tina's Wedding (2004)[10] She has appeared on television in episodes of Without a Trace (2007),[11] The Unit (2006),[12] Ghost Whisperer (2006),[13] Numb3rs (2006),[14], The Mentalist (2012) and Girls (2017)[15] among other shows. This season a quartet of pint-sized performers making their Broadway debut are receiving Tony Honors for Excellence in the Theatre. Sophia Gennusa (9), Oona Laurence (10), Bailey Ryon (11) and Milly Shapiro (10) are being recognized with this non-competitive honor for their remarkable performances alternating as the title character of Matilda The Musical. But who, you might ask, is the youngest individual ever to win an American Theatre Wing Tony Award®? In 2009, David Alvarez, Trent Kowalik and Kiril Kulish made Tony Award history: All three were nominated as one for Best Actor in a Musical, for alternating the title role in Billy Elliot, and all three won (thankfully, each got his own trophy). At 14 and 15 years of age, they were quite young, but by no means the youngest actors to win a Tony. In 1991, Daisy Eagan caused a stir with her heartfelt, heartbreakingly teary acceptance of the Best Featured Actress in a Musical prize for playing Mary Lennox in The Secret Garden. Audrey Hepburn, recipient of 1954’s Tony for Leading Actress in a Play for her performance in Ondine, presented the award. Eagan was 11 and a half, but still not the youngest winner ever. That distinction goes to Frankie Michaels, who held his own as Patrick Dennis opposite Angela Lansbury in Mame and against the competition to win 1966’s Best Featured Actor in a Musical Tony just a month after turning 11. This article appears in a slightly different form in the 2013 Tony Awards Commemorative Program published by Where. Several months after winning an L.A. Weekly Theater Award trophy for Supporting Female in last season’s production of Michael John LaChiusa’s musical, The Wild Party, at the Blank Theatre, Daisy Eagan mentioned that she was ready to leave performing. When I told her I’d like to write about what led her to this decision, she hedged and asked for time to think about it. Eagan was 11 when she received a Tony Award for her performance in The Secret Garden. She’s still the youngest recipient of that coveted prize, which has done nothing to bolster her self-confidence. It might even have done damage. “When I got the Tony, my mother told me if I ever got a big head, she’d pull me out of the business,” Eagan says. “She had good intentions; she didn’t want me to be a brat. But I’m a New York Jew, so I’m already hard on myself.” Even now, one bad review in a stream of positive notices can set her reeling, she says, which is why she tries not to read any of them. Eagan’s crisis of confidence is perennial. She wobbles between believing in herself and believing the worst of what others say about her. “I have a preoccupation with what other people think of me,” Eagan explains. “I have to say that any actor who doesn’t care what other people think of them isn’t telling the truth. We perform for people. We want people to enjoy our work.” This may be true, but it’s also why, for years, Eagan has been standing at a precipice, between remaining an actor and quitting. And whenever she’s about to leap off into a new career, local theater woos her back. During her 20-year career, Eagan has accrued an impressive list of credits in TV and film (she moved here from New York in 2003), on Broadway and off-Broadway (Ensemble Studio Theatre, Playwrights Horizons), and in regional theaters (South Coast Repertory and La Jolla Playhouse). She also stepped in as a last-minute replacement in Sunset Boulevard at the Pantages. And though, like most actors, her employment as a performer has been both glittering and sporadic, she says it’s mostly the Industry that keeps rattling her confidence — and even her desire to continue acting — while the theater has come to her rescue, providing comfort and confidence, particularly the theater in Southern California. “I came out here to do TV and film, and I’ve done more theater in L.A. than I ever did in New York,” she says. “I also found the theater community out here to be more embracing, warmer. The New York theater community got to be a little cold, maybe because I went through such a difficult time there, and I didn’t find much support from people who were happy to be around me when I was a star on Broadway, and less happy to be around me when I wasn’t.” Yet Eagan says issues of professional identity are tougher here: “You tell people you’re an actor, they don’t even blink. But I want to say I really am an actor. I work. But everyone’s an actor. Eventually, when I was in bars and people would ask me what I did, I’d lie and say I was a rocket scientist.” Then there’s the dismissive attitude toward local theater by the Industry itself. “I’ve been through six agents out here,” Eagan says, “and couldn’t get one of them to see any of the plays I was in — not even The Wild Party, which was in Hollywood with free tickets.” To keep the rent paid when auditions weren’t panning out into roles, Eagan has worked all kinds of jobs here, including telemarketing for a prepay psychic hot line. “If you’ve been an actor for 20 years, being a telemarketer is easy,” she says. “The people around you are getting upset over all the rejection, and I say, ‘Oh, please…’ ” That job didn’t last long. Eagan was fired after she wrote a scathing blog about the company and the customers, which, of course, got read by a company exec. “I was lucky they didn’t sue me,” she says. Last month, Eagan was again dangling on the edge of quitting, her dissatisfaction stemming mostly from the long shadow the Industry casts here. “My decision [to leave] is largely based on experiences in L.A. It’s a totally different environment out here [from New York],” she says, referring to film/TV casting calls, “not based on ability but on factors that are beyond your control. To be frank, I’ve lost faith in my ability at this point. It’s hard for me to think about auditioning, because I worry they’re going to find out that basically I have no talent. How many times can a person be told ‘no’ and still keep going?” On one occasion, however, Eagan was the one who said “no” — to the Mark Taper Forum, no less, which had asked her to understudy five roles. “Maybe it’s just my perception,” Eagan explains, “but once you reach a certain level, it’s awkward to take things like understudy jobs, because it makes people wonder what’s happened to your career, rather than people thinking you’re just an actor like everyone else. My career started so easily. I reached such a height so quickly, that’s all I knew, that’s what I expected. So when I got older and it wasn’t so easy, it was hard to come to terms with that. I’m just realizing this now. Sometimes I wish I could start over and be totally anonymous.” At age 6, after seeing her father perform in a play, Eagan decided she wanted to act in theater. “I was not very popular in school; I thought of acting as a way to get out, to be somebody else,” she says. “I auditioned for a musical at the Brooklyn Academy of Music and I got the lead. The next audition was for Les Miz and I got that.” Two years after her Tony, Eagan’s mother died, sending the child on a whirlwind of grief and confusion. “I was mad. I was rebelling and sabotaging myself,” she explains. “Here I was in New York, without any training, up against a lot of girls who had been in singing and dancing lessons since they were 3. I didn’t know a work ethic. So I was dealing with being a teenager, and I figured there’s a conspiracy, nobody wants to hire me. It’s only recently I figured, well, maybe I wasn’t hirable.” In 2005, again contemplating throwing in the towel, Eagan got the call to do The Wild Party. “That’s happened quite a few times. I say I can’t do this anymore, and then I’m offered a great part that reminds me of why I love to do it,” she tells me. “And it’s always in the theater, never TV or film. If I can guest-star on a TV show, I’m like, okay, it’s nice to work, obviously, but it doesn’t do the same thing that theater does. I’m not caught up in a dream of being famous, just comfortable, where I don’t have to worry about paying the rent. “I love to do theater, but I don’t like being broke,” Eagan adds. “It’s hard to go from being the youngest actress on Broadway to not making any money. I wasn’t trained for that. But I’m learning. And it’s humbling. It’s teaching me about flesh and blood. This business is not so much about talent but perseverance and thick skin. I have the perseverance, but my skin is thinning — which I’m working on, but it’s tough.” At eleven years old, Daisy Eagan became (and remains today) the youngest actress ever to win the Tony Award for the Best Performance by A Featured Actress when she dazzled New York audiences as Mary Lennox in The Secret Garden. Over twenty years later, her career has brought her back to Broadway again and again, and has also sent her across the country in a national tour, world premieres at South Coast Rep and La Jolla Playhouse, numerous television appearances, starring roles in film, leads on Los Angeles' most prestigious stages, inspired three self-penned one-woman shows, and much, much more. Daisy's sardonic wit, dry humor, and impeccable comic timing have earned her a devoted fanbase, and have also worked in tandem with her frankness and vulnerability to inspire three hilarious and heartfelt one-woman shows: Daisy Eagan: Fck You. I Love You., Still Daisy After All these Years, and One For My Baby. Each show explores deeply funny and sometimes tragic themes, as Daisy intertwines a wide spectrum of songs into her storytelling. With accounts ranging from "life after Broadway" to the devastating loss of her mother, on to the struggles and compromises she has made as an artist, her life stories illustrate that, yes, truth really IS stranger than fiction. A published, award-winning writer with a loyal and growing audience, Daisy hasn't left her creative talents on the stage. A fierce fighter and activist for women's and LGBTQ rights, she is a rousing voice in political arenas, and continues to fight for change throughout her literary career. Daisy lives in New York and she teaches and speaks across the country.  ​ In May of 2013, she welcomed her first child, Monty Harrison Eagan-Bloom. He has red, red hair and finds magic in every little thing. The term child actor or child actress is generally applied to a child acting on stage or in movies or television, but also to an adult who began their acting career as a child. To avoid confusion, the latter is also called a former child actor. Closely associated is teenage actor or teen actor, an actor who reached popularity as a teenager. Famous earlier examples include Elizabeth Taylor, that started as a child star in the early 1940s in productions like National Velvet before becoming a popular film star as an adult in movies. Many child actors find themselves struggling to adapt as they become adults, mainly due to typecasting. Macaulay Culkin and Lindsay Lohan are two particular famous child actors who eventually experienced much difficulty with the fame they acquired at a young age. Some child actors do go on to have successful acting careers as adults; notable actors who first gained fame as children include Mickey Rooney, Kurt Russell, Jodie Foster, Christian Bale, Elijah Wood, Natalie Portman, and Scarlett Johansson. Other child actors have gone on to successful careers in other fields, including director Ron Howard, politicians Lech and Jarosław Kaczyński, and singer Jenny Lewis. Contents 1 Regulation 1.1 California 1.2 United Kingdom 2 Issues 2.1 Ownership of earnings 2.2 Competitive pressure 3 After the childhood success 3.1 Other careers 4 See also 5 References 6 External links Regulation In the United States, the activities of child actors are regulated by the governing labor union, if any, and state laws. Some projects film in distant locations specifically to evade regulations intended to protect the child. Longer work hours or risky stunts prohibited by California, for example, might be permitted to a project filming in British Columbia. US federal law "specifically exempted minors working in the Entertainment Business from all provisions of the Child Labor Laws." Any regulation of child actors is governed by disparate state laws. California Due to the large presence of the entertainment industry in Hollywood, the state of California has some of the most explicit laws protecting child actors. Being a minor, a child actor must secure an entertainment work permit before accepting any paid work. Compulsory education laws mandate that the education of the child actor not be disrupted while the child is working, whether the child actor is enrolled in public school, private school or even home school. The child does their schoolwork under the supervision of a studio teacher while on the set. United Kingdom In the United Kingdom, a child actor is defined as someone under school leaving age.[1] Before a child can work, they require a performance license from their Local Education Authority as well as a licensed chaperone; a parent can only chaperone their own child, and a chaperone's duties include acting in loco parentis and record arrival and departure time from the work place, the time a child is working, their breaks and the amount of tutoring.[1][2] A child requires three hours minimum of tutoring daily and a lesson must be a minimum of 30 minutes to count towards the total and with regards to 16 and 17-year-old in further education, considerations are made in regards to their studies.[3] There are regulations and guidance to safeguard all actors under the age of 18; OFCOM guidance states a child's health and safety, well being and welfare is paramount in television production and factors such as their age, maturity and life experiences can affect their performance.[4] OFCOM also advises that broadcasters undertake risk assessments, consider seeking expert advice and follow best practice.[4] Issues Ownership of earnings Before the 1930's, many child actors never got to see the money they earned because they were not in charge of this money. Jackie Coogan earned millions of dollars from working as a child actor only to see most of it squandered by his parents. In 1939, California weighed in on this controversy and enacted the Coogan Bill, which requires a portion of the earnings of a child to be preserved in a special savings account called a blocked trust.[5] A trust that is not actively monitored can also be problematic, however, as in the case of Gary Coleman, who after working from 1974, later sued his adoptive parents and former business advisor for $3.8 million over misappropriation of his trust fund.[6][7] Competitive pressure Some people[who?] also criticize the parents of child actors for allowing their children to work, believing that more "normal" activities should be the staple during the childhood years. Others[who?] observe that competition is present in all areas of a child's life—from sports to student newspaper to orchestra and band—and believe that the work ethic instilled or the talent developed accrues to the child's benefit.[citation needed] The child actor may experience unique and negative pressures when working under tight production schedules. Large projects which depend for their success on the ability of the child to deliver an effective performance add to the pressure.[citation needed] Ethel Merman, who several times worked in long-running stage productions with child actors, disliked what she eventually saw as their over-professionalization—"acting more like midgets than children"—and disapproved of parents pushing adulthood on them.[8] After the childhood success This section possibly contains synthesis of material which does not verifiably mention or relate to the main topic. Relevant discussion may be found on the talk page. (May 2019) (Learn how and when to remove this template message) Jodie Foster in 1974 There are many instances of troubled adult lives due to the stressful environment to which child actors are subjected. It is common to see a child actor grow up in front of the camera, whether in films, TV shows or both. However, it is not uncommon to see child actors continue their careers throughout as actors or in a different professional field. Jodie Foster started acting at age 3, becoming the quintessential child actor during the 1970's with roles in films such as Tom Sawyer (1973), Alice Doesn't Live Here Anymore (1974), Taxi Driver (1976), Bugsy Malone (1976), The Little Girl Who Lives Down the Lane (1976), and Freaky Friday (1976). A child prodigy, Foster received her first Academy Award nomination at age 13 and later took a sabbatical from films to attend Yale University. She made a successful transition to adult roles, winning two Academy Awards for Best Actress before the age of 30, and starring in several successful and acclaimed films such as The Accused (1988), The Silence of the Lambs (1991), Nell (1994), Maverick (1994), Contact (1997), and The Brave One (2007), thus establishing herself as one of the most accomplished and sought-after actresses of her generation. She has also ventured into directing and her directing credits include films such as Little Man Tate (1991), Money Monster (2016) and television shows such as House of Cards, Orange Is the New Black, and Black Mirror. Now adults, Daniel Radcliffe, Rupert Grint and Emma Watson, the three leads of the acclaimed Harry Potter film series (2001–11), starred in every installment in the series, and have since continued to act in film, television, and theater in their early 30's. Dakota Fanning rose to prominence after her breakthrough performance at age 7 in the film I Am Sam (2001). Her performance earned her a Screen Actors Guild Award nomination at age 8 in 2002, making her the youngest nominee in SAG history. She later appeared in major Hollywood productions, in such acclaimed blockbuster films as Man on Fire (2004), War of the Worlds (2005), Charlotte's Web (2006), Hounddog (2007), The Secret Life of Bees (2008), Coraline (2009), The Twilight Saga film series (2009–12), The Runaways (2010), and The Motel Life (2012). Fanning's younger sister, Elle Fanning also rose to prominence as a child actress, having appeared in many films since before she turned 3. Miranda Cosgrove, known mainly for her role on Nickelodeon's Drake & Josh as a child, gained more attention for her role as a teenager in the show iCarly. Since the end of the show she has been featured in other roles, including as the voice of Margo in the Despicable Me franchise. Once she was of age, she decided to pursue a college degree in film at the University of Southern California.[9] Late actress Shirley Temple became a public figure and diplomat, beginning in the 1960's. Some of her duties included representing the United Nations, and becoming a U.S. ambassador in countries such as Ghana and Czechoslovakia.[10] Mary-Kate Olsen was treated for an eating disorder, deemed anorexia, but her twin sister remained less troubled. In an article with the magazine Marie Claire, Mary-Kate expressed the bittersweet nature of the twins' childhood. "I look at old photos of me, and I don't feel connected to them at all," she said. "I would never wish my upbringing on anyone... but I wouldn't take it back for the world." The twins now have continued success in the fashion industry with an estimated net worth of approximately $100 million dollars. Mandy Moore is one of the child stars to have success as an adult with the start of her growing career in 1993. Drew Barrymore, a former child star, started acting at age 3. During her childhood she battled with drugs, but recovered and currently continues to act. Natalie Portman took a small break in acting to get a bachelor's degree in Psychology from Harvard University before continuing her career as an actress. Rider Strong, known as "Shawn Hunter" in Boy Meets World, was educated at Columbia University and now runs a successful blog and has published a graphic novel.[11] Neil Patrick Harris started his career as a child actor in Doogie Howser, M.D. He continues to act in television, films and theater. Harris is now a cult figure icon. Jonathan Lipnicki, known mostly for the Stuart Little films, now successfully competes in Brazilian jiu-jitsu.[11] Sara Gilbert is known for her role on Roseanne and later created and served as a co-host for CBS's The Talk. Also from Roseanne, Michael Fishman continued to work in film, but behind the scenes and has since been nominated for an Emmy for the work he did in Sports Science. Both Gilbert and Fishman returned for the later series based on Roseanne, The Conners, with Gilbert also serving as an executive producer and guiding the series through its transition after Roseanne Barr was fired after the tenth season of the revived Roseanne.[11] Kirsten Dunst and Lacey Chabert both made the transition from a child actress to an adult actress with a rough patch including depression. After a stay in a rehabilitation center, Dunst was able to recover and continue her career. She proves that the pressures of growing up under the spotlight may not come without repercussions.[12] Roddy McDowall, who had a long and outstanding career including as the regular star of the Planet of the Apes series; Micky Dolenz, who started his career as a child star in the 1950s, grew up to be a musician of the successful 1960s pop group The Monkees, which had its own successful television show; Ron Howard, who, in addition to being the star of both of the long running The Andy Griffith Show and Happy Days television series, became an Academy Award-winning director in adulthood; Elijah Wood, who continued his career successfully into adulthood, starring as Frodo Baggins in The Lord of the Rings film series and starring as Ryan Newman in the television series Wilfred. Other careers Many actors and child actors careers are often quite short. Many actors, out of personal choice, that start their careers as child actors decide not to pursue the same careers as adults. Shirley Temple, for example became a public figure and diplomat. Peter Ostrum, appearing in his only role, the lead character of Charlie Bucket in Willy Wonka and the Chocolate Factory became a large-scale veterinarian surgeon. While Jenny Lewis, formerly of film Troop Beverly Hills in 1989, is a well-known singer-songwriter indie rock musician. In Poland, former child actors and identical twin brothers Lech and Jarosław Kaczyński became successful politicians, at one time Lech being President and Jarosław the Prime Minister. The Antoinette Perry Award for Excellence in Broadway Theatre,[1] more commonly known as the Tony Award, recognizes excellence in live Broadway theatre. The awards are presented by the American Theatre Wing and The Broadway League[2] at an annual ceremony in Midtown Manhattan. The awards are given for Broadway productions and performances. One is also given for regional theatre. Several discretionary non-competitive awards are given as well, including a Special Tony Award, the Tony Honors for Excellence in Theatre, and the Isabelle Stevenson Award.[3] The awards were founded by theatre producer and director Brock Pemberton and are named after Antoinette "Tony" Perry, an actress, producer and theatre director who was co-founder and secretary of the American Theatre Wing. The trophy consists of a medallion, with faces portraying an adaptation of the comedy and tragedy masks, mounted on a black base with a pewter swivel. The rules for the Tony Awards are set forth in the official document "Rules and Regulations of The American Theatre Wing's Tony Awards", which applies for that season only.[4] The Tony Awards are considered the highest U.S. theatre honor, the New York theatre industry's equivalent to the Academy Awards (Oscars) for film, the Emmy Awards for television, and the Grammy Awards for music. It also forms the fourth spoke in the EGOT, that is, someone who has won all four major annual American entertainment awards. The Tony Awards are also considered the equivalent of the Laurence Olivier Awards in the United Kingdom and the Molière Awards in France. The 74th annual ceremony was held on September 26, 2021, at Winter Garden Theatre in New York City and was broadcast live on CBS, as well as the Paramount+ streaming service. Audra McDonald and Leslie Odom Jr. served as the hosts. Contents 1 Award categories 1.1 Performance categories 1.2 Show and technical categories 1.3 Special awards 1.4 Retired awards 2 History 2.1 Medallion 3 Details of the Tony Awards 3.1 Rules for a new play or musical 3.2 Committees and voters 3.3 Eligibility date (Season) 3.4 Broadway theatre 4 Criticism 5 Award milestones 5.1 Productions 5.2 Individuals 5.3 Firsts 6 See also 7 References 8 External links Award categories Most recent Tony Award winners ← 2020 2022 Tony Awards 2023 →   Award Best Leading Actor in a Play Best Leading Actress in a Play Winner Simon Russell Beale (The Lehman Trilogy) Deirdre O'Connell (Dana H.) Award Best Leading Actor in a Musical Best Leading Actress in a Musical Winner Myles Frost (MJ) Joaquina Kalukango (Paradise Square)   Sam Mendes, Charlie and the Chocolate Factory, 2013 (cropped).jpg Award Best Direction of a Musical Best Direction of a Play Winner Marianne Elliott (Company!) Sam Mendes (The Lehman Trilogy) Previous Best Musical Moulin Rouge! Previous Best Play The Inheritance Best Musical A Strange Loop Best Play The Lehman Trilogy As of 2014, there were 26 categories of awards, in addition to several special awards. Starting with 11 awards in 1947, the names and number of categories have changed over the years. Some examples: the category Best Book of a Musical was originally called "Best Author (Musical)". The category of Best Costume Design was one of the original awards. For two years, in 1960 and 1961, this category was split into Best Costume Designer (Dramatic) and Best Costume Designer (Musical). It then went to a single category, but in 2005 it was divided again. For the category of Best Director of a Play, a single category was for directors of plays and musicals prior to 1960.[5] A newly established non-competitive award, The Isabelle Stevenson Award, was given for the first time at the awards ceremony in 2009. The award is for an individual who has made a "substantial contribution of volunteered time and effort on behalf of one or more humanitarian, social service or charitable organizations".[6] The category of Best Special Theatrical Event was retired as of the 2009–2010 season.[7] The categories of Best Sound Design of a Play and Best Sound Design of a Musical were retired as of the 2014–2015 season.[8] On April 24, 2017, the Tony Awards administration committee announced that the Sound Design Award would be reintroduced for the 2017–2018 season.[9] Performance categories Best Performance by a Leading Actor in a Play Best Performance by a Featured Actor in a Play Best Performance by a Leading Actor in a Musical Best Performance by a Featured Actor in a Musical Best Performance by a Leading Actress in a Play Best Performance by a Featured Actress in a Play Best Performance by a Leading Actress in a Musical Best Performance by a Featured Actress in a Musical Show and technical categories Best Musical Best Revival of a Musical Best Direction of a Musical Best Book of a Musical Best Original Score Best Orchestrations Best Choreography Best Scenic Design in a Musical Best Costume Design in a Musical Best Lighting Design in a Musical Best Sound Design of a Musical Best Play Best Revival of a Play Best Direction of a Play Best Scenic Design in a Play Best Costume Design in a Play Best Lighting Design in a Play Best Sound Design of a Play Special awards Regional Theatre Tony Award Special Tony Award (includes Lifetime Achievement Award) Tony Honors for Excellence in Theatre Isabelle Stevenson Award Retired awards Best Author Best Conductor and Musical Director Best Costume Design (split into two categories: Best Costume Design in a Musical and Best Costume Design in a Play) Best Lighting Design (split into two categories: Best Lighting Design in a Musical and Best Lighting Design in a Play) Best Newcomer Best Revival (split into two categories: Best Revival of a Musical and Best Revival of a Play) Best Scenic Design (split into two categories: Best Scenic Design in a Musical and Best Scenic Design in a Play) Best Stage Technician Best Special Theatrical Event Best Director (split into two categories: Best Direction of a Musical and Best Direction of a Play) History Main article: List of Tony Awards ceremonies The award was founded in 1947 by a committee of the American Theatre Wing (ATW) headed by Brock Pemberton. The award is named after Antoinette Perry, nicknamed Tony, an actress, director, producer and co-founder of the American Theatre Wing, who died in 1946.[10] As her official biography at the Tony Awards website states, "At [Warner Bros. story editor] Jacob Wilk's suggestion, [Pemberton] proposed an award in her honor for distinguished stage acting and technical achievement. At the initial event in 1947, as he handed out an award, he called it a Tony. The name stuck."[11] Nevertheless, the awards were sometimes referred to as the "Perry Awards" in their early years.[12][13] The 1st Tony Awards was held on April 6, 1947, at the Waldorf Astoria hotel in New York City.[14] The first prizes were "a scroll, cigarette lighter and articles of jewelry such as 14-carat gold compacts and bracelets for the women, and money clips for the men".[15] ATW co-founder Louise Heims Beck was responsible for over seeing the organization of the first awards.[16] It was not until the third awards ceremony in 1949 that the first Tony medallion was given to award winners.[15] Since 1967, the award ceremony has been broadcast on U.S. national television and includes songs from the nominated musicals, and occasionally has included video clips of, or presentations about, nominated plays. The American Theatre Wing and The Broadway League jointly present and administer the awards. Audience size for the telecast is generally well below that of the Academy Awards shows, but the program reaches an affluent audience, which is prized by advertisers. According to a June 2003 article in The New York Times: "What the Tony broadcast does have, say CBS officials, is an all-important demographic: rich and smart. Jack Sussman, CBS's senior vice president in charge of specials, said the Tony show sold almost all its advertising slots shortly after CBS announced it would present the three hours. 'It draws upscale premium viewers who are attractive to upscale premium advertisers,' Mr. Sussman said..."[17][18] The viewership has declined from the early years of its broadcast history (for example, the number of viewers in 1974 was 20 million; in 1999, 9.2 million) but has settled into between six and eight million viewers for most of the decade of the 2000s.[19] In contrast, the 2009 Oscar telecast had 36.3 million viewers.[20] Medallion The Tony Award medallion was designed by art director Herman Rosse and is a mix of mostly brass and a little bronze, with a nickel plating on the outside; a black acrylic glass base, and the nickel-plated pewter swivel.[21] The face of the medallion portrays an adaptation of the comedy and tragedy masks. Originally, the reverse side had a relief profile of Antoinette Perry; this later was changed to contain the winner's name, award category, production and year. The medallion has been mounted on a black base since 1967.[22][23] A larger base was introduced in time for the 2010 award ceremony. The new base is slightly taller – 5 inches (13 cm), up from 3+1⁄4 inches (8.3 cm) – and heavier – 3+1⁄2 pounds (1.6 kg), up from 1+1⁄2 pounds (680 grams). This change was implemented to make the award "feel more substantial" and easier to handle at the moment the award is presented to the winners. According to Howard Sherman, the executive director of the American Theatre Wing: We know the physical scale of the Oscars, Emmys and Grammys. While we're not attempting to keep up with the Joneses, we felt this is a significant award, and it could feel and look a bit more significant... By adding height, now someone can grip the Tony, raise it over their head in triumph and not worry about keeping their grip. Believe me, you can tell the difference.[24] For the specific Tony Awards presented to a Broadway production, awards are given to the author and up to two of the producers free of charge. All other members of the above-the-title producing team are eligible to purchase the physical award. Sums collected are designed to help defray the cost of the Tony Awards ceremony itself. An award cost $400 as of at least 2000, $750 as of at least 2009, and, as of 2013, had been $2,500 "for several years", according to Tony Award Productions.[25] Details of the Tony Awards Source: Tony Awards Official Site, Rules[26] Rules for a new play or musical For the purposes of the award, a new play or musical is one that has not previously been produced on Broadway and is not "determined… to be a 'classic' or in the historical or popular repertoire", as determined by the Administration Committee (per Section (2g) of the Rules and Regulations).[4] The rule about "classic" productions was instituted by the Tony Award Administration Committee in 2002, and stated (in summary) "A play or musical that is determined ... to be a 'classic' or in the historical or popular repertoire shall not be eligible for an award in the Best Play or Best Musical Category but may be eligible in that appropriate Best Revival category."[27] Shows transferred from Off-Broadway or the West End are eligible as "new", as are productions based closely on films. This rule has been the subject of some controversy, as some shows, such as Hedwig and the Angry Inch and Violet,[28] have been ruled ineligible for the "new" category, meaning that their authors did not have a chance to win the important awards of Best Play or Best Musical (or Best Score or Best Book for musicals). On the other hand, some people[who?] feel that allowing plays and musicals that have been frequently produced to be eligible as "new" gives them an unfair advantage because they will have benefited from additional development time as well as additional familiarity with the Tony voters. Committees and voters The Tony Awards Administration Committee has twenty-four members: ten designated by the American Theatre Wing, ten by The Broadway League, and one each by the Dramatists Guild, Actors' Equity Association, United Scenic Artists and the Society of Stage Directors and Choreographers. This committee, among other duties, determines eligibility for nominations in all awards categories.[29] The Tony Awards Nominating Committee makes the nominations for the various categories. This rotating group of theatre professionals is selected by the Tony Awards Administration Committee. Nominators serve three-year terms and are asked to see every new Broadway production.[30] The Nominating Committee for the 2012–13 Broadway season (named in June 2012) had 42 members;[31] the Nominating Committee for the 2014–2015 season has 50 members and was appointed in June 2014.[30] There are approximately 868 eligible Tony Award voters (as of 2014),[26] a number that changes slightly from year to year. The number was decreased in 2009 when the first-night critics were excluded as voters.[32][33] That decision was changed, and members of the New York Drama Critics' Circle were invited to be Tony voters beginning in the 2010–2011 season.[34] The eligible Tony voters include the board of directors and designated members of the advisory committee of the American Theatre Wing, members of the governing boards of Actors' Equity Association, the Dramatists Guild, the Society of Stage Directors and Choreographers, United Scenic Artists, and the Association of Theatrical Press Agents and Managers, members of the Theatrical Council of the Casting Society of America and voting members of The Broadway League (in 2000, what was then The League of American Theaters and Producers changed membership eligibility and Tony voting status from a lifetime honor to all above-the-title producers, to ones who had been active in the previous 10 years. This action disenfranchised scores of Tony voters, including Gail Berman, Harve Brosten, Dick Button, Tony Lo Bianco, and Raymond Serra). Eligibility date (Season) To be eligible for Tony Award consideration, a production must have officially opened on Broadway by the eligibility date that the Management Committee establishes each year. For example, the cut-off date for eligibility the 2013–2014 season was April 24, 2014.[35] The season for Tony Award eligibility is defined in the Rules and Regulations. Broadway theatre A Broadway theatre is defined as having 500 or more seats, among other requirements. While the rules define a Broadway theatre in terms of its size, not its geographical location, the list of Broadway theatres is determined solely by the Tony Awards Administration Committee. As of the 2016–2017 season, the list consisted solely of 41 theaters: 40 located in the vicinity of Times Square in New York City and Lincoln Center's Vivian Beaumont Theater.[38][39] Criticism While the theatre-going public may consider the Tony Awards to be the Oscars of live theatre, critics have suggested that the Tony Awards are primarily a promotional vehicle for a small number of large production companies and theatre owners in New York City.[40][41] In a 2014 Playbill article, Robert Simonson wrote that "Who gets to perform on the Tony Awards broadcast, what they get to perform, and for how long, have long been politically charged questions in the Broadway theatre community..." The producers "accept the situation ... because just as much as actually winning a Tony, a performance that lands well with the viewing public can translate into big box-office sales." Producer Robyn Goodman noted that, if the presentation at the ceremony shows well and the show wins a Tony, "you’re going to spike at the box office".[42] The awards met further criticism when they eliminated the sound design awards in 2014.[43] In 2014, a petition calling for the return of the Sound Design categories received more than 30,000 signatures.[44] Addressing their previous concerns over Tony voters[45] in the category, it was announced that upon the awards' return for the 2017–2018 season, they would be decided by a subset of voters based on their expertise.[9][46][47] Some advocates of gender equality and non-binary people have criticized the separation of male and female acting categories in the Tony Awards, Academy Awards, and Emmy Awards. Though some commentators worry that gender discrimination would cause men to dominate unsegregated categories, other categories are unsegregated. The Grammy Awards went gender-neutral in 2012, while the Daytime Emmy Awards introduced a single Outstanding Younger Performer in a Drama Series category in 2019 to replace their two gender-specific younger actor and actress categories.[48][49] Award milestones This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Tony Awards" – news · newspapers · books · scholar · JSTOR (January 2021) (Learn how and when to remove this template message) Some notable records and facts about the Tony Awards include the following:[50] Productions Nominations: The most Tony nominations ever received by a single production was the musical Hamilton (2016) with 16 nominations in 13 categories, narrowly passing the previous holders of this record, The Producers (2001; 15 nominations in 12 categories) and Billy Elliot (2009; 15 nominations in 13 categories). The most Tony nominations for a non-musical play was Slave Play (2020; 12 nominations in 10 categories). Wins: The most Tony Awards ever received by a single production was the musical The Producers (2001) with 12 awards, including Best Musical. Non-musical wins: The most Tonys ever received by a non-musical play was The Coast of Utopia (2007) with 7 awards, including Best Play. Most nominations with fewest wins: Musicals Mean Girls (2018) and The Scottsboro Boys (2011), as well as non-musical play Slave Play (2020) are tied: all three were nominated for 12 Tony Awards but did not win any.[51] Four musicals have won all "big six" awards for original musicals: South Pacific (1950 awards), Sweeney Todd: The Demon Barber of Fleet Street (1979 awards), Hairspray (2003 awards)[52] and The Band's Visit (2018 awards); each won the Best Musical, Best Score, Best Book, Best Performance by a Leading Actor, Best Performance by a Leading Actress, and Best Direction awards. Two Plays have won all "big four" awards for original plays: Who's Afraid of Virginia Woolf? (1963 awards) and The Real Thing (1984 awards); both won the Best Play, Best Performance by a Leading Actor, Best Performance by a Leading Actress, and Best Direction awards. Acting Awards: Only one production, South Pacific (1950 awards), has won all four of the acting awards in a single year. Words and Music: Only seven musicals have won the Tony Award for Best Musical when a person had (co-)written the Book (non-sung dialogue and storyline) and the Score (music and lyrics): 1958 winner The Music Man (Meredith Willson – award for Book and Score did not exist that year), 1986 winner The Mystery of Edwin Drood (Rupert Holmes – who also won for Book and Score), 1996 winner Rent (Jonathan Larson posthumously – who also won for Book and Score), 2011 winner The Book of Mormon (Trey Parker, Robert Lopez, and Matt Stone also won for Book and Score), 2016 winner Hamilton (Lin-Manuel Miranda also won for Book and Score), 2019 winner Hadestown (Anaïs Mitchell also won for Score), and 2022 winner A Strange Loop (Michael R Jackson also won for Book) Design Awards: Eleven shows have swept the Design Awards (original 3 of Best Scenic Design, Best Costume Design, Best Lighting Design – joined by Best Sound Design starting in 2008): Follies (1972), The Phantom of the Opera (1986), The Lion King (1998), The Producers (2001), The Light in the Piazza (2005), The Coast of Utopia (2007), the 2008 revival of South Pacific (first to sweep the expanded four awards for Creative Arts), Peter and the Starcatcher (first straight play to sweep the expanded four awards for Creative Arts) (2012), Harry Potter and the Cursed Child (2018), A Christmas Carol and Moulin Rouge! (both 2020). Revivals: Death of a Salesman by Arthur Miller in 2012 became the first show (play or musical) to win as Best Production in four different years, Best Play at the 1949 awards, Best Revival at the 1984 awards (before the Best Revival award was split into two categories for Play and Musical in 1994), and Best Revival of a Play at the 1999 and 2012 awards. La Cage aux Folles made history as the first musical to win as Best Production in three different years, Best Musical at the 1984 awards and Best Revival of a Musical at both the 2005 awards and the 2010 awards. The King and I has also garnered 3 Tony Awards, one for each time it has been produced on Broadway, first as Best Musical and then twice as Best Revival of a Musical. Company has also won 3 tony awards, first as Best Musical in 1971, followed by Best Revival of a Musical in 2007 and 2022. Individuals Wins: Harold Prince has won 21 Tony Awards, more than anyone else, including eight for Best Direction of a Musical, eight for Best Musical, two for Best Producer of a Musical, and three special Tony Awards. Tommy Tune has won ten Tony Awards including three for direction, four for choreography, two for performing, and one special Tony Award. Stephen Sondheim has won more music Tony Awards than any other individual, with eight awards (six for Best Original Score, one for Best Composer, and one for Best Lyricist). Bob Fosse has won the most Tonys for choreography, also eight. Oliver Smith has won a record eight scenic design Tony Awards. Jules Fisher has won the most lighting design awards, with nine. Audra McDonald has the most performance Tony Awards with six. Terrence McNally and Tom Stoppard are the most awarded writers with four Tonys each; McNally has won Best Play twice and Best Book of a Musical twice, while Stoppard has won Best Play four times. Most nominations: Julie Harris and Chita Rivera have been nominated more often than any other performer, ten apiece.[53][54] Performers in two categories: Six performers have been nominated in two acting categories in the same year: Amanda Plummer, Dana Ivey, Kate Burton, Jan Maxwell, Mark Rylance, and Jeremy Pope. Plummer in 1982 was nominated for Best Actress in a Play for A Taste of Honey and Best Featured Actress in a Play for Agnes of God, for which she won. Ivey in 1984 was nominated as Best Featured Actress in Musical for Sunday in the Park with George and Best Featured Actress in a Play for Heartbreak House. In 2002, Burton was nominated for Best Actress in Play for Hedda Gabler and Best Featured Actress in a Play for The Elephant Man. Maxwell was nominated in 2010 for Best Actress in a Play for The Royal Family and Best Featured Actress in a Play for Lend Me a Tenor. Rylance was nominated in 2014 for Best Actor in a Play for Richard III and Best Featured Actor in a Play for Twelfth Night, for which he won. Pope was nominated in 2019 for Best Actor in a Play for Choir Boy and Best Featured Actor in a Musical for Ain't Too Proud. Performers in all categories: Five performers have been nominated for all four performance awards for which a performer is eligible. Boyd Gaines was the first performer to be nominated for each of Best Featured Actor in a Play in The Heidi Chronicles (1989), Best Actor in a Musical for She Loves Me (1994), Best Featured Actor in a Musical for Contact (2000) and Gypsy (2008) and Best Actor in a Play for Journey's End (2007). Gaines won in three of the categories (and four of the five nominations), missing only for the performance in Journey's End. Raúl Esparza was the second performer to be nominated in all four categories (no wins), achieving this over a mere six seasons: Best Featured Actor in a Musical for Taboo (2004), Best Actor in a Musical for Company (2007), Best Featured Actor in a Play for The Homecoming (2008), and Best Actor in a Play for Speed-the-Plow (2009). Angela Lansbury was the third performer to be nominated for all four performance awards. She won Best Actress in a Musical for Mame (1966), Dear World (1969), Gypsy (1975), and Sweeney Todd (1979). She was nominated for Best Actress in a Play for Deuce (2007). She won Best Featured Actress in a Play for Blithe Spirit (2009). She was nominated for Featured Actress in a Musical for A Little Night Music (2010). Jan Maxwell became the fourth performer to achieve this distinction by being nominated (no wins) for Best Featured Actress in a Musical for Chitty Chitty Bang Bang (2005), Best Featured Actress in a Play for Coram Boy (2007) and Lend Me a Tenor (2010), Best Actress in a Play for The Royal Family (2010), and Best Actress in a Musical for Follies (2012). Audra McDonald became the fifth performer to accomplish the feat and the first to win in all four categories, winning Best Performance by a Featured Actress in a Musical for Carousel (1994) and Ragtime (1998), Best Performance by a Featured Actress in a Play for Master Class (1996) and A Raisin in the Sun (2004), Best Performance by a Leading Actress in a Musical for Porgy and Bess (2012), and Best Performance by a Leading Actress in a Play for Lady Day at Emerson's Bar and Grill (2014). She was nominated for Best Performance by a Leading Actress in a Musical for Marie Christine (2000) and 110 in the Shade (2007) and for Best Performance by a Leading Actress in a Play for Frankie and Johnny in the Clair de Lune (2020/21). Performers Playing Opposite Sex: While several performers have won Tonys for roles that have involved cross-dressing, only four have won for playing a character of the opposite sex: Mary Martin in the title role of Peter Pan (1955), Harvey Fierstein as Edna Turnblad in Hairspray (2003), Mark Rylance as Olivia in Twelfth Night (2014), and Lena Hall as Yitzhak in Hedwig and the Angry Inch (2014). In 2000, Australian actor Barry Humphries won the Special Tony Award for a live theatrical event at the 55th Annual Tony Awards for Dame Edna: The Royal Tour. Shared Performances: All three of the young actors who shared the duties of performing the lead character in Billy Elliot the Musical (2009 awards) – David Alvarez, Trent Kowalik and Kiril Kulish – also shared a single nomination, then shared the win, for Best Actor in a Musical. Previously, the only prior joint winners were John Kani and Winston Ntshona, who shared the Best Actor in a Play award in 1975 for Sizwe Banzi is Dead and The Island, two plays they co-wrote and co-starred in. Both sexes in one role: Ben Vereen and Patina Miller both won, respectively, Best Actor in a Musical in 1972 and Best Actress in a Musical in 2013 for the role of the Leading Player in Pippin, marking the first time the same role has been won by both a male and a female in a Broadway production. Writing and performing: Two people have won Tonys as an author and as a performer. Harvey Fierstein won Best Play and Best Lead Actor in a Play for Torch Song Trilogy (1983), Best Book of a Musical for La Cage aux Folles, and Best Lead Actor in a Musical for Hairspray. Tracy Letts, the author of 2008 Best Play August: Osage County, won Best Lead Actor in a Play for Who's Afraid of Virginia Woolf? (2013). Youngest and oldest composers to win: Lin-Manuel Miranda is the youngest person to win the award; he was 28 when he won for In The Heights. If T. S. Eliot had been alive when he won for Cats, he would have been 94. Eliot is one of two people to receive the award posthumously, the other being Jonathan Larson, who won for Rent. He would have been 36. Youngest and oldest actors to win: Dick Latessa is the oldest actor to win a Tony for his performance in Hairspray aged 72, whilst Lois Smith holds the record for oldest actress for her performance in The Inheritance, which she won at age 90. The youngest actor to win the Best Supporting Actor Tony Award, at age 11, was Frankie Michaels, in 1966, for his performance in Mame, a record which still stands today. Twenty-five years later, at 11 and a half years old, Daisy Eagan took home a Tony Award for Best Featured Actress in a Musical for her performance in The Secret Garden, cementing her place in Tony history as the youngest woman to win the award. In 2013, the four girls who alternated for the title role in Matilda the Musical (Sophia Gennusa, aged 9; Bailey Ryon, aged 10; Oona Laurence, aged 10; and Milly Shapiro, aged 10) won a joint Tony Honors award, making Gennusa the youngest to ever win a Tony, albeit non-competitive. Firsts First African-American to win Best Performance by a Featured Actress in a Musical: Juanita Hall for South Pacific in 1950. First African-American to win Best Performance by a Featured Actor in a Musical: Harry Belafonte for John Murray Anderson's Almanac in 1954. First female author to win Best Play: Frances Goodrich with her partner (and husband) Albert Hackett for The Diary of Anne Frank in 1956. First African-American to win Best Performance by a Leading Actress in a Musical: Diahann Carroll for No Strings in 1962. First African-American to win Best Performance by a Leading Actor in a Play: James Earl Jones for The Great White Hope in 1969. First African-American to win Best Performance by a Leading Actor in a Musical: Cleavon Little for Purlie in 1970. First African-American author to win Best Play: Joseph A. Walker for The River Niger in 1974. First African-American composer to solely win Tony Award for Best Score: Charlie Smalls for The Wiz in 1975. First female to win Tony Award for Best Score: Betty Comden for On the Twentieth Century in 1978. (In 1968, she became the first female to win the previous version of the Best Score Award, the Tony Award for Best Composer And Lyricist for Hallelujah, Baby!) First Asian-American author to win Best Play: David Henry Hwang for M Butterfly in 1988. First Asian-American to win Best Performance by a Featured Actor in a Play: BD Wong for M Butterfly in 1988. First female author to solely win Best Play: Wendy Wasserstein for The Heidi Chronicles in 1989. First Asian to win Best Performance by a Leading Actress in a Musical: Lea Salonga for Miss Saigon in 1991. First female to win Best Direction of a Musical: Julie Taymor for The Lion King in 1998. First female to win Best Direction of a Play: Garry Hynes for The Beauty Queen of Leenane in 1998. First African-American to win Best Performance by a Leading Actress in a Play: Phylicia Rashad for A Raisin in the Sun in 2004. First Brazilian to win Best Performance by a Leading Actor in a Musical: Paulo Szot for South Pacific in 2008. First female to solely win Tony Award for Best Score: Cyndi Lauper for Kinky Boots in 2013. First Asian-American to win Best Performance by a Featured Actress in a Musical: Ruthie Ann Miles for The King and I in 2015. First female team to win Tony Award for Best Score and Tony Award for Best Book: Jeanine Tesori & Lisa Kron for Fun Home in 2015. First Latiné playwright to win Tony Award for Best Play: Matthew López for The Inheritance in 2020. First Lebanese-American to win Tony Award for Best Performance by a Leading Actor in a Musical: Tony Shalhoub for The Band's Visit in 2018. First Yemeni-American to win Tony Award for Best Performance by a Featured Actor in a Musical: Ari'el Stachel for The Band's Visit in 2018. First person who uses a wheelchair to be nominated for and to receive a Tony Award for acting: Ali Stroker with the Tony Award for Best Featured Actress in a Musical for Oklahoma! in 2019.[55][56] First female to be nominated for and to win Best Sound Design of a Musical: Jessica Paz for Hadestown in 2019.[57]

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