Before we break into applause at what will likely be SPRING AWAKENING winning Best Musical, let's take a moment to consider the past decade of Tony winning musicals, where or if SPRING fits into this pattern, and what this means for the rest of the decade and so forth.
Why begin with 1996? That's when RENT won. I can't even remember what won in 1995. RENT, if we recall, was going to revolutionize the Broadway musical! Well, it didn't. Rather like HAIR in 1969, it was a one-time wonder, particularly also cause Jonathan Larson had already left us, tragically. In fact, the next few years were particularly bad for the American musical.
In 1997, a truly weak year, TITANIC won, a critically maligned, super spectacle with a quasi operatic score. It truly scored thanks to Rosie O'Donnell's unwaving support and ran about two years at the Lunt Fontanne, which was then taken over by BEAUTY AND THE BEAST.
In 1998, what a depressing outcome - RAGTIME, a flawed but often beautiful work, losing out to THE LION KING, the least bad of the Disney shlock, but still Disney kiddy fare.
In 1999, we had an even worse year. The award goes to FOSSE, not an original musical, but a Bob Fosse dance compilation. Not interesting, not arrestingly visually, not much of anything. But let's face it - did we really expect PARADE to win?
In 2000, even worse! CONTACT, not a musical, wins Best Musical. It's was a f&#cking dance show! A great dance show, but not a musical. But let's face it - did we really expect THE WILD PARTY to win?
In 2001, things change..... THE PRODUCERS revolutionizes/de-revolutionizes Broadway by bringing back 1950s musical comedy. This change will go far beyond this show alone.
In 2002, two campy musical comedies compete - URINETOWN and the far less worthy THOROUGHLY MODERN MILLIE. The award goes to MILLIE, suppsedly a sign of the road's clout. But to be fair, URINETOWN was not as beloved or well-reviewed or popular as say THE PRODUCERS. In retrospect, I'm surprised the award didn't go to the still running MAMMA MIA.
In 2003, HAIRSPRAY, the new muscial comedy hit in the tradition of THE PRODUCERS, beats MOVIN' OUT, Twyla Tharp's compelling dance spectacle set to Billy Joel tunes. Frankly, that was the right outcome.
In 2004, What a circus! What a show! WICKED is brought down suddenly and unexpectedly by AVENUE Q, the little show using puppets thanks to its "Follow Your Heart" campaign.
In 2005, SPAMALOT, another campy, well-reviewed musical comedy wins out against THE LIGHT IN THE PIAZZA, Guettel's challenging contemporary Lincoln Center musical, and SPELLING BEE, William Finn's heartwarming, intimitate look at kids as they compete.
In 2006, the comedy tradition is breaking. JERSEY BOYS, a dramatic, autobiographical play with songs/jukebox musical about The Four Seasons beats out THE DROWSY CHAPERONE, the year's new camp comedy, for Best musical.
In 2007, SPRING AWAKENING will most likely win. And what does this mean? Are we back where we started with RENT? If so, where will it lead us - to years of drought, with crap like FOSSE and CONTACT and TITANIC? Will we retreat back into musical comedy, with YOUNG FRANKENSTEIN and CRY BABY on the way? Or, will be move forward, and keep looking for challenging titles? Where? I don't know. We need to find them!