Strippers, Showgirls, and Sharks

“A veteran theater critic walks us through the Hall of Not-So-Much Fame, speculating why some musicals win Tonys and others lose . . . well-researched.” —Kirkus Reviews

It happens every spring: The American Theatre Wing bestows its annual awards, including the universally acknowledged biggest prize—the Best Musical Tony. The envelope is opened. The winner is announced and, then, the screeching begins. “Oh no! They gave it to that?” Did the best musical always win the Best Musical prize? Were there other factors that kept a more deserving show from copping the prize?

Syndicated theater critic Peter Filichia answers all these questions and more in Strippers, Showgirls and Sharks as he looks at many of the 153 previous Best Musical Nominees that didn't win the big prize. What were the biggest omissions? Gypsy had the distinct displeasure of not being either the first or second choice of the committee. In 1959 when Ethel Merman and a variety of strippers took the stage, the Tony for Best Musical was a tie between The Sound of Music and Fiorello. In 1971, Stephen Sondheim's Follies and its ghostly showgirls lost to a “groovy” re-tuning of Two Gentlemen of Verona that hasn't passed the test of time. And, in 1957, West Side Story, its Jets and Sharks, were bested by the fine people of River City Iowa singing their Americana hearts out in The Music Man.

If you love Broadway, scratch your head on Tony Award night and still can't figure out how a show you loathed won the Tony for Best Musical, you will love riding through the years with Peter Filichia, one of America's most respected and popular theater critics.