The winning show is in parentheses
In no particular order:
1. 1982 Dreamgirls (Nine)
This show was nominated for 13 Tonys, winning 6 including 3 acting awards. It was a powerhouse production noted for Michael Bennett's staging and Jennifer Holliday's legendary Act One finale. While Nine has some lovely music in it, i think that Dreamgirls, which ran much longer and its film adaptation was far more successful, was robbed of the Tony Award that season.
2. 1964 She Loves Me (Hello Dolly)
Bock and Harnick's jewel box of a musical was under appreciated in its original run. Nominated for 5 Tonys, winning one. i have always felt that the book for this musical is about as perfect as one can get and that, along with its charming score, makes it one of the greats. But, there was just no stopping the powerhouse that was Hello Dolly that season.
3. 1988 Into the Woods (The Phantom of the Opera)
One of the great debates when it has come to the Tonys is substance vs. spectacle. Into the Woods won 3 Tonys including best score and book, so just because something is deemed the best written show does not translate into the Best Musical Tony. Not that there is no substance in Phantom, just a lot more spectacle there...and ticket sales. i like them both, but it's apples and oranges. Woods has lived on in productions all over the world and any other year it would have taken the prize.
4. 1984 Sunday in the Park With George (La Cage Aux Folles)
Here is another good example of substance vs. spectacle. Both of these shows were deserving of the top prize, but i truly think that it came down to people wanting to see something splashy and fun that had not been on Broadway in a few years...and there is nothing wrong with that. i most likely would have voted for La Cage as well. Even though i think Sunday in the Park suffers from a poorly written 2nd act and it sometimes, as Sondheim can do, likes to show you how smartly written it is, it is still a great show that could have one. Guess it'll have to make do with its Pulitzer.
5. 1957 The Most Happy Fella (My Fair Lady)
No one was going to beat My Fair Lady that year, and deservedly so, so i will get that out of the way now. The Most Happy Fella, to me, is Loesser's masterpiece. It is, by far, his most honest and beautiful score. Groundbreaking in its subject matter, an adaptation of They Knew What They Wanted, it is a stunning piece of theater in the same way that Carousel is. Any other year, it definitely could have and should have walked away with the prize.
6. 1960 Gypsy (The Sound of Music & Fiorello)
Here is the mother of all Best Musical travesties. Literally. 2 musicals tied for the prize that year and neither one of them was Gypsy. The Sound of Music and Fiorello! Bleh! Gypsy is one of the most beloved musicals of all time with the rarity of having a better 2nd act than 1st act. In its original run, it was 0-8 at the Tonys. Unbelievable. While i love The Sound of Music film, the stage version leaves A LOT to be desired. And Fiorello!? Really? That one did not leave much of a footprint on the history of musical theatre. And what's more shocking is Jule Styne's score, one of his best, was not even nominated. But, as Ms. Merman said after losing to Mary Martin for best actress, how can you buck a nun?
7. 1991 Once On This Island (The Will Rogers Follies)
In a season dominated by spectacle and flash, there was this small intimate musical that far surpassed its competitors. While Will Rogers, Miss Saigon and Secret Garden are all fine shows, Once on This Island is a much tighter overall package. Had Once On This Island come along in the next few decades, when smaller musicals started getting more recognition, it definitely would have claimed its victory. But, in 1991, Tony voters got it wrong.
8. 1976 Chicago (A Chorus Line)
A Chorus Line, there was just no getting around that one and rightfully so. It is one of my favorites. But, Chicago could have taken the top prize in another season. One of Kander & Ebb's better works, it has a great score and benefited from Bob Fosse's style. i just think that it was more accessible to audiences in the 90's than the 70's. With the rise of social media, people enjoyed the manipulation of the media more when the revival, that is still running, came along.
9. 1972 Follies (Two Gentleman of Verona)
This groundbreaking musical provided theater goers with some of the best music ever written for the theater. Yes, it had problems with its book and many people just did not get the concept of the show. People either loved it or hated it. And no one has ever been able to afford to recreate the original production...it was that lavish. But, seriously, Tony voters....Two Gentleman of Verona? Think again!
10. 2004 Wicked (Avenue Q)
i could put this in the spectacle vs. substance category, but this spectacle has a lot of substance in it. It is easier to relate to Wicked than to past spectacles on Broadway. Both Wicked and Avenue Q are wonderful shows but again, apples and oranges. i think, partially, that Wicked lost because people were throwing support to a small show that needed the boost more. But, Wicked will go on for years and was definitely worthy of the top prize.
So, that's my list. What would you add to it?
Honorable Mentions: West Side Story 1958 (The Music Man), Ragtime 1998 (The Lion King), The Secret Garden 1991 (The Will Rogers Follies)
Honorable Mentions (were not even nominated): Camelot, Aida (don't get me started...won the Tony for best score but was not nominated for best musical. That went to Contact, which used pre recorded pop songs...bleh)
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