The annual gathering of Tony nominees is usually defined by the tension of impending awards and the pressure of the campaign trail. However, during the Meet the Nominees event in New York City on May 14, a hypothetical prompt offered these artists a rare moment of creative freedom: if you had unlimited money, absolute power and no requirement to turn a profit, which production would you bring to Broadway tomorrow?
The responses from this year’s nominees for the 77th Tony Awards offered a window into the personal passions and systemic frustrations of theater’s most prominent voices. While some stars used the opportunity to pitch specific revivals or original works, others looked toward the broader infrastructure of the industry, focusing on accessibility and the preservation of New York’s cultural landscape.
For many, the question of what to stage with infinite resources served as a critique of the current commercial pressures that define modern Broadway. The answers generally divided into two distinct categories: those who advocated for structural reform and those who championed the revival of forgotten or deeply personal works.
The Vision for a More Accessible Broadway
Stephanie Hsu, a nominee for her performance in “The Rocky Horror Show,” immediately prioritized the audience experience over the production itself. Her vision for an unlimited budget was rooted in education and access. “Every public school student in New York City should be able to see a Broadway show, any Broadway show,” Hsu noted. “If there’s an empty seat, a young person should get to just be there.”
This sentiment resonated with others who believe the theater district should function more as a public excellent than an exclusive commercial marketplace. Zhailon Levingston and Bill Rauch, the directing duo behind the acclaimed “Cats: The Jellicle Ball,” leaned into the validity of their current project. For them, the investment would be in the preservation and promotion of ballroom culture, which they argue deserves a permanent, well-funded home on the main stage.
Others, such as veteran performer Nathan Lane, looked toward the creation of a national institution. Lane suggested that with unlimited capital, he would establish an American national theater modeled after the British system, featuring a resident company of actors that cycles through new plays and established classics, independent of the volatile commercial theater model.
Imperial Ambitions and Creative Curiosities
The proposals from the nominees were as varied as the shows they represent this season. Brandon Uranowitz, recognized for his work in “Ragtime,” proposed an ambitious expansion of the district. His plan involves constructing a new theater complex near Lincoln Center and essentially reclaiming the Times Square district to rotate through a curated repertoire of Stephen Sondheim classics, including “Follies,” “Company,” and “Sweeney Todd.”
For others, the “unlimited money” prompt was a chance to finally produce a long-held dream project. Ali Louis Bourzgui, a featured actor nominee for “The Lost Boys,” expressed a desire to adapt Paulo Coelho’s “The Alchemist” into a musical, citing his own Moroccan roots as the inspiration for blending the musical traditions of Andalusia and North Africa. Similarly, Caissie Levy, a nominee for “Ragtime,” expressed a strong desire to bring her U.K. Production of “Next to Normal” to New York audiences, following her success in the London version of the show.
The desire to revive obscure works also emerged as a recurring theme. Marla Mindelle, who made history this season as the first woman to be triple-nominated for the Tonys, looked toward the 1968 musical “Zorba!” as a personal favorite she would love to see revitalized for a contemporary audience.
Rapid-Fire Pitches and Deflections
Not every nominee was prepared to build a new theater or curate a season. Some, like actor John Lithgow, opted to deflect, preferring to leave the artistic decisions to others. Danny Burstein, another veteran of the stage, humorously turned the question back on the interviewer, suggesting a story centered on a working-class kid from Brooklyn who eventually becomes an awards editor—a pitch that highlighted the grounded, often overlooked perspectives in the theater world.
However, some nominees were ready with their answers before the interviewer had finished the sentence. Joshua Henry was emphatic about his choice, calling for the immediate Broadway transfer of the musical “Goddess,” starring Amber Iman. “Why ‘Goddess’ is not on Broadway in 2026, I don’t know. Bring us ‘Goddess,’” Henry said.
Other notable suggestions included:
- Laurie Metcalf: Expressed a long-held interest in performing in “Gypsy,” despite her belief that it might never come to fruition.
- Ben Levi Ross: Suggested an adaptation of Amy Herzog’s “4000 Miles” or a version of Jean-Paul Sartre’s “No Exit,” inspired by Harold Pinter’s past involvement with the play.
- Marla Mindelle: In addition to “Zorba!,” she is actively working on a stage adaptation of the 1998 film “There’s Something About Mary” alongside Peter Farrelly.
These hypothetical scenarios highlight the gap between the commercial realities of modern theater and the artistic visions of those who inhabit it. While the constraints of ticket sales, real estate costs, and production budgets dictate the current Broadway landscape, the nominees’ responses underscore a deep, enduring commitment to the art form’s capacity for growth, education, and representation.
The theater community will continue to navigate these creative and financial challenges as the industry moves forward. The 77th Tony Awards ceremony is scheduled to take place on June 16 at the David H. Koch Theater at Lincoln Center, where the industry will celebrate the current season’s achievements. For those interested in the latest updates on the awards or the upcoming Broadway season, official information is available through the Tony Awards website.
We invite our readers to share their own thoughts on which productions they would bring to Broadway if given the chance. Join the conversation in the comments below.
