Summer Theatre You Don't Want to Miss!

Summer is a great time for theatre in New England! And eastern Massachusetts has a wealth of theaters and performing arts companies. If you happen to live in this area and are looking to attend some performances this summer, here is a list of some upcoming productions you might enjoy, starting this weekend! Follow the links for ticket and performance information - and be sure to confirm all information directly with the production company before you go. The name of each show is linked to the theatre company's website. 

Museum Piece (A Staged Reading*)
June 13-14
Walpole Footlighters
2 Scout Road, East Walpole MA
(508) 668-8446

* This is a free performance with open seating; no ticket is needed. 

The Rodman Museum of Contemporary Art has lost an important grant and is in danger of closing - until they install a controversial new exhibit, which attracts a large number of visitors. But some of the museum volunteers are shocked and offended by the new artwork - especially by one huge X-rated painting that “seems to follow you around the room.” The painting is stolen during a fire drill. Charlie, the Museum Security Guard interviews all the suspects - several of which have a strong motive. The robbery is well-publicized and attendance goes up again, to the point where the Museum Director’s worst fear is that the painting will be found! Along the way, we encounter a number of interesting characters, a few different takes on the meaning of art, a romantic triangle, and a surprising twist at the end.

And Then There Were None
Now through June 15
TCAN Players
The Center for the Arts in Natick, 14 Summer Street, Natick MA
(508) 647-0097

Based on the Agatha Christie novel of the same name. Ten strangers, each harboring a dark secret, are lured to a secluded island estate under false pretenses. Their mysterious hosts are nowhere to be found—only a chilling recording accuses each guest of a terrible crime. Then, one by one, the guests begin to die, their fates eerily mirroring the verses of a sinister nursery rhyme displayed in the house. With the island cut off by a storm, suspicion grows as the survivors struggle to understand the method behind the madness. Is the killer among them? Or is there someone—or something—else pulling the strings?

Don't Let the Pigeon Drive the Bus! The Musical! (youth production)
June 14-15
Theatre III
250 Central Street, Acton MA
(978) 263-9070

Whatever you do, don't let the Pigeon star in his own musical production! With a script written by Mo Willems, the creator of the #1 New York Times best-selling, Caldecott Honor award-winning "Pigeon" picture books, and featuring music by Deborah Wicks La Puma (Elephant & Piggie's We Are in a Play!), Don't Let the Pigeon Drive the Bus! The Musical! is even more fun than staying up late and having a hot dog party! It's not easy being the Pigeon-you never get to do ANYTHING! But when the Bus Driver has a crisis that threatens to make her passengers (gasp!) late, maybe that wily bird CAN do something.

Addams Family: School Edition (youth production)
June 14-15
Theatre with a Twist
Church of the Good Shepherd, 164 Newtown Road, Acton MA
(978) 302-0985

THE ADDAMS FAMILY, a comical feast that embraces the wackiness in every family, features an original story and it’s every father’s nightmare: Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family – a man her parents have never met. And if that wasn’t upsetting enough, Wednesday confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he’s never done before – keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents.

5th Annual 10 Minute Play Festival
June 13-15
The Cannon Theatre
28 Andrews Parkway, Devens MA
(978) 448-2108

10 different plays, with 10 different playwrights, and 10 different directors! Don't miss this evening of drama and comedy! There's something for everyone. Go to the link above for a brief synopsis of each of the ten plays. 

Beautiful: The Carole King Musical
June 13-22
Reagle Music Theatre of Greater Boston
Robinson Theater, 617 Lexington Street, Waltham MA
(781) 891-5600

Follow the remarkable journey of Carole King, from a teenage songwriter in Brooklyn to one of the most iconic voices in music history. Packed with beloved hits like "You've Got a Friend," "(You Make Me Feel Like) A Natural Woman," "It's Too Late," and "I Feel the Earth Move," Beautiful is an inspiring and uplifting celebration of her life, love, and legendary career. This Tony and Grammy Award-winning musical takes you behind the scenes of the songs you know and love, showcasing the triumphs, struggles, and friendships that shaped a generation of music.

Jane Austen's Emma
June 13-22
Arlington Friends of the Drama (AFD)
AFD Theater, 22 Academy Street, Arlington MA
​(781) 646-5922

This timeless love story, from one of the most widely read writers in history, is a musical that will entice modern audiences to fall in love again with one of Jane Austen’s most adored characters. Paul Gordon’s critically acclaimed stage adaptation re-imagines the Austen classic in mid-century modern yet keeps the language intact.

Shakespeare: The Eras Tour
June 20
The Cannon Theatre
28 Andrews Parkway, Devens MA
(978) 448-2108

This Midsummer weekend, The Cannon Theatre will host a special event - The World's a Stage Players' production of ​Shakespeare: The Eras Tour. Eras is a revue of famous, and not so famous, Shakespeare scenes and monologues, loosely organized around the "eras" of his life and career. Come catch some of your favorite pieces, and discover some new ones, in this rare opportunity to see community theatre Shakespeare in this area. Admission is free (donations welcome).

Hadestown: Teen Edition (youth production)
June 20-22
Alexander Children's Theater School (ACTS)
The Umbrella Arts Center, 40 Stow Street, Concord MA
(781) 899-4467

This full-length (2 acts, with intermission) Teen Edition of Anaïs Mitchell’s haunting, jazz-inflected folk opera follows Orpheus’ mythical quest to overcome Hades and regain the favor of his one true love, Eurydice.

Matilda: The Musical
June 20-22
Metrowest Family Theater
Maynard High School, 1 Tiger Drive, Maynard MA
(978) 443-2400

Based on the children's book by Roald Dahl. The story of an extraordinary girl who dares to take a stand and change her own destiny.

Mystic Pizza
June 20-29
Marblehead Little Theatre (MLT)
12 School Street, Marblehead MA
(781) 631-9697

Based on the beloved 1988 MGM rom-com, Mystic Pizza is a new musical about three working-class girls who navigate the complexities of life, love and family in a small-town pizza joint. The infectious score features megahits  of the 80s and 90s, from “Girls Just Want to Have Fun” to “Nothing’s Gonna Stop Us Now.”

Songs for a New World
June 20-22
The Concord Players
51 Walden Street, Concord MA
(978) 369-2990

The first musical by Tony Award winner Jason Robert Brown. This electrifying production captures the essence of life's pivotal moments through the eyes of compelling characters navigating love, ambition, and the pursuit of dreams. From the American Revolution to a precarious ledge 57 stories above modern day Fifth Avenue, each story unfolds a unique narrative that reflects the universal struggles and aspirations that define our lives. With its vibrant energy and relatable themes, it's a celebration of resilience, hope, and the transformative moments that shape who we are.

Cut
June 21-28
The Footlight Club
7A Eliot Street, Jamaica Plain MA
(617) 524-3200

Three reality television writers find themselves just as "desperate" as the housewives they are shooting. Danno, a stressed-out editor, harbors secret guilt for deserting his sick sister. Renee is in the midst of a divorce and at a turning point in her career. The overly ambitious Colette finds herself in a world of trouble when she guns for Renee's job and Danno's respect. Amongst the "Ladies of Malibu" show that they produce, the trio finds that it is much easier to yell "cut!" on set, rather than in one's own life.

Evita
July 11-20
Reagle Music Theatre of Greater Boston
Robinson Theater, 617 Lexington Street, Waltham MA
(781) 891-5600

Step into the dazzling world of Eva Perón, Argentina's First Lady who captured the hearts of a nation and the attention of the world. Featuring Andrew Lloyd Webber and Tim Rice's unforgettable score, including the timeless classic "Don't Cry for Me Argentina," Evita brings to life the meteoric rise of one of history's most captivating figures. From humble beginnings to the pinnacle of power and fame, Eva's journey is told with electrifying passion, sweeping melodies, and breathtaking choreography. A story of ambition, love, and legacy, Evita is an inspiring theatrical masterpiece you won't want to miss.

Hadestown: Teen Edition (youth production)
July 17-19
Concord Youth Theatre
53 Church Street, Concord MA
(978) 371-1482

This full-length (2 acts, with intermission) Teen Edition of Anaïs Mitchell’s haunting, jazz-inflected folk opera follows Orpheus’ mythical quest to overcome Hades and regain the favor of his one true love, Eurydice.

A Midsummer Night's Dream
July 18 - August 2
Vokes Players
Beatrice Hereford Theater, 97 Boston Post Road, Wayland MA
(508) 358-4034

Shakespeare's magical comedy.

Alice in Wonderland Jr. (youth production)
August 1-2
Theatre Company of Saugus
Saugus Middle High School, 1 Pearce Memorial Drive, Saugus MA
(781) 816-7019

Based on the 1951 Disney film "Alice in Wonderland" and the novels The Adventures of Alice in Wonderland and Through the Looking-Glass by Lewis Carroll.

1776
August 1-3
Mass Arts Center (formerly MMAS)
Congregational Church of Mansfield, 17 West Street, Mansfield MA
(508) 339-2822

Witness the birth of a nation as our forefathers struggle to craft the Declaration of Independence. The seminal event in American history blazes to vivid life in this most unconventional of Broadway hits. 1776 puts a human face on the pages of history as we see the men behind the national icons: proud, frightened, uncertain, irritable, charming, often petty and ultimately noble figures, determined to do the right thing for a fledgling nation. It’s the summer of 1776, and the nation is ready to declare independence… if only our founding fathers can agree to do it! 1776 follows John Adams of Massachusetts, Benjamin Franklin of Pennsylvania and Thomas Jefferson of Virginia as they attempt to convince the members of the Second Continental Congress to vote for independence from the shackles of the British monarchy by signing the Declaration of Independence. 1776 is a funny, insightful and compelling drama with a striking score and legendary book.

Newsies
August 8-17
Reagle Music Theatre of Greater Boston
Robinson Theater, 617 Lexington Street, Waltham MA
(781) 891-5600

Get ready to cheer as the underdogs rise up in Disney's Newsies, the exhilarating Broadway musical inspired by the true story of New York City's 1899 newsboy strike. Packed with high-energy dance numbers, unforgettable songs like "Seize the Day," "Santa Fe," and "King of New York," and a heartwarming tale of courage and friendship, Newsies is a show that will leave you inspired and ready to take on the world. Don't miss your chance to join the fight for what's right. Catch the electrifying energy of Newsies - the perfect musical for the whole family!

Big: The Musical 
August 9-10
Theatre with a Twist
Church of the Good Shepherd, 164 Newtown Road, Acton MA
(978) 302-0985

The classic 1987 motion picture fantasy bursts onto the stage in the unforgettable theatrical experience, as a frustrated adolescent magically becomes an adult, discovering that life is not simply child's play.

Sip Sassparilly Saloon (youth production)
August 14-15
The Cannon Theatre
28 Andrews Parkway, Devens MA
(978) 448-2108

Where the folks are just as unruly as the land they inhabit.  It's all about puttin' on a show in the town saloon, and everyone is tryin' to get involved AND tryin' to speak their mind! From the cowboys to the ranchers, to the saloon gals, and the society ladies, this town is rarin' for a fun foot-stompin' toe-tappin' show that shouldn't be missed! Don't forget the town sheriff, Brave Bob, and his nemesis, Bad Bart. Will good win over evil? It's a TON of fun, with lots of western costumes, dances and music.

The Spongebob Musical: Youth Edition (youth production)
August 15-16
Theatre Company of Saugus
Saugus Middle High School, 1 Pearce Memorial Drive, Saugus MA
(781) 816-7019

When the citizens of Bikini Bottom discover that a volcano will soon erupt and destroy their humble home, SpongeBob and his friends must come together to save the fate of their undersea world. With lives hanging in the balance and all hope lost, a most unexpected hero rises up. The power of optimism really can save the world!

Happy Theatregoing!

The 2025 Tony Awards, Red Carpet Review

Sadly, due to technical issues I was unable to watch the Tony Awards ceremony in full last night, but I cannot and will not let that deter me from reviewing the red carpet fashions! Most of my red carpet reviews are grouped by style trends or in order alphabetically, but this time I'm just going with potluck and however I find photos on the internet. I'll include both red carpet appearances and onstage looks (not including show costumes), so you may notice multiple showings by the same person (host Cynthia Erivo, I'm looking at you...again...and again...and again...). I'll also include some of the more notable men's looks. 

Let the commentary begin!

Nicole Scherzinger, who won "Best Actress in a Musical" for her role as Norma Desmond in the revival of Sunset Boulevard, looked striking in a sleek, figure-hugging red sequin strapless column with a deep side slit. She accessorized simply with a stunning v-shaped diamond drop necklace and large diamond stud earrings, deep red satin pointy-toed pumps, a slicked-back updo, and deep crimson lips. This diva is anything but washed-up and over the hill!

Cole Escola took home the "Best Actor in a Play" trophy for the title role in Oh, Mary!, wearing an off-the-shoulder "Cinderella blue" column that was inspired by Bernadette Peters' look at the 1999 Tonys, at which she won the "Best Actress in a Musical" Tony for the title role in Annie Get Your Gun. Escola's gown featured a laced corset, narrow halter straps, hand-embroidered beading and sequins, and a long side train. Escola accessorized with a pendant necklace featuring a portrait of Laura Keene, the star of the show during which Lincoln was assassinated, and a curly auburn wig styled in an updo that resembled Peters' famous curly locks. Although I didn't love the hairy chest framed by the straps, the gown was lovely and beautifully-tailored, and I always love meaningful accessories and tributes to past winners, so this look gets a thumbs-up from me. 

Cynthia Erivo walked the red carpet in a two-piece peach gown with a velvet skirt that flared slightly at the knee and a structural, off-the-shoulder, crystal-encrusted, basque jacket that appeared to float out past her shoulders. She accessorized with a heavy, collar-style necklace and hoop earrings that coordinated with the jacket embellishments rather than competing with them, and - of course - her signature fancy manicure. The color was amazing on her, the tailoring was exquisite, and naturally, she rocked it. 

Audra McDonald did not manage to bring home her seventh Tony Award, but she did bring down the house with her performance of "Rose's Turn." The reviews on her red carpet look, however, were decidedly mixed. She wore an asymmetrical, one-shouldered, figure-hugging black sequin gown with fantastical swoop over one shoulder and a hugely full royal purple satin inset at one hip. It did feel a bit unbalanced to me, and yet I still liked the look overall. I didn't love it, but I definitely liked it. 

Sadie Sink wore a softly draped, sleeveless silver gown with a plunging neckline and a slightly full skirt with a short train. Although I loved the way the gathered fabric created a starburst effect, and the delicate crystal-encrusted bow at the waist, neither the color not the cut was especially flattering on her, and the center-parted hairstyle was too severe for the look. But I did love her makeup, with the dark red lip and well-defined brows. 

Leslie Odom, Jr., was cooler than cool in a brown pinstriped suit with wide-legged trousers, an over-long baggy jacket, and a stylized shirt-style loose vest, over an ivory turtleneck. He accessorized with shiny black dress shoes and dark sunglasses. It looked classic, casual, and comfortable, three Cs that definitely score an A.

Ariana DeBose went super simple in a white silk bias-cut spaghetti-strap slip dress, accessorized with multiple diamond necklaces, a gorgeous diamond watch, sparkly sandals, and long, curly hair. The elegant accessories upped the look from too simple to sleek and chic. 

Sarah Snook, who took home the Tony for "Best Actress in a Play" for her portrayal of a jaw-dropping 26 different characters in The Picture of Dorian Gray, wore a champagne-colored, body-hugging gown with a high neck, severe padded squared-off shoulders, and a short train. While I found the shoulders a little out of proportion to the rest of the look, her curvaceous figure softened the severity and her elegant sleek chignon and perfect makeup brought the attention to her gorgeous face, and she carried off the look with dignity and aplomb. 

Lea Michele wore a tuxedo-inspired sleeveless black gown with a plunging neckline, multi-layered skirt, thigh-high slit, and a narrow train. The lines were beautiful, especially with her long, dark hair worn loose, but I felt like it needed something more, like a little bling in a crystal bag or embellishment on her shoes or lapels, or a pop of color in a small boutonniere or colored gemstone jewelry.  

Sarah Paulson's look was not great, but compared to what she usually wears on the red carpet, it was actually quite good. I loved the pale gold, full, tea-length skirt with graceful crystal beading, organza bow, and an interesting-shaped line where it joined the black velvet bodice, which featured padded cap sleeves and a high neck. But the skirt felt like it began just a hair too low on the hip, and although the hourglass silhouette was fantastic, I feel like the visual weight would have been more balanced had the bodice featured a sweetheart neckline echoing the seam across the hips, with the top of the bodice formed by a pale gold, sheer yoke. Just a few minor tweaks, and this look would have been fantastic. But even as is, it kind of works. 

Renee Elise Goldsberry's gown was one of the few I saw during the pre-show, and I'm glad I did, because still photos do not do it justice. The spaghetti-strap, scoop-necked column had a deep copper satin underlayer covered with rectangular black paillettes (large, flat sequins) which moved like fringe as she moved, revealing peeps of the fabric underneath. And her sleeked-back hair, perfect makeup, and stunning long diamond drop earrings were the perfect accessories for a perfect look. 

Jennifer Simard wore a curve-hugging, strapless, elaborately-beaded, champagne-colored mermaid gown with a sweetheart neckline and a tiered tulle hem with a short train. She accessorized with a short diamond necklace and diamond cuff bracelet, long loose hair, and a nude lip. Although the color wasn't ideal on her (I would love to see her in pale copper instead!), the silhouette emphasized her va-va-voom figure and the nude lip set off her auburn locks nicely. 

Megan Hilty, Simard's co-star and co-nominee, also opted for a crystal-embellished champagne gown, in her case a sleek column silhouette with rows of feathers on the skirt and down the cape-like shoulders. Her hair was also styled in loose waves, but her lips were a bright pop of red that I loved, and although the cape had a bit of a matronly feel to it, the floatiness of the feathers created an ethereal feel that - appropriately enough - added back some youth. 

Jean Smart, a perennial red carpet favorite of mine, did not disappoint in a classic black column with a Queen Anne neckline, long fitted sleeves with a flounce at the wrist, a barely flared skirt, and a soft drape that curved from the right shoulder to the left hip. She accessorized with a softly curled updo and a pair of magnificent diamond chandelier earrings. She was the picture of understated elegance. 

Sara Bareilles wore a long-sleeved silver gown with square shoulders and a plunging neckline. The gown had a nude underlayer that was covered with vertical lines of sequins on the skirt, which created interesting lines as she moved, and it also had a spangled modesty panel across the front of the bodice which held it in shape. It was a lovely look for her, if not especially memorable. 

Kristin Chenowith wore a vivid blue strapless corset gown with angled vertical ribbons over sheer blue fabric across the ribs, fantastical pointed tips at the bodice top, and a sheer ruffled skirt that came to a point at the front and back. It was a great look on her petite frame, which is sometimes overwhelmed by her red carpet gowns, and the color was fabulous for her - it made me think of the Blue Fairy from Pinocchio! My only objection was that the sheer strips of fabric in the bodice were, for some reason, rumpled and lumpy-looking, which was not flattering. But even so, it was one of my favorite red carpet looks for her, especially because of the adorable crystal-embellished blue strappy T-strap sandals!

Julianne Hough wore a white mermaid gown with a tulle hem and a deep scoop neck. The top bore an unfortunate resemblance to a men's white undershirt or a cheap tank top, which was doubly unfortunate because the color and silhouette of the gown were otherwise great on her. But it just did not work for me. 

Joy Woods did not bring home a golden trophy, but she looked like one in a long-sleeved, high-necked, metallic gold gown with openwork lace patterns and a defined waist. The texture of the fabric was all the visual interest needed, so I loved that Woods accessorized with only chunky diamond earrings and a loose updo with plenty of curly tendrils framing her beautiful face. *chef's kiss*

Fina Strazza blended classic and contemporary in an ivory ballgown with a corset-style halter bodice edged with a wide swath of lace and finished with a ruffly peplum. The peplum and lace trim were a refreshing update on a traditional ballgown, yet it kept the feel of old-school formality and glamour. Nicely done!

Daniel Dae Kim paid tribute to both his own personal heritage and the show for which he was nominated, Yellow Face, in an ensemble inspired by a traditional Korean outfit called a "hanbok," which includes a type of wrapped robe worn with a narrow belt or sash. Kim's version comprised a white tunic-style shirt with loose, straight sleeves and a high v-neck; a long black satin sleeveless robe with white floral patterned silk lapels; and long black ribbon ties worn loose; all over standard black tuxedo pants. Kim commented on his look on the red carpet, saying, "...I thought it might make a statement to say that we might not look like a traditional American, or dress like a traditional American, but we can be loyal and proud Americans not matter what we look like." 

Dylan Mulvaney wore a strapless sage green taffeta trumpet gown with a deep v-shaped bodice and elaborate ruching down the front of the gown, drawing back at the knee to expose the full, flared hem and forming a tiny train at the back. She accessorized with a wavy bob, a short diamond necklace, and a dusty pink lip. Very nice. 

Charlie D'Amelio looked sweet as pie in a black gown with a fitted bodice with crystal beading at the top of the bodice, which featured a tiny keyhole opening, and running up the narrow straps. The gown flared into a full A-line skirt that just brushed the floor. She accessorized with a delicate diamond bracelet and small diamond earrings, and loosely waved hair. The way her hair was severely parted in the center and slicked down behind her ears felt a little casual compared to the rest of the look, but that was a minor quibble in what was otherwise a nice, if understated, look. 

Rosie Perez looked fantastic in a off-the-shoulder black gown featuring long, sheer sleeves and crystal accents clustered at the top and fading as they approached the hem, which pulled the viewers' eyes nicely toward her face. I loved her silver clutch and side-swept auburn bangs, as well as her hair tucked behind one ear revealing a double-stranded diamond earring. Gorgeous. This is an "I would wear this" pick. 

Katie Holmes sported one of the worst (possibly the worst) looks of the evening in a poorly-tailored, ill-conceived, two-piece outfit comprising a loose-fitting emerald green silk top with a jewel neck, dropped shoulders, and wide sleeves that ended just above the elbow, tucked into a low-waisted peach satin column skirt accented with crystal beading. The skirt folded oddly near the hem (likely there was a slit or kick pleat at the back), and appeared somewhat crushed around the knee, and the top bloused lumpily where it was tucked in. The fabric of both pieces was great, but everything else about this outfit was just awful. 

Daveed Diggs looked very disco in a sparkly metallic seafoam green tuxedo with flared pants and a long jacket with a white shawl collar and narrow white trim at the pockets, worn over a white dress shirt, accessorized with a black criss-cross necktie with crystal beading and a v-shaped diamond brooch over the knot, and square-toed black patent dress shoes. I loved the color of the suit and the cut of the jacket, but the break of the pants fell weirdly, and for some reason, he left the Armani label on the jacket sleeve, which lost a few points. This look was definitely a mixed bag for me, and could have used a few tweaks to make it work. 

Michelle Williams wore a black fitted gown with extended cap sleeves, a slightly raised neck, and a flared skirt with a front slit, but what made it stunning was the dozens of teardrop-shaped mirrors forming starburst patterns down the front of the dress, starting with one at the top that encompassed the entire bodice, and getting smaller towards the hem. She accessorized with long, straight hair, simple earbobs, a plain black clutch, sparkly sandals, and a silver manicure. She looked as regal and ageless as her character in Death Becomes Her.

Jonathan Groff continued to channel Bobby Darin in a retro-cut rust-colored three-piece suit with patch pockets, a matching slightly-loosened tie, a diamond brooch on his lapel, and shiny black laced boots. Like Darin, Groff has effortless cool and timeless style. 

Bob Odenkirk ditched the standard black tux in favor of this delicious cobalt blue, diamond-patterned tux with just a hint of sparkle, worn over a blue studded dress shirt with a midnight blue bow tie. It was a terrific look on him. He definitely made the sale with me!

Cecily Strong wore a pink-and-green floral print dress that had a lot going for it. The print was well-proportioned to her body type and the cut of the dress, I loved the way the body of the fabric created graceful ripples in the flared skirt, and the "dress shirt" styling of the bodice plus the self-belt worked well with the more casual feel of a print fabric, but the bulkiness of the sleeves, which puffed heavily at the wrist, gave a matronly vibe and threw the balance off. Fitted or bell sleeves, or even 3/4 sleeves with a cuff, would have worked better. But it's not a terrible look, on the whole. And the punch of color is just fun. 

Justina Machado had a fun vintage vibe in an off-the-shoulder velvet column with draped shoulders, one of which was gathered into a gorgeous diamond brooch, a thigh-high slit skirt, black T-strap platform sandals, and softly waved, side-parted hair. I loved the idea of either sheer black gloves or stacks of bracelets, but the combination of the two, particularly with the bracelets worn underneath the gloves, lost the sparkle of the jewelry and crumpled the gloves, and it just didn't work. But otherwise, this was a terrific look. 

Harvey Fierstein wore a gorgeous cobalt blue tuxedo with a black satin shawl collar and lining, a 4-button vest, and straight-legged trousers, accessorized with a delightful multi-colored plaid bow tie and matching sneakers (whimsy, color, and comfort!), and a black bag colorfully and hilariously emblazoned with the word "SNACKS". I love a man who comes prepared and well-dressed. (Also, he's lost significant weight since I last saw him and he looks GREAT. Good on him.)

Adam Lambert smoldered in his signature guyliner, spiky silver hair, and stubbly facial hair. Oh yeah, he was also wearing a beautiful tan tweed suit over a dark teal satin shirt worn open at the neck, and square-toed silver boots. That man ages like fine wine. Very well-dressed fine wine.

Gracie Lawrence looked cute as a button in a strapless, champagne-with-big-black-polka-dots, not-quite mermaid gown. The gown featured a wide black velvet band at the top of the bodice and another at the top of the flounce, just above the knee, that included a draping bow. I loved the hint of ruching across the front that camouflaged any wrinkles, and the slight fullness of the skirt was well-proportioned to make her look especially long and thin. I doubt I'd look this good in it, but this is also one that goes on my "I'd wear that" list. 

Laura Donnelly wore a sheer black gathered gown with puffy, not-quite-elbow-length sleeves and a strapless underbodice with an overlayer gathered into a round neck, and a full loopy bow at the side waist. This is the kind of dress, both the cut and the fabric, which looks much better in real life and while moving than it does in photos. I think the fabric has some sparkle to it, and the way the sheer fabric gathers it's likely to catch the light and create a sense of shading and movement. But from this photo alone, it just looks a bit bland and uninteresting. 

Auli'i Cravalho wore a strapless two-toned taffeta ballgown. While I loved the curved seamline joining the two colors, the pink and orange combination was a little jarring and a lot Dunkin Donuts (sorry, my New England is showing). That particular shade of pink is lovely with her coloring, but the orange is not, so replace it with a pink that is a few shades lighter or darker - or even a pale ivory or a deep burgundy - and it would work a lot better for me. But I do love her choppy waved bob and dangling diamond earrings. 

Carrie Preston wore an immaculately tailored red strapless column with princess seaming, a sweetheart neckline with some subtle horizontal seaming across the front, floating puffy sleeves, and a drape falling into a short, straight train. I loved her sideswept bob tucked behind one ear to reveal an onyx (or possibly dark sapphire) drop earring surrounded with diamond baguettes and her red but not super red manicure. My only objection was that her makeup felt underdone relative to the rest of her glamorous, more formal look. But even so, she looked absolutely beautiful. 

Jasmine Cephas Jones wore a black spangled halter gown with a criss-cross bodice that left a large triangular opening across her abdomen, and a straight column skirt. The waist of the skirt had a hint of a dip in the front, which had the unfortunate effect of looking like her belly was sticking out, and the halter crossed a little too high, looking snug and uncomfortable against her throat. But just a few small adjustments to the tailoring and this look would have been perfect. 

Mia Farrow looked washed-out and droopy in a poorly-tailored ivory suit with baggy, too-long sleeves, a 5-button vest in lieu of a shirt, wide-legged and kind-of-but-not-really-flared pants, and clunky thick-soled boots. Her hair and makeup were beautiful, but shame on whoever tailored (or didn't tailor) that suit for her. If it fit her properly and was worn over a top with some color to it and paired with non-orthopedic-looking shoes, she would have looked as lovely as she deserves to be. 

Cynthia Erivo opened the show wearing a red sequin column with a modified white portrait collar and belt, and sheer sleeves with a full flounce at the wrist. It gave major Little Orphan Annie vibes, which may have been intended as foreshadowing, since Erivo and Sara Bareilles sang "Tomorrow" from Annie during the "In Memoriam" segment later in the evening. Which brings me to...

Sarah Bareilles and Cynthia Erivo both wore somber but not morbid black gowns for the "In Memoriam" segment, with Bareilles choosing a gown with a full skirt and bolero jacket embellished with large, colorful embroidered flowers, and Erivo in a square-shouldered, high-necked top and flared skirt of black sequins with gold panels underneath. They were lovely and appropriate, and hit just the right note to show respect without drawing attention from the purpose of the segment,

Darren Criss claimed his Tony in a black cutaway jacket with white lapels and buttons, worn over a white tux shirt with black studs, a black bow tie, and a black cummerbund. It was formal and classic, but just different enough to be memorable. (Even if he did make me think of the dancing waiters in Hello, Dolly!.)

Oprah Winfrey presented wearing a black off-the-shoulder column gown with folded-down collar, short sleeves, a cinched-in waist, and wide white embroidered lace down each side of the skirt. But what really made the look pop was her wide diamond cuff bracelet and fabulously long diamond earrings.

I'll end this entry with one of the more seemingly non-descript, but most meaningful, looks, worn by Francis Jue, who won "Best Featured Actor in a Play" for his role in Yellow Face. His tuxedo was originally made for the late actor Alvin Ing in 1976 for the opening of Pacific Overtures. Ing had passed down the tuxedo to Jue in the early 2000s, telling him he could wear it when he accepted his first Tony Award. And 20 years later, that's exactly what Jue did. I'm not crying, you're crying. 

Don't forget to mark that off on your Tony Bingo card!