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!