Last night was the annual Tony Awards, which recognizes excellence in theatre. In addition to excellence in theatre, I love to recognize sartorial excellence. So here's what I thought of some of the looks on tonight's red carpet! I've included both men and women this time, since so many of the men did such a nice job.
Cole Escola was channeling Molly Ringwald in a puffy bright pink satin two-piece number. The color was great, but it was a little too voluminous for my taste. The top wasn't too bad (I loved the slightly paler pink bow at the neck) but the pants were clownish. Hair and makeup, though? *chef's kiss* 7/10
Another *chef's kiss* for Carrie Coon's hair and makeup, but the silhouette of her dress was all over the place: too loose at the waist for being cut so low at the sides, an awkward angular line due to the ruffled seam at the hip, and the odd high ruffled collar white insert in the front that contrasted too much in both style and color. 4/10
Luke Evans had a very southern 'Big Daddy" vibe in a white double-breasted suit with a black bowtie and a pencil mustache. It was well-tailored enough, it just didn't feel right for him, or for the occasion. 7/10
Amber Ruffin's charming black-and-white polka-dot mermaid gown was great for photos - I really loved the peep of polka dots at the neckline - but I hated that she couldn't walk in it, and had to literally
hop across the red carpet. So close, but not quite. 8/10
Oh, Sarah Paulson. This dress had so much potential. The delicately embroidered fabric was fabulous; even the overall silhouette was cute. But the random bows on the shoulders and at the hips were weird, and the hem was horribly wrinkled and a strange length. Please hire a stylist who doesn't hate you. You deserve so much better. 4/10
Lea Michelle's black sequin column skirt with a short train was lovely, but why she paired it with a wife-beater style white men's undershirt I'll never know. At least her hair looked great? 5/10
Adrien Brody paired flared black tux pants with a cutaway jacket over a black-and-white striped shirt, with a long necktie tucked into the shirt. I didn't love the tucked tie, but other than that it was a classy and classic look. 9/10
Ariana DeBose wore a deep green silk gown with great lines, although I didn't love the high, shapeless neckline or the way it flattened her bustline. With better undergarments and a different neckline, this look would have been a winner. 5/10
Darren Criss rocked a silver brocade jacket with black satin shawl collar paired with slim-fit black tux pants, a white shirt, and a black bow tie. 9/10
Power couple Rose Byrne and Bobby Cannavale were nicely coordinated with her in an open-sided ivory brocade column with long black roping falling from the shoulders and him in an ivory dinner jacket with black tux pants. I would have liked her dress better if the ropes ended around her elbows, but the dress itself was lovely and flattering. 8/10
I loved the chunky bejeweled halter neckline of Maya Rudolph's gown, but the bulky hobble silhouette that pulled in around the calves and the short, lumpy train were odd and unflattering. 4/10
Whitney White wore a silvery satin gown with a jeweled sheer skirt, a cape with a train, criss-cross straps, and a loose jeweled chain belt. It had a lot of great details, but perhaps a few too many. 6/10
Rachelle Zegler's plunging black gown was lovely in photos, but tended to bag out unbecomingly when she moved. Her double-sided tape was working
very hard. 6/10
I'm not always a fan of high-low dresses or fluffy linings, but somehow Betsy Wolfe's gown worked really well for me - although my favorite part was the sparkly green heels and matching green drop earrings. 7/10
Act 1 Host Laura Benanti looked stunning in a burgundy strapless column with a subtle ruffled top, a short train, and a thigh-high side slit. 9/10
Co-host Tituss Burgess walked the red carpet in a black ensemble pairing loose-fitting satin pants with a sheer, long-sleeved lace shirt with extended satin cuffs and an angled satin cummerbund, accented with diamond bracelets and a long diamond Y-necklace. 7/10
Krysta Rodriguez looked luminous in a pale coppery corset gown with a sheer organza crushed overlay and a single dropped shoulder strap. 8/10
Taryn Delaney Smith's strapless ice-blue satin corset gown featured a column silhouette topped with an elegant flared short train overlay. 7/10
Jeremy Pope went all-out in a black-and-white ombre column skirt with a narrow double side train paired with a black velvet jacket with extended satin lapels accessorized with a black shirt, a black-and-white ombre necktie, an oversized black "statie" hat with silver accents, and black gloves with white fingertips. Billy Porter would approve. 9/10
Suzie Toot went retro chic in a short blue, white, and pink bird print sequined dress with a short cape, with silver sequin heeled sandals and a small purse. I loved everything except the heavy hose, which simply don't work with open-toed shoes. 9/10
Rachel Hauck paired wide-legged satin pants with wide vertical swaths of marabou feathers with a midriff-baring cropped batwing-sleeved white satin blouse, accented with a yellow and black "Come One, Come All" fan (
CATS swag) and gold satin kitten heels. I didn't love it, but it suited her. 6/10
Host Pink walked the red carpet in a black sequin strapless column with a fabulous black-and-white feather train. 9/10
Danielle Brooks wore a soft gold sequin column topped with an off-the-shoulder drape edged in black. It was a great design, but the fitting was terrible across the bust (too low and too tight), which is a shame because it could have been a fabulous look. Her flippy, wet-look hairstyle was cute but all wrong for the gown. 5/10
Dylan Mulvaney wore a red gown with a bandeau under a sheer long-sleeved, round-necked top and a full red skirt with a short train and a slightly dropped waistline which made her look super long and lean. And I adored her vivid red lip. 9/10
André De Shields wore a vivid suit with black-and-white geometric print pants and a bright multicolored floral print long jacket with purple satin notch lapels, accessorized with white boots, a blue bow tie, and fantastical white eye makeup. 10/10, no notes.
Kara Young wore a wrapped chartreuse chiffon off-the-shoulder gown accented with three knots with long trailing ribbons. Other than moving the lower front knot over to the side (or ditching it altogether), this was a great look in an unusual color that not many people could pull off, but she did. 9/10
Alex Newell wore a wrapped deep chocolate brown sequin gown with a flared strapless bodice. The lines were interesting but the shape of the bodice made Newell's upper body look disproportionately broad. 6/10
Whitney Leavitt's two-toned gown featured a sculptural off-the-shoulder black bodice with a diagonal peplum over a caramel tulle skirt. It was a gorgeous silhouette, and beautifully proportioned. 9/10
Laurie Metcalf took home her third Tony wearing a copper and gold metallic sequined gown with a round neck, long sleeves, and a slight flare at the knee. The fabric was gorgeous and the silhouette was flattering, but overall it was just a bit bland. 6/10
June Squibb, the oldest Tony nominee ever at age 96, wore a black surplice blouse with jacket-style lapels over a black and gold print skirt, with long diamond drop earrings, upswept white hair, and a burgundy lip. She looked gorgeous, crisp, and comfortable. 10/10
Ana Gasteyer wore a black halter column with wide white edging on the bodice and a pearl neckband. Simple, but elegant. 8/10
Kristen Chenoweth, whose tiny frame is often overwhelmed by her gown, hit just the right notes in a simple black strapless sheath with a narrow angled drape at the hip, accessorized with a soft updo with a few loose tendrils and natural makeup. 9/10
Broadway legend Bernadette Peters wore a well-tailored burgundy satin off-the-shoulder gown with a sweetheart neckline and long, sheer sleeves. I often gripe that her gowns are too tight or too low-cut, but this one was absolutely perfect. 10/10
Former bandmates Joey Fatone (left) and JC Chasez walked the red carpet together. Chasez wore a baby blue tux jacket with black shawl collar paired with fabulous spectator shoes and accented with a gorgeous blue and white jeweled bird brooch, while Fatone paired his white dinner jacket trimmed with a double narrow black ribbon with impeccable white sneakers. It worked for me! 9/10
Julianne Hough wore an open-sided white gown with a high, round neck and modified cap sleeves on the slightly bloused bodice, and a straight skirt with side slits up to the hip. It moved surprisingly well and suited her slight figure without too much fear of a wardrobe malfunction, but I didn't love the blousiness of the bodice. Honestly, the look was a little boring. 7/10
Marla Mindelle looked very
Jessica Rabbit in a body-hugging strapless red sequin gown with a deep sweetheart neckline and loose, sideswept auburn waves. 8/10
Aya Cash went casual in wide-legged, high-waisted chocolate brown trousers and matching bra top, topped with a very 1980s oversized jacket in shades of white and brown. The jacket was a bit too bulky and might have felt more balanced paired with cigarette pants (or simply scaled down a bit), but I loved the concept and the color scheme. 7/10
Shoshana Bean wore a sheer black trumpet gown with a black leaf applique pattern, a short train, and leaves trailing from the sleeves. It had a quirky charm that suited her personality. 9/10
Kelli O'Hara wore a gown with a broad criss-cross bodice and straight skirt in black accented with plum painted flowers, and a full three-quarter overlay skirt in white with matching swaths of plum. It had beautiful lines, but it was a little dark against her fair hair and skin. I agreed with another commenter that a deep plum lip was called for. 8/10
Lily Rabe went very goth in a narrow, tiered fringed black dress with a long black ribbon draped across her throat and trailing down her back, with a center-parted hairstyle pulled back across her forehead with a few chunky tendrils, and a dark red lip. The dress itself was fine but the overall look was too severe and shapeless. 4/10
Christopher Gattelli wore a whimsical sky-blue suit dotted with white and lavender clouds, a narrow satin shawl collar, white shirt and bow tie, and white boots. I didn't love the placement of some of the clouds, but the concept was fun and different. 8/10
A still photo does not do justice to Deborah Cox's iridescent ice-blue sequin trumpet gown with floating sleeves, a single angled shoulder strap, and a long train. The fabric moved and caught the light beautifully, and the design had enough details to be interesting without being over-designed. My favorite of the night! 10/10
Joshua Henry's black and metallic gold floral suit danced right up to the line of being too busy, but didn't quite cross it. 8/10
Tony- and Oscar-winning costume designer Paul Tazewell rocked the red carpet in wide-legged black pants, a basic black tee, a boxy black jacket with wide gold brocade trim, and a matching wide gold brocade cummerbund, accessorized with a single gold chain and a gold pocket square. Brilliant. 10/10
Another dress that can't be fully appreciated in a still photo was Caissie Levy's black-and-blue floral gown, featuring a strapless sweetheart neckline and a flared skirt with a short train. I loved the larger, brighter flowers on the skirt and the subtlety of the colors. Another personal favorite. 10/10
Layton Williams brought the drama in a black suit with flared pants and a lace jacket over a high-necked black shirt with rhinestone buttons, accessorized with gloves with metallic nails and a fantastical headpiece with eyelash-covered antennae and a fringe across the forehead. 9/10
Sara Chase wore a jade-green ballgown with criss-cross details on the bodice and a tulle skirt. I loved the seam at the hip and the lines of the bodice, but the bodice fabric looked cheap somehow, and the overly wide-spaced shoulder straps broadened her shoulders. 7/10
Anika Noni Rose wore a gold lame column with a boned bodice that was much too plunging. She's gorgeous, but I don't want to see that much of her boobs. 3/10
Rachel Dratch was one of many who wore a skirt that was sheer from just above the knee down, a trend I loved. I especially loved that her sheer overlay had a kind of zigzag pattern that added visual interest, and the angled top revealing one shoulder was great. My only objection was the overly long sleeves, which looked just a bit casual or even messy. 8/10
Bronwyn Newport was stunning in a strapless forest green ballgown with a sheer bodice covered with appliqued leaves and vines in several shades of green and a full, multi-layered tulle skirt. The variegated colors of the skirt were gorgeous. Bonus points for carrying a clutch in the shape of a hyper-realistic sandwich - or possibly an actual sandwich. Hilarious and delightful in either case. 10/10
Drew Barrymore missed the mark in nondescript black pants and a white button-down shirt with puffy raglan sleeves over bulky white opera gloves, topped with a floor-length white cape. What? 1/10
One more look that needed to be seen in motion to fully appreciate, Ayesha Curry's deep pink fringed gown had a hint of ombre at the hem and a long scarf that draped around the back over her neck and over the front of her shoulder. The fluidity of the fabric was stunning, and the simplicity of the design let the movement be the star of the show. 10/10
Leslie Odom, Jr. inexplicably topped his otherwise classy double-breasted black tux with a bulky red satin baseball jacket. Just...no. 1/10
Audrey Corsa wore an ankle-length, off-the-shoulder red gown with long sleeves and a full skirt. I especially loved her flippy hair. Her dress looked cute and comfortable, and it was a fabulous color on her. 9/10
Frankie Grande opted for a sailor look in flared white pants with deep slits at the hem and a cropped white satin sailor jacket that tied at the front, accessorized with heeled white slouchy boots, a pair of pearl and bead necklaces, and elaborate eye makeup. A little over-the-top, but isn't that what the Tonys are for? 9/10
Melissa Barrerra wore a olive-gold dress with a laced peplum corset front and a multi-tiered ruffled column skirt. The tiny layers in the skirt looked like a paper pinata (not in a good way), and the attached corset front framed her bust in an odd and distracting way. The silhouette was fine, but all the details simply didn't work. 3/10
Marissa Jaret Winokur understood the assignment in a perfectly proportioned red strapless column with a corset bodice with a sequined and flowered insert, a short side train, and a knee-length side slit. Compare the way the flared detail on her bodice curves inward to the way Alex Newell's flares out, and note how Winokur's look balances her proportions where Newell's makes them look top heavy. The devil is in the details, and Winokur got all the details just right. 9/10
Christiani Pitts wore a strapless tulle gown in shades of champagne, black, and midnight blue, featuring a ruffle at the top of the bodice and a short train. I loved the way the darker fabric wrapped the bodice and then draped across the top of the skirt, creating slightly asymmetric lines. 8/10
LaChanze wore a sleeveless ivory sheath with long vertical beaded lines and an attached capelet. The slight curve of the lines gave her figure a beautiful shape while the vertical pattern of, the beading, the silhouette, and her tall updo gave her a long, lean look. My only objection was that the round neck and cape style felt a little matronly for her. 8/10
Kerri Kenney-Silver wore a vivid red strapless A-line gown with a giant rosette covering the entire front of the bodice. Georgia O'Keeffe, anyone? 3/10
Nichelle Lewis' blush peach gown was a good example of a terrific concept but poor execution. Her simple strapless column was accented with a curved mesh band at the top of the bodice and several rows of flower petals curving at the waistline. But the stiffness of the mesh band made it stick out awkwardly, especially under the arms; the placement of the petals at the waist was too low and made her hips look wide and her legs look short; the bodice is so tight that you could see the constriction of the top of her undergarments, where there was no seam in the dress; and the skirt fabric was stiff, making it hang oddly at the hem. 4/10
Omari Wiles (right) and Arturo Lyons coordinated nicely, with Lyons in a black-and-blue brocade tuxedo with super-wide black satin peaked lapels accented with a diamond starburst brooch, and Wiles in wide-legged black trousers with blue-and-white trim at the hem which matched his cummerbund and over-long necktie, topped with an electric blue satin tux jacket with narrow black satin shawl collar. Wiles wore matching electric blue-rimmed sunglasses on the red carpet. The Tonys they took home were also a pretty nice accessory. Cooler than cool. 9/10
Let me know if I missed any of your favorites!
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