Top 10 Broadway Shows That Were Snubbed at the Tony Awards

In 1992, a musical about an unconventional Jewish family in New York, dealing with love, identity, and illness in the face of a changing world, hit Broadway. Critics lauded the show for its heart, humor, and tackling of real-world issues. When the “46th Tony Awards” arrived, we had high hopes, especially with its seven nominations. While we can’t complain too much—it won Best Book of a Musical and Best Original Score—there’s one category where we felt it was robbed: Best Musical. That coveted award went to “Crazy for You,” which some viewed as a landmark in modern American musical theater. Still, we can’t help but feel slighted on behalf of “Falsettos.”

When the 2024 Tony Award noms list was released, we scanned it multiple times in search of “The Wiz” revival. Despite lukewarm reviews from critics, audiences couldn’t get enough! And who could blame them? It’s a timeless tale, revitalized by the genius of Amber Ruffin, complete with catchy tunes and breathtaking staging. Not to mention, it marked the triumphant return of this beloved classic to The Great White Way after its last revival in 1984. With all that going for it, you’d think it was a shoo-in—or should we say, a silver slipper-in—for Best Revival. Wrong. Sadly, “The Wiz” wouldn’t be skipping down the Yellow Brick Road at this year’s Tony Awards ceremony.

The “66th Tony Awards” was a tough year! “Ghost,” “Newsies,” “Once,” “Spider-Man: Turn Off the Dark.” Okay, we’re kidding about that last one, but the competition was fierce. Again, this particular show may not have won over all the critics, but it definitely had a devoted fan base. Sadly, despite its compelling retelling of Bonnie Parker and Clyde Barrow’s story, backed by a fantastic soundtrack, it struggled to find its footing. Closing after just 36 performances on Broadway, it seems this daring production was a gamble that didn’t quite pay off. We’re not saying it deserved to win Best Musical, but a little more recognition wouldn’t hurt, right?

Picture it: it’s 1996, the Tony nominations have been announced, and your jaw hits the ground as you realize “Victor/Victoria” didn’t make the cut. No offense to the competition, but seriously? This show deserved nods across the board. Yet the entire production was overlooked in almost every category. Where did they go wrong? The witty script? The Memorable score? Blake Edwards’ innovative direction? Or simply the sheer entertainment it brought? Julie Andrews, who played the titular role, scored a lone nomination but graciously turned it down. Had she won, she’d have entered the elusive EGOT club, but instead, she chose to stand with her team. Now, that’s a class act.

Today, “Sunday in the Park with George” stands tall among Sondheim’s masterpieces. Yet, its debut faced a lukewarm reception. Inspired by Georges Seurat’s painting “A Sunday Afternoon on the Island of La Grande Jatte,” it broke the mold of typical musicals. Still, it earned the Pulitzer Prize for Drama and multiple Drama Desk Awards. As for the Tonys? Well, it won two but also played runner-up to “La Cage Aux Folles.” It was a worthy contender with its captivating story, enchanting soundtrack, and profound message. Still, we couldn’t shake the feeling of “Sunday” being overlooked. Perhaps Sondheim’s avant-garde style was too ahead of its time, but no win for the score? Is it too late to demand reconsideration?

Any musical going up against the phenomenon of “Dear Evan Hansen” probably knew the odds were stacked against them. Even “Natasha, Pierre & The Great Comet of 1812,” which was the most nominated show of the season! Now, don’t get us wrong—we’re huge fans of “Dear Evan Hansen” and its thought-provoking narrative and stunning score. But we couldn’t help feeling that “Come From Away” deserved more recognition. Its touching story and beautiful soundtrack made it a surefire crowd-pleaser, earning rave reviews and filling theaters. In any other year, it would’ve been the talk of the Tonys. At least the show’s director, Christopher Ashley, secured a well-deserved win.

In 1991, “Miss Saigon” stormed onto Broadway from the West End. It’s a stunning retelling of Puccini’s “Madama Butterfly,” with a breathtaking score by Alain Boublil and Claude-Michel Schönberg. It quickly became the hottest ticket of the year, captivating audiences and shattering ticket sales records. With 11 nominations each, “Miss Saigon” and “The Will Rogers Follies” led the pack for Tony glory. Despite victories for Lea Salonga, Jonathan Pryce, and Hinton Battle, the top prize slipped away, claimed by their toughest rival. The show had been tarnished by controversies that some think may have cost it the win. Still, we believe it deserved better.

2019 was another fantastic year for Broadway, offering a diverse range of stories and performances. One standout was “Be More Chill,” a modern tale of a nerdy teen’s journey to popularity thanks to a supercomputer in his head. While opinions among critics varied, it struck a chord with a new generation of theatergoers. Despite receiving only one nomination for Best Original Score, it lost to “Hadestown,” which also won Best Musical. The cast also got snubbed from performing at the ceremony. Meanwhile, James Corden, Sara Bareilles, and Josh Groban humorously parodied one of their tunes without initially paying the show its proper dues. Needless to say, the fans weren’t too happy.

“Chicago” first opened on Broadway in 1975, starring Gwen Verdon as Roxie Hart and Chita Rivera as Velma Kelly. Perhaps it was its dark, cynical tone, or maybe it was its focus on murderesses, but it left audiences squirming in their seats. When Tony season arrived, “A Chorus Line” stole the spotlight, while “Chicago” left empty-handed. But the story doesn’t end there. “Chicago’s” 1996 revival won six Tonys, setting a record for the most wins by a revival, a title it held until 2008. Additionally, the 2002 film adaptation garnered six Oscars. And how many did “A Chorus Line” win? Zilch. Look, we adore “A Chorus Line;” we’re just stating the facts!

Before we unveil our top pick, here are a few honorable mentions.

“Grease, ” “26th Tony Awards” (1972)
It Was “A-Womp-Bop-a-Looma A-Womp-Bam-Boom” -ing Loss for “Grease” When “Two Gentlemen of Verona” Won Instead

“West Side Story,” “12th Tony Awards” (1958)
The Show Lost Out to “The Music Man” Nothing Against That Show, but We Were Ready to Rumble

“Follies,” “26th Tony Awards” (1972)
Some Might Say It Was Sheer Folly That This Show Didn’t Win Best Musical

“Wicked” defied all expectations when it soared onto Broadway, breaking so many records that we’d need a whole new list to cover them all. It has also won several Drama Desk Awards, and its cast album even picked up a Grammy. Despite split opinions among critics, audiences flocked to see it. It seemed like a clear frontrunner at that year’s award ceremony. It was a decent night for the show, securing wins for Best Scenic Design, Best Costume Design, and Best Performance for its Leading Lady, Idina Menzel. But when it came to the big one—Best Musical—the winner was… not “Wicked.” Well, it didn’t suck to be part of the “Avenue Q” cast that night.

Which Broadway show do you think didn’t get the recognition it deserved? Share your thoughts in the comments.