Top 10 Underappreciated Tony Awards Performances

Millie Dilmount is the role that made Sutton Foster a star. Back in 2002, people heard there was a new, incredible performer on Broadway. But it wasn’t until the Tonys that the world got to see Foster. The performance begins with Foster’s soaring voice. The chorus later joins in with a delightful tap dance, which, for the record, is much harder than it looks. It’s no surprise that Foster won the Tony for Best Performance and that Thoroughly Modern Millie won Best Musical. What is surprising is how little love this number has received, probably because of Foster’s storied career since! We may forget the boy, but let’s not forget this show-stopper!

Did you know “Next to Normal” won a Pulitzer Prize for Drama? It happened, and yet surprisingly, “Next to Normal” didn’t win the Tony for Best Musical. The show centers on Diana, a woman struggling with bipolar disorder. Her loving husband tries to help her, but in this number, Diana reminds him that he doesn’t know what it’s like to be her. Performed on a simple stage, Ripley beautifully captures Diana’s anguish. At the same time, Aaron Tveit, who portrays Diana’s dead son, perfectly ends the scene with his triumphant expression.

Sometimes, you don’t need a flashy performance to wow the crowd. At the 65th Tony Awards, Andrew Rannells proved that all you need is one phenomenal performer. “The Book of Mormon” won for Best Musical, and Rannells's performance cemented why. Before the song “I Believe,” Rannell’s character, Elder Price, has abandoned his mission. He returns, determined to help his fellow Elder convert the local Ugandans. That includes the General, who is not convinced. Even if you don’t believe, Rannell’s rendition will make you - at least for the duration of the performance. The audience did, as they clapped, cheered, and laughed during Rannell’s number.

“Fun Home,” based on the graphic memoir of the same name by Alison Bechdel, was the first musical to feature a lesbian protagonist. Spanning multiple years and three different aged Alisons, “Fun Home” focuses on Alison’s acceptance of her sexuality and of her father. The show includes several heart wrenching numbers. But “Fun Home”’s most well-known song is arguably “Ring of Keys.” Sung by Small Alison, the number takes place when she first sees a delivery worker that she relates to. Sydney Lucas sang to the camera rather than the house to have a more definite connection with the off-stage woman she’s enthralled by. Her performance showed that sometimes the smallest singer can be the most powerful.

“Caroline, or Change” had the unfortunate luck of being eligible for Tony consideration at the same time as “Wicked” did, which may be why Tonya Pinkins’s extraordinary performance is often overlooked. The musical takes place in 1963 and follows Caroline, a Black maid working for a Jewish family. In “Lot’s Wife,” Caroline asks for God’s help. Pinkins’ soulful voice is mesmerizing, and her control of the stage is spellbinding. Even more impressive is Pinkins's shift from anger to sorrow. Performing a solo is intimidating; performing a solo with just a spotlight on you is terrifying. Pinkins really does deserve more recognition for this.

Angela Lansbury, oh how we miss you. During her career, Dame Lansbury won a whopping five Tony Awards - six, if you count her Lifetime Achievement award. Her fourth was as the kooky Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street. One of the darkest musicals ever staged, it would have been easy to perform one of the more bloody numbers from the production. Instead, the producers put forth Mrs. Lovett’s opening number. Dame Lansbury brought the right amount of comedy and Cockney to the piemaker, and she later admitted to loving “the extraordinary wit and intelligence of [Stephen] Sondheim’s lyrics.” Part of the fun of this performance is watching a mostly stoned-faced Sweeney, who has no idea how to handle Mrs. Lovett.

2016 was all about “Hamilton,” so we forgive you if you don’t quite remember all the musicals from that year. You should absolutely remember the revival of “The Color Purple” though, which was soon-to-be-on-screen Elphaba Cynthia Erivo’s Broadway debut. Erivo blew audiences away with her rendition of “I’m Here,” Celie’s powerhouse number where she realizes just how strong she is. Erivo proved she more than deserved the Tony, and her performance as Celie may be one of the main reasons she was cast as Elphaba. This woman can belt! We can’t wait to hear her version of “Defying Gravity.”

Yes, we know the name is ridiculous, but “Urinetown” is actually a brilliant satire! The musical takes place in a town with a severe water shortage. Due to this, people are charged to use the restroom. In this performance, Hunter Foster, brother of Sutton Foster, inspires the people to pursue freedom. Reportedly, the song was either inspired by or is meant to parody the rousing rebellion anthems in “Les Miserables.” We love how Foster later directs the townspeople like a choir - not to mention, the song is so darn catchy! It’s impossible not to dance and clap along with the performers.

When it comes to her musical theater resume, Sutton Foster is mostly known for her work in Anything Goes and The Music Man and perhaps the previously mentioned “Thoroughly Modern Millie.”. However, she also starred in The Drowsy Chaperone, a spoof of 1920s musicals. In the song, “Show Off,” Janet explains to reporters that she’s happy to retire from acting. Yet she ironically does this through a spectacular production. Sharp choreography captures the number’s tongue-in-cheek nature, like when Janet claims she no longer wants to show off yet poses for the camera. Foster also got to show off her comedic timing as she performs a series of not “showing off” stunts. Sutton Foster, you can show off for us anytime.

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

“96,000” from “In the Heights”
“62nd Tony Awards” (2008)
Before There was “Hamilton,” There was Washington Heights Yearning for 96,000 Dollars

“Hair” from “Hair”
“63rd Tony Awards” (2009)
Doesn’t This Number Make You Want Luscious Locks to Whip Around?

“Ragtime” from “Ragtime”
“52nd Tony Awards” (1998)
If You Look Closely, You’ll See a Very Young Lea Michele as the Little Girl

“I Am What I Am” from “La Cage Aux Folles”
“38th Tony Awards” (1984)
One of the Original Gay Anthems

“We’ll Take a Glass Together” from “Grand Hotel”
“44th Tony Awards” (1990)
Can We Take a Moment to Appreciate Michael Jeter’s Dance Moves?!

“Company” is an unusual musical. There isn’t really a plot. Instead, we follow Bobby interacting with his friends who are married and navigating the dating world of New York City. That’s why whoever plays Bobby has to be a star. In the 2006 revival of “Company,” that honor went to Raúl Esparza, who brought the entire theater down when he performed “Being Alive.” In the song, Bobby has realized that he doesn’t want to live his life alone. The true way to “be alive” for him is to have a partner. Esparza sang the melancholic number with very little instrumentation to accompany him, and the result will give you goosebumps. He is truly a vocal acrobat.