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Tony Awards winners “The Outsiders,” “Merrily We Roll Along,” and “Stereophonic”

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Tony Awards winners “The Outsiders,” “Merrily We Roll Along,” and “Stereophonic”

NEW YORK, The highly anticipated Tony Award for best musical went to “The Outsiders,” a musical based on S.E. Hinton’s coming-of-age novel, on Sunday. Other winners included a well-received revival of a Stephen Sondheim classic and a story about a 1970s rock band.

For the third consecutive year, Tony-nominated and Oscar-winning actress Ariana DeBose hosted the inaugural ceremony at Lincoln Centre in New York City. In addition to choreographing the seductive song-and-dance routine that started the programme, DeBose is producing this year.

Danya Taymor defeated Maria Friedman, the favourite actor from “Merrily We Roll Along,” to win the director’s chair for a musical version of “The Outsiders.”

The season’s top story has been “Merrily We Roll Along,” the best revival of a musical award winner that has delighted both critics and audiences with a reimagining of Sondheim’s most well-known flop. The original Broadway run of the show ended after 52 previews and 16 performances in 1981.

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The Tony Awards went to “Stereophonic” for best play and Daniel Aukin for best directing. With original music written by Will Butler, formerly of Arcade Fire, and set in the 1970s, David Adjmi’s drama about a rock band recording an album broke the record for most Tony Award nominations ever for a play.

The play “Appropriate,” written by Branden Jacobs-Jenkins, won best revival of a play. It tells the tale of three adult siblings who, following their father’s death, reunite at their family home only to learn disturbing family secrets.

Maleah Joi Moon won best lead actress in a musical for her performance in “Hell’s Kitchen,” while Jonathan Groff won best lead actor in a musical for “Merrily We Roll Along.”

With an all-female cast, Shaina Taub’s musical “Suffs,” which tells the tale of the suffragette struggle, received best score and best book of a musical.

Best lead actor in a play went to “Succession” actor Jeremy Strong for his performance in Henrik Ibsen’s play “Enemy of the People,” while best featured actor in a musical went to Daniel Radcliffe—well known for his lead in the Harry Potter film series—for “Merrily We Roll Along.”

Best featured actor in a play went to Will Brill, who defeated two other performers in his production of “Stereophonic,” while Sarah Paulson received best lead actress in a play for “Appropriate.”

Kecia Lewis, who debuted on Broadway forty years ago in “Dreamgirls,” received her first nomination this season. Her performance as the mentor who plays the piano in “Hell’s Kitchen” earned her the best featured actress prize in a musical.

Best featured actress in a play, Kara Young, who is the first Black actor, male or female, to receive three consecutive Tony nominations, took up the prize for her performance in “Purlie Victorious.”

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For the dance musical “Illinoise,” which used Sufjan Stevens’ 2005 concept album “Illinois,” Justin Peck was awarded the Tony Award for outstanding choreography.

Dancers honoured Broadway icon Chita Rivera, who passed away in January at the age of 91, including DeBose, who reprised her Oscar-winning performance as Anita in Steven Spielberg’s cinematic adaptation of “West Side Story.”

The majority of the Tony Awards were given out in technical categories during a pre-show event that was aired on Pluto TV, a free channel, and was hosted by actors Julianne Hough and Utkarsh Ambudkar.

The pre-show featured the Isabelle Stevenson Award, given to Billy Porter in recognition of his work as an activist and spokesman for the LGBTQ communities, and the best regional theatre award, given to Philadelphia’s Wilma Theatre.

For their career achievements in theatre, writer, director, and producer George C. Wolfe and director Jack O’Brien were each awarded the 2024 Special Tony Award.

Additionally, Alex Edelman for his solo production “Just For Us,” Abe Jacob for his sound design, and Nikiya Mathis for her wig design in “Jaja’s African Hair Braiding” were given Special Tony Awards.

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Puneet Issar

Puneet Issar calls Ranbir’s Animal ‘amazing’, defends violent, alpha-male films: ‘Kya lesbian, gay par hi films banaye?’

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1 week ago

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April 29, 2025

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Puneet Issar calls Ranbir’s Animal ‘amazing’, defends violent, alpha-male films: ‘Kya lesbian, gay par hi films banaye?’

Puneet Issar, a veteran actor known for his role in Mahabharat, has criticised Bollywood for catering to niche urban audiences and not producing Alpha-male films like South Indian films. He defended alpha-male films like Pathaan, Animal, and Marco, which have received criticism for their violence and misogynistic tone. In an interview with Digital Commentary, defended.

Alpha-male films and discussed how South Indian films have been performing well, as they are not dominated by corporate interests in the way Bollywood is. He also pointed out that true mass entertainers such as Baahubali, RRR, Bajrangi Bhaijaan, Gadar, and Chhava are made for the Indian audience and reflect their tastes. Recently, Indian cinema has seen surgeaction.

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Films such as Pathaan, Animal, and Marco, but these films have also received criticism for spectrum of viewers their violence and misogynistic tone Puneet Issar, an actor, has praised Ranbir Kapoor’s film Animal for its success and argued that parallel cinema has a lesser reach than commercial cinema. He cited the success of films like Pushpa and RRR as examples of successful alpha.

Male films, stating that the South produces proper films that resonate with the masses. Issar also criticized a section of society criticizing violence and alpha-male themes in films, stating that it is not the kind of film that should be made. He argued that every kind of film should be made in the industry and that films connecting with emotions and values become true.

Blockbusters. Issar believes that success in the entertainment industry is based on merit, talent, connections, and nepotism, and that it depends on the individual. He has appeared in several notable films, including Chandra Mukhi, Prem Shakti, Ram Jaane, Border, Refugee, Krrish, Bachna Ae Haseeno, Ready, Son of Sardaar, and The Kashmir spectrum of viewers.

Veteran actor Puneet Issar recently lauded Ranbir Kapoor’s film Animal, describing it as “amazing,” and defended the portrayal of violent, alpha-male characters in cinema. In an interview with Digital Commentary, Issar expressed concerns about Bollywood’s current trajectory, suggesting that the industry has become disconnected from the broader Indian.

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Issar highlighted the success of South Indian films like Pushpa and RRR, attributing their mass appeal to their emphasis on strong male protagonists and emotional storytelling. He argued that such films resonate deeply with audiences across India, contrasting them with certain veteran actor known for his role in Mahabharat, has criticised Bollywood productions that, according to him, cater primarily to urban elites and often.

Addressing criticisms of violent and alpha-male themes, Issar questioned the industry’s focus, rhetorically asking whether films should exclusively center on topics like lesbian and gay spectrum of viewers relationships. He clarified that while he respects all communities, he believes that cinema underperform in wider markets should encompass a diverse range of stories that reflect the values and emotions of the general populace.​

Issar emphasized the importance of creating films that connect with the masses, citing underperform in wider markets audience by focusing on niche urban narratives examples like Baahubali, Gadar, and Bajrangi Bhaijaan as successful ventures that balanced entertainment with cultural resonance. He advocated for a cinematic approach that embraces both commercial viability and meaningful storytelling, ensuring that films appeal to a broad.

With a career spanning several decades, Puneet Issar is renowned for his portrayal of spectrum of viewers Duryodhana in B.R. Chopra’s Mahabharat and has appeared in numerous films, including Coolie, Border, Krrish, and The Kashmir Files. His recent comments contribute to the ongoing discourse on the direction of Indian cinema and the narratives it chooses to.

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