ONE NIGHT ONLY
Ladies and gents,
It’s Grammy Sunday, and while the world tunes in for a parade of glitter, gyrations, and gobsmacking fashion choices, we turn our gaze toward that oft-overlooked corner of the ceremony: the Best Musical Theater Album. That little category rarely gets televised (that’s the Tonys’ turf, after all — and nobody does it better), but rest assured: the competition is fierce.
But let’s first begin with a bit of nostalgia. Once upon a time, Broadway songs were popular music. Cast albums topped the Billboard charts. Hello, Dolly! dethroned The Beatles. Hair was the anthem of a generation. The overwhelming success of Jesus Christ Superstar proved that even the Lord loves a concept album.
The Grammys first recognized this glory in 1959 when The Music Man beat West Side Story for Best Original Cast Album. An upset? Perhaps. But proof that there’s always room in our hearts for a well-timed “Ya Got Trouble.”
Now, in 2026, we celebrate a bold and diverse group of nominees:
Buena Vista Social Club — a rhythm-soaked, gorgeously arranged adaptation of the Cuban music classic, shaped with precision by world class musicianship. You can practically taste the mojitos.
Death Becomes Her — the glamorous, ghoulish satire brought to Broadway in high style, resurrecting camp for a new generation. This marks producer Sean Patrick Flahaven’s fifth nomination — he previously won for Hamilton — and his work continues to raise the bar for musical theater preservation.
Gypsy (2024 Revival) — featuring Audra McDonald’s powerhouse reinvention of Mama Rose. A revival so rich and confident it practically roared.
Just in Time — a poignant and playful original tuner that solidified Jonathan Groff’s superstar status.
Maybe Happy Ending — an oddball romance between two robots somehow turned into one of the most touching scores of the season, and already has a Tony for Best Musical on its mantel.
And, even though the telecast usually favors Beyoncé over Chita and Bad Bunny over Bernadette, there have been moments. Green Day and the American Idiot cast? Electrifying. Hamilton beaming in from the Richard Rodgers? Historic. Patti LuPone singing “Don’t Cry for Me Argentina” decades apart, both times with enough force to knock the sequins off her co-stars? Iconic.
And then there’s the post-show bash that lives in infamy. In 2020, Jordan Roth and Rick Miramontez hosted a VIP party at Hollywood’s Tramp Stamp Granny’s, aiming for a “super discreet, speakeasy vibe.” Entry was granted with a cheeky password — “Mame sent me” — until one enthusiastic Idina Menzel super fan leaked the details online. Security plans were swiftly revised, but the breach didn’t stop Billy Porter, Adrienne Warren, Marissa Jaret Winokur, Anaïs Mitchell, Jeremy Pope, and the venue’s co-owner Darren Criss from dancing the night away beneath the disco ball.
Tidbits from around town…
Spied Sarah Jessica Parker and Matthew Broderick at Buvette.
Witnessed Matthew Rhys shoveling out his car in Brooklyn Heights.
Caught Tom Hiddleston trying on suits at Zegna.
As always, a toast of something sparkling to you and yours!
Kisses,
