The Tonys And Why Theater Still Matters For Those Who Feel Othered

The Tonys And The Quiet Language Of Being Seen

Theater has always communicated beyond dialogue. Music, silence, lighting, movement, and space often carry emotional information long before a character speaks.

For composer Caroline Shaw, nominated for Best Original Score for Death of a Salesman, those quieter forms of communication feel central to why theater resonates with people who experience and express emotion differently.

“What environment can I create with music that allows the characters and the context?” Shaw said. “I’m also so proud of my silence. It’s not always about putting in as much as you can. It’s all the things that are not said.”

That philosophy feels especially meaningful in conversations about inclusion.

“Theater and music, I speak better with music than words,” she said. “There are so many different ways that you communicate. The subtle things in communication that are not typical words. Outside of the neurotypical space is a new way.”

There is something deeply human in that idea.

People who have felt different because of how they communicate, process emotions, or experience the world often describe recognizing themselves in artistic spaces long before they find language for it elsewhere.

Theater leaves room for that recognition.

The Tonys And Why Shared Space Still Feels Different

Unlike film or streaming, theater asks audiences to coexist physically with the story. That distinction may explain why live performance continues to feel emotionally distinct even as entertainment options multiply.

David Korins, nominated for Best Scenic Design of a Play, thinks constantly about scale and human presence. Discussing his work, he reflected on building environments that remain grounded in people rather than spectacle.

“There’s a lot of conversation about the neighborhood,” Korins said. “They are all complicit, so I tried to stay loyal to being human-sized and human-scale.”

When he first saw the completed set, he described a feeling of relief.

“It’s incredibly impactful and satisfying. That set is the size of a full set, but we are really not used to seeing something that goes edge to edge, so seeing that was a sigh of relief.”

For Korins, theater’s strength lies in embracing what live performance uniquely offers.

“The thing about the theater is that everything is scaled, and yet you can pull your eye around the lighting,” he said. “In a film, you can control the appearance and the frame, but the theater is always people and space. So we try to use that to our advantage and do only what the theater can do.”

That shared physical experience can feel especially meaningful to audiences who have felt separate or overlooked. Theater gathers strangers into the same room and reminds them they are already participating.

The Tonys And Making Space For More Human Stories

Another recurring theme across this season’s nominees is permission. Permission for characters to be contradictory. Permission to take up space. Permission to appear unfinished.

Hannah Cruz, nominated for Chess, reflected on how women onstage are increasingly being written with greater range.

“It’s part of it is not always being likable, sexy, looking in a way we deeply desire,” Cruz said. “Letting you be your full humanity, not edited for other people’s approval.”

She connected that directly to her own character.

“With Svetlana in general, I find myself showing uglier parts of her.”

There is relief in seeing characters who are complicated rather than polished. People who feel othered often describe exhaustion from performing acceptability. Theater can loosen that expectation and make room for contradiction.

Christiani Pitts reflected on that through her work in Two Strangers (Carry a Cake Across New York), a story built around an unexpected connection.

“I believe the character I play shows that there are ordinary people who should be celebrated,” Pitts said.

She believes audiences are responding to something deceptively simple.

“The audience is responding to this play because it shows that being social doesn’t require much. It may just take looking up from your phone for a second, and you don’t have to be an extraordinary person to connect with others.”

That message feels especially timely. Connection does not always begin with similarity. Sometimes it begins with attention.

The Tonys And The Responsibility To Build Inclusion

For many people working in theater, inclusion is not treated as a trend. It is treated as practice.

Mary-Mitchell Campbell, recipient of the Isabelle Stevenson Tony Award, pointed to productions that actively create access and a sense of belonging.

“The theater community has a responsibility on some level to continue to do what How to Dance in Ohio accomplished,” Campbell said.

She praised the work that goes into creating environments where people feel welcome.

“I love to watch Sammi Cannold direct. That whole team cared; they brought them to life, and it’s a good testament to how we make people feel included.”

Her definition of success feels expansive.

“Any theater at any level making space and being accessible to every person, so that every person’s voice can be heard.”

Steve Bargonetti, nominated for Joe Turner’s Come and Gone, expressed a similarly direct view.

“Theater is always open to people and embraces all people.”

Of course, theater still has work to do. Accessibility, affordability, and representation remain active conversations across the industry. But the aspiration matters.

The Tonys And Broadcasting Belonging Beyond Broadway

The experience of inclusion extends beyond the stage itself. It also lives in how theater is presented to audiences at home.

Sarah Levine Hall spoke about that responsibility while helping shape this year’s Tony broadcast.

“The Tonys are so uniquely joyful,” she said. “We have an incredible team of people creating a show that will run like clockwork.”

She noted that audiences rarely see the amount of coordination involved.

“People would be surprised to know the intricacy involved behind the scenes.”

But execution alone is not the goal.

“It’s so essential that we put together a dynamic show, but also to communicate inclusivity to the theater community.”

Jack Sussman summarized the approach more simply.

“We are television producers who love theater.”

That affection matters. Because at its best, theater, whether it’s nominated for a Tony or not, does something many people are still searching for. It offers a room where difference is not something to apologize for. It becomes part of the story.