2025 Tony Awards Predictions: Best New Musical, Best Leading Actress and More

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Expect wins for the musicals “Maybe Happy Ending” and “Sunset Boulevard,” but the races for best play and leading actress in a musical are too close to call.

Two production images, positioned side by side, show, on the left, two people in colorful attire sitting down and, on the right,  a woman in a black dress screaming. She is covered in blood, and standing in front of a large projected image of herself.
From left, Darren Criss and Helen J Shen in “Maybe Happy Ending,” a best new musical contender with 10 nominations, and Nicole Scherzinger in “Sunset Boulevard,” which is nominated for best musical revival.Credit...From left: Jeenah Moon for The New York Times; Sara Krulwich/The New York Times

Michael Paulson

June 6, 2025Updated 9:16 a.m. ET

The Broadway season that just ended was the most robust since the pandemic, with record-setting grosses, a plethora of profitable plays and celebrities galore.

Serious challenges remain — vanishingly few new musicals are making money — but there is a rich subject and stylistic diversity of offerings. Now, industry insiders face a lot of tough choices as they determine which shows to honor at Sunday night’s Tony Awards ceremony, which airs at 8 p.m. Eastern on CBS.

Over the last few days, I asked Tony voters which productions, and which performers in leading roles, they deemed the best. After consulting with more than one quarter of the 840 voters, these are my predictions.

Tell people the plot summary for “Maybe Happy Ending,” and they immediately think they don’t want to see it: It’s about two lonely robots in Seoul who go on a road trip and find, well, each other. But over the last seven months, the show has steadily won over fans thanks to strong reviews and excellent word-of-mouth; it has clearly won over Tony voters too.

The show has what I believe to be an overwhelming lead over its closest competitors, “Buena Vista Social Club” and “Death Becomes Her,” both of which are based on existing material. That’s one part of what’s working for “Maybe Happy Ending”: Voters over and over say they appreciate that, in an era in which Broadway is dominated by big-brand titles adapted from movies, books or popular song catalogs, this musical has both an original story and an original score.

There are, of course, detractors, who find the four-performer show twee, but there are significantly more admirers, many of whom praise the way all the elements of Michael Arden’s production cohere — the performances, the direction, the story and the lavish set, with state-of-the-art automation and technology. “It’s delicate and intimate and engaging,” one voter told me, “and the scenic design came together to support the story in a very unified way.”


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