It may be off-season in Hollywood, but Broadway’s biggest names were on hand to deliver plenty of glamour at the 78th Annual Tony Awards. Braving the rain, stars of the big stage arrived at New York’s historic Radio City Music Hall on Sunday in a series of silver, cream, ivory and champagne-colored embellished gowns, along with fittingly theatrical statement suiting. US theater is having a moment: The 2024-25 Broadway season was the highest-grossing ($1.89 billion in revenue) and best-attended (14.7 million theatergoers) in history, according to the Broadway League. Theater’s boundaries with TV and film have also become increasingly porous, with George Clooney and “Succession” star Sarah Snook among this year’s high-profile Tony Award nominees. The event’s red carpet has, in turn, become a major moment for stylists and fashion designers. Here are 13 standout looks. Cynthia Erivo Finally liberated from the emerald green of her “Wicked” method-dressing marathon, Cynthia Erivo looked resplendent in a champagne an embellished gown straight from Schiaparelli’s Spring 2025 couture runway. The standout feature was a dramatic yet delicately embroidered bodice that sat so far off-the-shoulder it appeared to float around her. The British actor and singer did, thankfully, retain one element of her wicked witch era: delightfully long nails, which this time featured floral flourishes from nail technician Shea Osei. Erivo went on to host the ceremony in an embroidered kimono by Saudi couturier Ashi Studio — but not before she performed the night’s opening number in a crystal-embroidered ruby gown by The Gap’s new high-end atelier, GapStudio. Danielle Brooks “Orange is the New Black” breakout star Danielle Brooks co-presented the ceremony this year, walking the red carpet in a mocha-hued haute couture dress by Stephane Rolland. The taffeta smock featured an embellished neckline and wide circular sleeves and was finished with a sculptural braided up-do by hair technician Tish Celestine. Sarah Paulson Tony Awards co-presenter Sarah Paulson arrived at the ceremony in a haute couture Schiaparelli two-toned gown. The black velvet bodice featured a high-neckline and scooped at the hips before blooming into a buttery satin skirt embellished with sequins and embroidery. Daniel Roseberry, creative director of the French luxury house said he wanted the collection to be “baroque” and “extravagant,” when it was unveiled in January. Paulson completed her look with Buccellati earrings and a slicked-back bun. Cole Escola “Oh, Mary!” star Cole Escola arrived in a powder blue dress (and curly wig) paying homage to Broadway legend Bernadette Peters. Designed by up-and-coming US label Wiederhoeft, the gown’s low neckline, lace-up corset and glass-bead detailing evoked the iconic, medal-strewn look Peters wore to accept her Best Actress award at the 1999 Tonys (it was also her costume in “Annie Get Your Gun”). But there were several subtle differences, too — not least the halterneck, which framed a sheer panel showing off Escola’s well-groomed chest hair. Daniel Dae Kim The first Asian American actor to be nominated for the Best Actor in a Play award, Daniel Dae Kim used the spotlight to celebrate his Korean roots. The “Lost” star put a modern spin on traditional Korean clothing in a “couture Hanbok” by LA-based brand, Meehee Hanbok (paired with black Christian Louboutin boots). Like “Yellow Face,” the Broadway production for which Kim was nominated, the look offered a commentary on race in America. Speaking to Associated Press on the red carpet, the actor said he was making a “little statement,” adding: “Now that the definition of ‘American’ is under attack, I thought it would be nice to say that no matter what we look like or how we dress, we can all still be loyal and proud Americans.” Ariana DeBose Oscar winner Ariana DeBose returned to co-host the Tony Awards for the third time in a row, wearing a minimalist white silk slip dress and a tangled stack of layered pearl necklaces. She changed later into a black tailored skirt suit for a live performance of “Hamilton” tracks to celebrate the production’s 10th anniversary. Sarah Snook The Australian actor, who scooped best performance by an actress in a leading role in a play for her one-woman rendition of “The Picture of Dorian Gray,” marked the special occasion with a champagne-colored sequin gown by British designer Richard Quinn. The design featured a pooling, mermaid train and ‘80s-style shoulder padding. On stage, the “Succession” star embodies 26 different characters over the course of the two-hour production. Snook had performed the play at London’s West End last year, where she won the Laurence Olivier Award for Best Actress. “The Picture of Dorian Gray” was her Broadway debut. Mia Farrow “Rosemary’s Baby” star Mia Farrow was nominated for her first Tony Award for her performance in “The Roommate” alongside Patti LuPone. Farrow, who brought her son Ronan as her date, arrived in a monochromatic cream suit and matching chunky boots. Jean Smart “Hacks” star Jean Smart co-presented the Tony Awards in a custom Christian Siriano black floor-length gown which was draped at the waist. On-screen, Smart’s character Deborah Vance, a celebrated Las Vegas stand-up comic, is partial to a glitzy sequin bell-sleeved gown — but Smart’s own red carpet persona is much more refined, opting for monochromatic gowns and more structured silhouettes. Julianne Hough “Dancing with the Stars” triple threat Julianne Hough also wore Christian Siriano — alongside eight other Tony attendees — on the red carpet. Hough’s pristine ivory look featured a tulle mermaid skirt reminiscent of the kind worn by Marilyn Monroe, Diana Dors and Vera Ellen in the 1940s and ‘50s. Paul Tazewell Acclaimed costume designer Paul Tazewell became the first Black man to win an Oscar for his profession. Now, just a few months later, he picked up a Tony Award for best costume design of in a musical for his work on “Death Becomes Her.” Tazewell is the second designer ever to win both landmark awards in the same year. For the occasion he donned a Comme des Garçons iridescent frock coat complete with draped bows and McQueen slacks, along with chunky patent Givenchy boots. His arrow brooch, pinned to his lapel, was vintage and from New York-based jewelers Fred Leighton. Leslie Odom Jr. Known for his sharp and often-colorful red-carpet suiting, Leslie Odom Jr. opted for a more muted palette. With its subtle pinstripes and exaggerated proportions, his oversized three-piece toed a line between luxury tailoring and streetwear — a tightrope often walked by American label Fear of God, the American label behind the outfit.. The actor completed his look with a turtleneck and a pair of shades, before changing into all-black to perform with the original cast of “Hamilton” in celebration of the production’s 10th anniversary. Julia Knitel Julia Knitel was nominated for best performance by an actress in a featured role in a musical for her three different roles in “Dead Outlaw,” based on the true story of 20th century train-robber Elmer McCurdy. For her first Tony nomination, and first time on the award ceremony’s red carpet, Knitel opted for a shimmering gold gown with a strapless neckline.
13 standout looks from the Tony Awards 2025
TruthLens AI Suggested Headline:
"Highlights from the 2025 Tony Awards: Fashion and Representation on Display"
CNN
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TruthLens AI Summary
The 78th Annual Tony Awards showcased the glamour and artistry of Broadway, drawing a star-studded crowd to New York’s iconic Radio City Music Hall despite the rainy weather. This year's event celebrated not only the achievements of theater but also the intersection of Broadway with film and television, as evidenced by high-profile nominees like George Clooney and Sarah Snook. The Broadway League reported that the 2024-25 season was a historic success, with record-breaking revenues of $1.89 billion and 14.7 million attendees. The red carpet at the Tonys has evolved into a significant platform for fashion, highlighting the creativity and style of the theater community. Among the standout looks, Cynthia Erivo dazzled in a champagne gown from Schiaparelli’s Spring 2025 couture, featuring an intricately embroidered bodice and long floral-accented nails. As the ceremony’s host, Erivo showcased her versatility by performing in a stunning ruby gown from GapStudio. Other notable appearances included Danielle Brooks in a mocha haute couture dress by Stephane Rolland, and Sarah Paulson in a two-toned Schiaparelli gown that epitomized baroque elegance.
In addition to the fashion highlights, several nominees used their platform to make statements about representation and identity. Daniel Dae Kim, nominated for Best Actor in a Play, wore a modern take on a traditional Korean Hanbok, emphasizing pride in his heritage at a time when the definition of 'American' is being challenged. Ariana DeBose returned as co-host, donning a minimalist silk slip dress and later a tailored skirt suit for a special performance. Sarah Snook, who won the award for Best Actress in a Leading Role in a Play, celebrated her Broadway debut in a shimmering champagne sequin gown. The event also honored the achievements of designers like Paul Tazewell, who made history as the first Black man to win both an Oscar and a Tony in the same year. Overall, the 2025 Tony Awards not only highlighted remarkable talent and creativity but also served as a platform for important conversations surrounding identity and representation in the arts.
TruthLens AI Analysis
The coverage of the 2025 Tony Awards highlights the intersection of glamour, celebrity, and the evolving landscape of Broadway theater. It serves not only to celebrate the achievements of the theater community but also to reinforce the cultural significance of live performances in the entertainment industry.
Cultural Significance and Celebrity Influence
The article emphasizes the impact of Broadway on American culture, especially considering the record-breaking revenue and attendance figures for the 2024-25 season. By showcasing high-profile attendees like George Clooney and Sarah Snook, the piece suggests a merging of different entertainment realms, indicating that Broadway is increasingly relevant in the broader media landscape. This narrative serves to elevate the status of theater, portraying it as a vital and dynamic component of American culture.
Fashion as a Reflection of Identity
The focus on fashion at the Tony Awards reflects the importance of personal expression and identity within the entertainment industry. The detailed descriptions of the outfits worn by stars like Cynthia Erivo and Danielle Brooks not only highlight their individual styles but also showcase the work of notable designers. This brings attention to the artistry involved in costume design and the role fashion plays in public persona. Such coverage aims to engage audiences who appreciate fashion and celebrity culture, thus broadening the appeal of the event.
Potential Distractions from Broader Issues
While the article celebrates the glamour and success of the Tony Awards, it may inadvertently serve to distract from underlying issues within the theater industry, such as diversity, representation, and the financial challenges faced by smaller productions. By focusing on high-profile names and extravagant fashion, the piece could divert attention from discussions about inclusivity and the sustainability of theater as an art form. This subtle manipulation of focus may serve the interests of major sponsors and the industry at large.
Manipulative Techniques and Trustworthiness
The language used in the article is celebratory and glamorous, aiming to invoke admiration and excitement among readers. However, this positivity may mask more complex realities within the industry. The article does not address any controversies or challenges faced by the theater community, which could raise questions about its objectivity. Thus, while the information presented is factual regarding the event itself, the lack of critical analysis diminishes the overall trustworthiness of the report.
Audience Engagement and Target Demographics
The target audience for this article appears to be theater enthusiasts, fashion followers, and general audiences interested in celebrity culture. By appealing to these demographics, the piece fosters a sense of community among readers who share interests in the arts and entertainment. The event's glamor and the focus on high-profile attendees likely resonate well with these groups, further reinforcing the celebratory tone of the article.
Economic and Social Implications
The coverage of such events can have broader implications for the economy, particularly for sectors related to the arts and entertainment. Increased visibility of Broadway may lead to higher ticket sales and tourism, benefiting local economies. Additionally, the portrayal of successful figures in the industry can inspire future artists and theatergoers, contributing to a vibrant cultural scene. However, the singular focus on glitz may overshadow pressing economic issues faced by the arts, which could impact future funding and support.
Global Connections and Relevance
In a global context, the Tony Awards and their coverage reflect the cultural values and trends of the time. While this specific event may not have direct implications on global power dynamics, it does highlight the soft power of American culture through its influence on global entertainment. The prominence of Broadway can serve as a cultural export, affecting perceptions of American arts worldwide.
Use of AI in Writing
It is conceivable that AI tools were employed in the composition of this article, particularly in structuring and enhancing the descriptive elements of fashion and celebrity. Models capable of generating engaging narratives could have contributed to the overall tone and presentation, making the content more appealing. AI might have influenced the article's flow, emphasizing visual aspects and celebratory language to create an engaging reading experience.
In conclusion, while the article presents an engaging and glamorous view of the Tony Awards, it skews towards a celebratory narrative that may overlook deeper issues in the theater industry. The overall reliability of the article is somewhat compromised by its lack of critical discourse and focus on superficial elements.