2012 Tony Awards Live Blogging

Hugh Jackman: “I thought [my wife] was going to miss it because she was going to the bathroom. She hates public speaking, and she can never keep a secret. This is a miracle…I think this is he greatest show. Awards shows are often very heavy on awards, and I think the Tonys is big on show and not as much on awards, which is how I think it should be.”

What makes you passionate about the stage? “That’s where I began. That’s where I fell in love with acting…I always go down, just after places is called, and listen to the buzz of the audience…magic can happen there. That’s what I love.”

“As an actor, my top 10 moments are definitely on stage. There’s something magical that can happen on stage that rarely happens on film.”

On the “Les Miserables” film: “I don’t think I’ve ever quite received that kind of feedback from a teaser trailer before…so I could tell that it was genuine excitement. We’re going for something risky…everything is sung live…every day I go to work it’s like opening night. There’s no post production. Everything is live.”

Christian Borle (“Peter and the Starcatcher”): “I have about another month with ‘Peter and the Starcatcher’ until I return to ‘Smash.’

What’s in his dressing room? “‘Star Wars’ posters and a full bar, because I’m an adult.”

Did you feel a spark in the original incarnation of “Starcatcher”? “It’s easy to look back and see the magic…what I felt was that I was involved in one of the best collaborations I’ve ever been in…then it was in La Jolla that I developed a friendship with Rick Elice (the writer).”

On “Smash”: “I’m excited to see if we are going to write another musical,” adding that he is “disappointed” with the recent cast changes on the show.

What was Michael Riedel like to work with on set? “He was very charming…he was great fun. We had a good time.”

Alan Menken, winner for best original score for “Newsies”: “It means a hell of a lot. I’m a New Yorker, born in Manhattan. So it doesn’t get any better than this…it’s really gratifying and humbling in a way. Every score is a different entity. When you get honored like this, it means something about the entire work has touched people.”

Any plans on going for an Emmy? “Yes, I’m in training.” (laughs)

From movie to stage: “As this generation grew up, everybody wanted to do a theatrical version of ‘Newsies’…we started with the original writers of the movie, but it didn’t really work well…coincidentally I was meeting with Harvey Fierstein at my house on something else…he doesn’t even wait for a deal or instructions. He went home and started writing instantly…he’s a really smart guy, he’s a mensch, and he’s a pro.”

Best scenic design of a play for “Peter and the Starcatcher” Donyale Werle: “It got easier once we got to Broadway. It was really challenging doing it downtown, on downtown budgets…the joy was that we got to expand it to fit the Brooks Atkinson…Disney was very gracious to let us go through the scraps from ‘Little Mermaid.'”

Judy Kaye (“Nice Work If You Can Get It”): “I’m overwhelmed. I didn’t know I was going to feel overwhelmed, but I’m just bowled over. I’m very emotional about this. I don’t remember a day when [my dad and I] didn’t sing songs together…the american songbook was really important. That’s what my parents listened to. I’m very grateful. It has enriched my life.”

Best costume design of a musical winner Greg Barnes (“Follies”): “I knew I shouldn’t go into the chatrooms, but I do…we thought that when it came into New York, it was a chance to re-explore…I think I designed six Sally dresses, and they are all different.”

John Tiffany, winner for best direction of a musical for “Once”: “I hadn’t seen the film when I was first approached about it…so the first thing I did was download the album. Loved it…it took quite a lot of pushing to get [audiences allowed on stage] on Broadway, but we got there.”

Did you consider making it an open bar? “I remember Alan Cumming saying, ‘Is it a free bar every night?’…I would love it to be an open bar, but ask the producers if they would open it.”

“I’m so glad I work in a medium that can’t be digitized, because you have to walk into a theater and see it to experience it.”

Best costume design of a play, Paloma Young, for “Peter and the Starcatcher”: “The actors play so many characters, and it’s so fast paced…so I needed to make costumes that could be [everything]. And they couldn’t change…[the mermaid costumes have] a crown made entirely of watches. A new addition for Broadway was the mustard container bra, a new personal favorite.”

Judith Light, best performance by an actress in a  play in “Other Desert Cities”: “I have a few things [planned] that I can’t actually talk about yet, but I have been designing a jewelry line…we’re join to be previewing that on HSN in July.” Okay…

Did she ever expect to see herself on Broadway? “I dreamed about it, but I never thought that it would happen…I didn’t do this alone, this is a culmination of working with a group of tremendous people.”

Christopher Gattelli, winner for best choreography for “Newsies”: I paused coming here because I had to see them. That, for me, was the most important moment for me. That number, ‘Seize the Day’ is the same thing for those boys. It’s those boys showing to the world what they can do. To have that number done in that room, that’s all I needed for today.”

On the newspapers used during every production: “Disney custom made these papers that are all original articles from the time…it’s the actual World.”

Best performance by an actor in a featured role in a musical, Michael McGrath in “Nice Work If You Can Get It”: “I was surprised. I didn’t think I’d be here. The other nominees were so great…I just turned to my wife, and she said go.”

Martin Lowe on “Once” director John Tiffany: “John doesn’t see anything as a problem. He just plows on, knocking things out of his way…that is the most liberating thing…he trusted me. That doesn’t happen often.”

“Once’s” Martin Lowe, winner for best orchestrations: “It’s been one of the most gorgeous professional experiences. There was no screaming and shouting. There was no throwing things..it was a really beautiful experience.”

Lifetime Achievement award winner Emanuel Azenberg: “Half the people I have been nominated, I have done 3-4 plays with. And the other half are mysterious newcomers…that talent has to have a place for expression. If they are dumb enough go into a life of theater, they have to have a place to celebrate that.”

diane paulus on the big screen twitter.com/gavincreel/sta…

— Gavin Creel (@gavincreel) June 10, 2012