It was expected that the major awards (Best Director, Best Revival) would go to "Hairspray" and "Nine". Even Best Costume Design went to "Hairspray" but at least Nigel Levings won for Best Lighting and Catherine Martin won for Best Scenic Design. With that past, I looked forward to the La Boheme performance and how the 10 principal cast members would be incorporated. They split up "O soave fanciulla" between the Mimis and Rodolfos and "Quando m'en vo" between the Musettas and Marcellos (with the other characters present attending to both Musettas and Marcellos; turning back and forth like at a tennis match). Ben performed that "I still love you" line and I was overjoyed. I didn't know he had it in him, the power and the passion! He got a close-up too. David and Ekaterina sounded gorgeous, channeling the matinee idol imagery that they have been attributed with by Baz. As usual, Alfred was the loudest of the three Rodolfos. I could only hear him and a little bit of Jesus. 'Twas very enjoyable and enough of a momentary fix to satiate the annoying thought of the likelihood that the La Boheme tour will not come to Toronto. Other things...I was actually very interested in "Movin' Out" after watching their performance. There was a tremendous energy between the dancers and the music. John Selya was impressive with the leaps in the air, and as Michael Cavanagh and the band played the intro of "In the Middle of the Night" (?), ELizabeth Parkinson contorted/arched her body into a circular shape and was literally rotated by three dancers; I was fascinated yet again with dance. I kind of drift in and out of an ongoing fascination with dance. It began with seeing "Romeo and Juliet" as well as "La Bayadere" and "A Delicate Battle" performed by the National Ballet of Canada and extended with being charmed by the third part (girl wearing the yellow dress) of "Contact" when PBS aired Contact's final performance live. It happened again when I saw that bit on the Tony Awards telecast. There was a nice preview of "Hairspray" (fun, energetic performance) as it will be in Toronto next spring. I wonder who will be in the Toronto cast. Regarding "Gypsy", Bernadette Peters was so emotional in her performance. I liked that, she was so into it and seemed to embrace that sadness of having your own daughter not wanting you around anymore, even after working so hard just for her. To me she was the STAGE MOTHER during her performance. Non-Tony Awards stuff: I finished "Observatory Mansions" by Edward Carey. Such an unexpected ending, happy but worthwhile. I don't know if that's the correct word. The only summation I have is that Francis learns to love, he sheds his white gloves and he and Anna finally touch. Since Francis never touched anything, always treating the white cotton of his gloves as his skin, he felt that he was protecting himself from the dirtiness of both inanimate objects and people. Just seems to me that he was trying to protect himself from getting hurt by becoming too close to people. His stealing of objects from people was also his attempt at removing pain from memories, to free other people just as he tried to free himself, keep invisible by covering up his hands at all times. Yet he's forced to come out of hiding by Anna Tap who challenges his wearing of the gloves and by the demise/demolition of Observatory Mansions. There seemed to be nowhere to else to hide.