Below is a list of some theater artists who deserved a Tony nomination but did not get one. This is not a compilation of “snubs.” The busy Broadway 2024-2025 season was crowded with talent; the Tony nominators had some difficult choices to make . (Here’s the complete list of those that were nominated.)

I simply want the artists I list below to know that they are appreciated. (Four of the shows on which they worked were among the 14 that received no nominations today — another reason to feature them.)

The artists are listed more or less alphabetically. I include the category in which they could have been nominated

Jason Ardizzone-West, Hana S. Kim, scenic designer and video designer for Redwood.
(Best Scenic Design of a Musical)
The redwood tree that Idina Menzel scales, sings on, and dangles upside down from, is as much a star of this musical as she is. Through the set and projections (as well as the lighting and sound; kudos as well to lighting designer Scott Zielinski, and sound designer Jonathan Deans), the designers envelope us in the tree’s majesty, evoking the redwood forest in a work of stunning stagecraft that for a few moments even elicits something close to the sort of ineffable feeling of awe one gets in actual Nature. 

Nicholas Barasch, actor, Pirates! The Penzance Musical.
(Best Performance by an Actor in a Featured Role in a Musical
Barasch gives a thrilling performance Frederic, the juvenile/romantic lead, a character who sets off the deliberately silly plot. Barasch thoroughly fulfills his early promise from the 2016 Broadway production of “She Loves Me”  when at age 17, he portrayed the shop’s bike messenger who dreams of being a clerk. Here he is dashing and comic in equal and appropriate measure, with a swoon-worthy voice.  He counts as a discovery, but one we could have seen as inevitable. 

Jake Barton, projection and video designer,  McNeal
(Best Scenic Design of a Play)
Ayad Akhtar’s play attempts to address some age-old questions about the creative process, but seems most interested in exploring the convoluted world of Artificial Intelligence, and Barton makes this vivid, with AI “scenes” on screen – sometimes typewritten words, sometimes deep fake videos

Joseph Joubert and Daryl Waters, orchestrators for Pirates! The Penzance Musical.
(Best Orchestrations)
The main advantage of moving the setting of this 146-old Gilbert and Sullivan operetta from the English countryside to New Orleans is the clever way much of the score is made to sound like New Orleans jazz.

Mick Potter, sound designer, Stephen Sondheim’s Old Friends
(Best Sound Design of a Musicall)
It’s admittedly difficult hard for a revue — which almost by definition is a patchwork of previous material — to get award attention. But “Old Friends” was better than most in providing for each song, and then tying it together into a whole, in part through the consistency of the sound design.
(I was tempted to single out Lea Salonga as well, because she was so good, but the format makes that not quite fair or fitting .) ,

Phylicia Rashad, director of Purpose
(Best Direction of a Play)
The veteran actress is making her Broadway directorial debut  in this extraordinary play by Branden Jacobs-Jenkins that requires a deft hand in both comedy and drama.. Five of the six cast members were Tony-nominated for their role; the director surely deserves some credit for those performances.

Helen J. Shen, actress, Maybe Happy Ending
(Best Performance by an Actress in a Leading Role in a Musical)
It seems a structural flaw in the awards process the two actors portraying the robot couple in this unconventional love story must be considered separately, when their performances so depend on wone another.

Amalia Yoo, in John Proctor is the Villain
(Best Performance by an Actor in a Featured Role in a Play)
Yoo portrays Raelin Nix, the daughter of a preacher who yearns to break out, and gets several delectable moments to do so.  Sadie Sink’s best scenes as Shelby are with Yoo’s Raelyn — best fiends who had a falling out, and come back together in a duet of gossip and laughter and a really fierce, and forcefully danced finale.

Here are nominations that were not given for Best Ensemble , because there is no such category in Tony Awards, although there should be:

The family members Cult of Love: Molly Bernard as Rachel, Roberta Colindrez as Pippa, Barbie Ferreira as Loren, Rebecca Henderson as Evie, Christopher Lowell as James Bennett, Zachary Quinto as Mark, David Rasche as Bill, Christopher Sears as Johnny, Mare Winningham as Ginny and Shailene Woodley as Diana

The eight factory ladies of Real Women Have Curves: Tatianna Córdoba as Ana,  Justina Machado as Carmen, Florencia Cuenca as Estela, Shelby Acosta as Prima Flaca, Carla Jimenez as Pancha, Aline Mayagoitia as Itzel Jennifer Sánchez as Rosalí, Sandra Valls as Prima Fulvia,