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THE WINNERS' WINNERS

out of four, and you both blew it.'"

In the category of Favorite Tony Acceptance Speeches, director-lyricist Richard Maltby, Jr. has not forgotten Ken Howard's immortal words on accepting the prize for Child's Play. "He said, 'I want to thank the admissions boards of several of this country's leading law schools for inadvertently encouraging my acting career.'"

The thing that still delights Annie creator Martin Charnin about the Tonys is not a win but a particular nomination. "I guess you'd call it a concession that the Tony Awards Committee made back in the 70's when they allowed Larry Kert to be nominated for Company, after he had replaced Dead Jones. That had never happened before. Dean opened in Company, played it for five or six performances and withdrew from the production; then Larry went into the show and played it to its conclusion. The committee took that into account, and the nomination went to Larry. It was a generous thing to do-completely unprecedented and thoroughly correct."

The night Alfred Lunt and Lynn Fontanne got their Tony due is the memory Helen Hayes cherishes most. "They had received many awards during their careers, but this one came at a time very late in their lives, and it was for a lifetime of good service to the theatre and the public. This was before the standing ovation had become the custom it is today, and when the two of them came out onstage to receive this special Tony, the whole audience rose and cheered and continued to applaud for minutes and minutes and minutes. They took it all with such grandeur, too. He spoke. She didn't. She was a wise woman. She never let herself be exposed to making any sort of silly statements, which we all tend to do in our anxiety. The Lunts were the last of the real stars in the great tradition."

Those were the days that have a special resonance for Dorothy Loudon, and she speaks rather wistfully of what the awards

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must have been like before television got into the act. "I wish I'd been around when the Tony Awards were held in all those lovely ballrooms at the Plaza, the Waldorf and the Astor. It must have been a truly sweet time-a night just for us who love the theatre and come alive onstage eight times a week. No need to shop for what looks good on the tube. No need to practice smiling on camera while you're losing. No need to be animated for five hours while 20,000,000 people are watching. You didn't have to say a small prayer that, when the camera zooms in on your face, the sweat on your upper lip doesn't show-not to mention under the arms in case your dress shields don't last the evening.

"I could go on and on, but I still keep thinking of a nice, civilized evening in a hotel ballroom, with linen on the table, and everyone there feeling like a winner simply because they are in the theatre. Any actor who has stood in the wings in the dark and walked onstage into the light knows what it is like to be a winner. The Tony Award is a wonderful to receive, but we all know the real prize is being a part of the theatre. And if we were back in those lovely ballrooms, we could wear the same dress every year and nobody would care because we are a sweet bunch indeed." []

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