6/4/2026
Discovering The Smith Center
2025 Best Musical Tony winner Maybe Happy Ending. Photo by Matthew Murphy and Evan Zimmerman.
Myron Martin caught the “Broadway bug,” as he puts it, back in high school. “There were two annual Thanksgiving-week trips that my theater teacher curated,” he recalls, “and each trip we saw four or five hit Broadway shows.
“I saw The Wiz,” he continues, “I saw Raisin, the musical adaptation of A Raisin in the Sun. I saw Elizabeth Ashley in Cat on a Hot Tin Roof. I saw Equus and A Street Car Named Desire. I saw The Magic Show starring Doug Henning. And in some cases, I played the soundtracks for a couple of these shows so much that I wore out the records.”
Today, Martin’s love of Broadway continues, not only as President and CEO of The Smith Center, which brings the top touring Broadway shows to Las Vegas every year, but also as one of 857 Tony Awards voters – the only one based in Southern Nevada.
We delved into the Tony voting process with Martin in the days leading up to the awards show’s 79th annual edition, set for Sunday, June 7 at 5 p.m. Las Vegas time on CBS and Paramount+.
How were you chosen to become a Tony voter?
The Smith Center had a spot for a couple of reasons: We were a major presenter of Broadway tours, and we’re a member of the Broadway League, which is a required element.
As a voter in Las Vegas, what are the logistics like for you catching so many shows in New York City?
I usually take a 6 a.m. nonstop flight, I get there mid to late afternoon, drop my bag at the hotel and head straight to the theater. I’ll see five shows in four days – Tuesday, two on Wednesday, Thursday and Friday – or sometimes seven shows in five days, with two more on Saturday.
As an out-of-town voter, how do you think your role differs from that of a New York-based voter?
A New Yorker who sees everything in their neighborhood might start with the book and how the storytelling is realized onstage. They evaluate the acting, the lighting, the sound and the other important elements. Most theater patrons think about how the show makes them feel and really appreciate it when they are emotionally moved by a performance. I think about all of that. But as one of only 100 people throughout the rest of the country, my perspective might be a little different. I always have our season ticket holders’ interests at heart, and I ask myself if this is a show that our guests would love if it were to tour. At the end of the day, after deep reflection, I carefully think through the ballot and vote for the most deserving nominee.
Do you typically see every show in a season in person?
The rule is that in order to vote in a category, you have to have seen every nominated show in that category.
On average, how many Broadway shows would you say you catch each year?
I’d say around 35. I saw everything this season, so I’m voting in all 26 categories, ranging from best play and best musical to best play revival and best musical revival, best performance by a leading actor and actress in a play and a musical, featured actor and actress, original score, direction, choreography, costumes, lighting, sound and so on.
You can’t keep notes on your phone during a show, so how do you keep your thoughts on all those shows, performances and technical aspects straight?
I go back to the room and scribble a few notes, particularly early in the season, because sometimes a show can open 11 months before the ballot comes out. There are also occasions where Tony voters may be invited to come back and see it again for that very reason.
You’ve been doing this for 14 years, since The Smith Center opened in 2012. Would you say your process has changed much during that time?
I think it’s gotten easier, because my brain is kind of trained now to look for nuance and subtleties in the artistry. This really helps when you are comparing five extraordinary nominees. I mean, think about it, these people are on Broadway. Just being in the ensemble of a show in New York means that you have enormous talent. The casting process is vigorous. Being nominated for a Tony sets all nominees apart and deserving of the recognition.
In terms of your actual ballot, do you just vote for one winner per category, or do you rank all the nominees?
You only pick one, which is why it’s so hard – you have to pick your favorite child. The ballot is a checkbox, but the process is very thorough. Before I can even vote, I have to enter a bunch of data – what I saw, when I saw it – because if you didn’t see everything in the category, you cannot vote.
The ballot was always a piece of paper, and I sat here at my desk and checked things, and then I’d mail it back in an envelope to the auditors. Now, it’s all online and the computer automatically grays out any category with a missed performance.
Do you strictly vote for your favorite in each category, or do you ever vote strategically, for something you think has a real chance to win but might need the extra votes?
For me, it’s based on my true feelings about the category. At the end of the day, I’m being asked to vote for the best, full stop.
It’s important for people to know that each voter independently votes their conscience. It’s all very private and personal and serious. Shows are not allowed to entice voters with swag (nope, no coffee mugs or baseball caps) but are allowed to send a script from a show and a soundtrack if one was made, to help with the voting process.
It really comes down to the voters’ love for the art, understanding of the craft and appreciation for extraordinary work. Tony voters come from a broad range of disciplines and experiences. There are actors, choreographers, directors, producers, book and music writers, union members, theater owners and out-of-towners like me – affectionately called “The Road.” The thing that all voters have in common is an undeniable love for the art form. I am proud to be a Tony Voter, and I take this responsibility very seriously.