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The 10 Best and Worst Moments From the 2014 Tonys

From a glam Neil Patrick Harris to rap stars tackling ‘The Music Man,’ here’s a breakdown of the show’s highlights and missteps

68th Annual Tony Awards 2014

Kevin Mazur/Getty Images for Tony Awards Productions

One night a year, Broadway takes its best and brightest talents uptown for a tip of the top hat to the old-school hoofers and New-Hollwyood celebrities that have tripped the lights along the Great White Way. The 68th Annual Tony Awards ceremony at Radio City Music Hall does double duty, however — namely, by giving TV viewers a chance to see what New York's theatrical crème de la crème have been doing for the past 12 months.  

Watch Sting Perform 'The Last Ship' at 2014 Tonys

For many of us, watching the Tonys on TV are the closest we'll get to experiencing a smapler platter of Broadway, and last night's broadcast certainly gave us a taste of what we've been missing. But the show also delivered a number of, shall we say, questionable moments as well — some of which may or may not have involved copious tap-dancing, gleeful glam-rock and the gratuitous exploitation of rap stars. Here's a quick look at the highs and lows of the Tonys.

68th Annual Tony Awards 2014

Theo Wargo/Getty Images for Tony Awards Productions

WORST: Clint Eastwood Presenting Awards

We love Clint Eastwood. Really. We didn't even mind when he ranted at an empty chair at the Republican National Convention. But having to witness the 84-year-old actor struggle through pitching his upcoming Jersey Boys movie and trying to remember the titles of plays and pronounce the nominees (just because you played the Man With No Name doesn't mean you shouldn't learn other people's names for an award ceremony)…well, that was painful. Doddering doesn't quite cover it. He should have politely declined. Or at least brought an empty chair out as a sidekick.

68th Annual Tony Awards 2014

Theo Wargo/Getty Images for Tony Awards Productions

BEST: Sting Performs ‘The Last Ship’

The former Police-man played the title track of his upcoming Broadway show, a Celtic-influenced ditty about a Northern English sailor that could have been a Chieftains cover — and thanks to his accented voice, his acoustic-guitar strumming and the crack band (and choir) behind him, sold the number beautifully. The idea to start off in near-blackness and quiet singing before gradually building to a visual and aural crescendo was a nice touch. It was graceful, unlike….

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