Pink’s Spectacular Opening Sets New Tone for the 2026 Tony Awards

The 79th Tony Awards, held June 7, 2026 at Radio City Music Hall, continued a tradition of elaborate opening numbers. Past productions such as Neil Patrick Harris’s 2013 “Bigger” set a high bar. This year’s number was conceived by composers Benj Pasek and Justin Paul—who also wrote last year’s opening—and Mark Sonnenblick, with choreography by Sarah O’Gleby. Pink (Alecia Moore) served as first-time host and lead performer.

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• Pink (Alecia Moore) – host, vocalist, stunt performer.

‘Leading Lady Marmalade’: Watch Pink’s opening number and ‘All That Jazz’ at the Tonys – MOViN 92.5

• Benj Pasek & Justin Paul – songwriters and producers.

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• Mark Sonnenblick – co-producer.

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• Sarah O’Gleby – choreographer.

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• Neil Patrick Harris – former host who appears in the stunt.

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• June Squibb, Lea Michele, Megan Thee Stallion, Lesley Manville, Carrie Coon, Laurie Metcalf – cameo participants representing the season’s leading ladies.

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• Cast members from every nominated show, totaling more than 170 performers.

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The opening began with Pink suspended from the ceiling, dressed as Peter Pan, before Neil Patrick Harris interrupted her. She then sang a re-imagined “Lady Marmalade” titled “Leading Lady Marmalade,” weaving in lyrics that name-checked Broadway’s leading women—“Gitchie, gitchie Lesley Manville, gitchie, gitchie Carrie Coon”—and a rap verse by Megan Thee Stallion. Pink lifted Harris with her legs while belting an Elphaba riff, and June Squibb delivered a self-referential line, “All the parts I played — I slayed ’em.” The segment culminated with a cascade of cameo singers and dancers, creating a rapid montage of the season’s productions.

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• Over 170 performers appeared onstage.

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• The number featured cameo lines for at least six leading actresses (Lesley Manville, Carrie Coon, Laurie Metcalf, June Squibb, Lea Michele, and others).

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• Rehearsals were fragmented; only three full run-throughs occurred before the live broadcast, with the final full rehearsal on the morning of the ceremony.

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Pasek and Paul emphasized that the piece was intended to celebrate Broadway’s community rather than award ambition, noting that participants “were not here doing theater to win a Tony.” Sonnenblick highlighted the rapid assembly of the number, crediting O’Gleby’s choreography and the willingness of all involved to adapt on short notice. The producers described the performance as a “microcosm of the spirit of the night,” reflecting inclusivity and collective joy among the shows.

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The creators reported minimal pushback; jokes such as the “Lost Boys” reference were not flagged, and no major objections were raised during rehearsals.

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Sources differ on Pink’s costume: one describes her as a Peter Pan-styled outfit, while another notes a top-hat, fishnet, and pink-corset ensemble. Additionally, the lyric “Moore, Moore, Alecia Moore” appears in one account but is absent from others, leaving its exact placement unclear.

‘Leading Lady Marmalade’: Watch Pink’s opening number and ‘All That Jazz’ at the Tonys – MOViN 92.5

• “Paul: They weren’t content editing, they were down for everything, which was so amazing.” — Justin Paul, Producer

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• “We are not here doing theater to win a Tony, as amazing as it is to be in that position on a night like that night.” — Benj Pasek, Songwriter

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• “Sonnenblick: It’s one of the producers’ favorite jokes.” — Mark Sonnenblick, Co-producer

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• “And I just want to shout out all those casts, because I feel like the number really became a microcosm of the spirit of the night, which is all these companies coming together, celebrating inclusivity, being together.” — Benj Pasek, Songwriter

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By foregrounding a diverse roster of leading women and integrating pop-culture stunts, the number set a new benchmark for awards-show spectacle, reinforcing Broadway’s commitment to inclusivity and cross-genre collaboration. Its rapid production model may influence how future ceremonies approach large-scale performances.

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Industry observers note that the 2026 opening “sets the standard that every awards show should follow,” suggesting that upcoming Tony ceremonies and other live events may adopt similarly ambitious, ensemble-driven numbers.

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