GREEN Also notable were Jeremy Pope’s two performing nominations, one for a play (“Choir Boy”) and one for a musical (“Ain’t Too Proud”). But in terms of direction and writing, this was an extremely nondiverse year on Broadway; something like 85 percent of the artists eligible in those categories were white men. It was nice to see the nominators reaching out to recognize Camille A. Brown’s fantastic choreography for “Choir Boy” — a play; the category is usually stocked with musicals only.

BRANTLEY I, too, was struck by the homogeneity of the nominations. All the more reason to celebrate Rachel Chavkin (the director of “Hadestown”) and Heidi Schreck (the writer and star of “What the Constitution Means to Me”). I was also pleased to find the name of the excellent playwright Dominique Morisseau, who did very well within the confines of the jukebox format, for her book for “Ain’t Too Proud.” And it was good to see that Tarell Alvin McCraney’s “Choir Boy” was remembered.

GREEN That said, I think the best play contest is going to come down to “What the Constitution Means to Me” and “The Ferryman” (with maybe a bit of “Ink” spilled too). Which sets us up for our own big contest. I found “Constitution” to be the best and most important new play of the season. (Heidi Schreck was nominated as both its author and leading actress.) I’m pretty sure you disagree, though you liked it — as I liked “The Ferryman.”

BRANTLEY Well, that’s an argument for another day. (Plug: See our dialogue in the upcoming Arts & Leisure Tonys issue on May 19.) I can certainly understand how you might feel “Constitution” is the most important, in terms of creating an immediate conversation with the audience about an extremely topical issue. Speaking of topical, no best play nomination for “Hillary and Clinton,” I see.

GREEN Nor for its director, Joe Mantello. My sense is that people see the play (by Lucas Hnath) and the production as some kind of found object, not the result of artists working.

BRANTLEY It’s more than that, although I did feel Hnath’s script, though very clever, didn’t take me anywhere I hadn’t expected to go. On the other hand, Mantello’s supremely inventive staging did. So did the performances by perennial nominee Laurie Metcalf (as Hillary) and non-nominee John Lithgow, whose Bill Clinton was a disarmingly fresh take on a very, very famous person, without the pandering ickiness of impersonation.