Ben Platt, surrounded by the rest of the cast of “Dear Evan Hansen.” (Matthew Murphy)

NEW YORK — “Natasha, Pierre & the Great Comet of 1812,” a pop opera based on a passage from Leo Tolstoy’s “War and Peace,” scooped up more Tony nominations than any other show on Tuesday, capping one of the most competitive seasons in years on Broadway for both new musicals and new plays.

The musical, which collected 12 nominations, representing every design category, three acting categories, as well as those for best score, book of a musical, choreography, orchestrations and direction — the last for Silver Spring native Rachel Chavkin — will vie now with three others selected for best musical. They are “Dear Evan Hansen,” the story of a lonely boy who perpetuates a lie that earns him Internet fame; “Come From Away,” about the compassion extended by residents of Newfoundland to airline passengers stranded there after Sept. 11; and “Groundhog Day,” a musical version of the beloved 1993 film comedy that starred Bill Murray.

It was a particularly stellar year for productions nurtured in Washington. Two of the musicals have D.C. roots — “Dear Evan Hansen” and “Come From Away” — as did one of the new plays nominated in the best play category, Lynn Nottage’s Pulitzer-winning “Sweat.” They together garnered a total of 19 nominations for the Tonys, which will be handed out in 24 categories at Radio City Music Hall on June 11.

“Dear Evan Hansen,” which had its world premiere at Arena Stage in the summer of 2015, received nine nominations, including one for its widely heralded star, Ben Platt. “Come From Away,” which ran last summer and fall at Ford’s Theatre, will compete in seven categories. And “Sweat,” which had a pivotal pre-New York engagement at Arena early in 2016 before coming to New York, received three nominations.

Although it received fewer nominations than “Natasha, Pierre,” “Dear Evan Hansen” emerges as a front-runner by virtue of its overwhelming critical and popular success. “Our work gets to shine because of other people’s work,” said Benj Pasek, who with Justin Paul created “Dear Evan Hansen” and wrote the score. Others associated with the musical receiving nominations include book writer Steven Levenson, director Michael Greif, orchestrator Alex Lacamoire and actors Platt, Rachel Bay Jones and Mike Faist. “To be able to celebrate with the whole family,” added Pasek, “is wonderful as well.”

Christopher Ashley, nominated for a Tony for his direction of “Come From Away,” pronounced himself “overjoyed” at the reception the musical has received on Broadway after earlier runs in La Jolla, Calif., Seattle, Toronto and Washington, and a brief stop in Gander, Newfoundland, where it is set. “The audience has brought so much emotion to the show, it’s really been overwhelming,” he said.

Another show receiving a shower of nominations hails from 1964: Jerry Herman and Michael Stewart’s “Hello, Dolly!,” in a revival starring Bette Midler. The show was named in 10 categories, including best revival of a musical. Midler, as expected, was one of five women nominated in the particularly rich category of best actress in a musical. She will contend for the prize with Patti LuPone and Christine Ebersole, of “War Paint”; Denée Benton, of “Natasha, Pierre”; and Eva Noblezada of “Miss Saigon.” Midler’s co-star, David Hyde Pierce, was nominated for best actor in a musical, alongside Platt, Josh Groban of “Natasha, Pierre,” Christian Borle of the shuttered revival of “Falsettos” and Andy Karl of “Groundhog Day.”

In the nominations announced Tuesday morning in New York by Jane Krakowski and Christopher Jackson, no production came close to the record 16 nominations that “Hamilton” earned last year on the way to winning 11 statuettes. The record for Tony wins is still held by “The Producers,” with 12.

The race to secure a best-musical nomination was one of the most competitive, ever. Thirteen new musicals debuted on Broadway this season, a number unrivaled since the 1970s. And as the Tony in this category is the ceremony’s most sought-after, because it has the most marketing value, the anxiety over winning a slot has been especially intense. Among the musicals left out in the best-musical category were such high-profile shows as “Anastasia,” a musical adapted from the 1997 animated movie about a long-lost Russian royal, and “War Paint,” the story of the lifelong rivalry of cosmetics visionaries Elizabeth Arden and Helena Rubinstein.

Best new play remains a hot race, too, by virtue of the strong entries. In addition to “Sweat,” a story of blue-collar hardship set in a bar in financially strapped Reading, Pa., the nominees are: Lucas Hnath’s “A Doll’s House, Part 2,” a sequel to the Henrik Ibsen classic; J.T. Rogers’s “Oslo,” the fact-based tale of how a Norwegian couple got Israelis and Palestinians to the negotiating table; and Paula Vogel’s “Indecent,” about a Yiddish theater troupe’s efforts to stage a play about a lesbian love affair. With eight nominations, “A Doll’s House, Part 2” vacuumed up the largest number of any play, new or in revival.

Among the other well-known actors nominated Tuesday: Laurie Metcalf and Chris Cooper for “A Doll’s House, Part 2”; Jefferson Mays and Jennifer Ehle for “Oslo”; Kevin Kline for “Present Laughter”; Sally Field for “The Glass Menagerie”; Cate Blanchett for “The Present”; Nathan Lane for “The Front Page”; and Cynthia Nixon and Laura Linney for “The Little Foxes.”

For Arena Stage, having productions in the thick of the race for both best play and best musical is not a first. In 2009, “33 Variations” and “Next to Normal,” both of which had been featured by the company, were nominated in the play and musical categories, respectively. But “Sweat” and “Dear Evan Hansen” stand better chances of taking home the top trophies at Radio City. Reached on Tuesday, Arena’s artistic director, Molly Smith, said the recognition revealed how the company’s longstanding relationships with such artists as Nottage and Greif were paying off.

“I always thought Arena Stage had broad shoulders, and this shows that,” she said.

The Tony Awards will be broadcast June 11 at 8 p.m. on CBS. The complete list of nominees is below.

Best play
“A Doll’s House, Part 2″
“Indecent”
“Oslo”
“Sweat”

Best musical
“Come From Away”
“Dear Evan Hansen”
“Groundhog Day The Musical”
“Natasha, Pierre & the Great Comet of 1812″

Best book of a musical
“Come From Away,” Irene Sankoff and David Hein
“Dear Evan Hansen,” Steven Levenson
“Groundhog Day The Musical,” Danny Rubin
“Natasha, Pierre & The Great Comet of 1812,” Dave Malloy

Best original score (music and/or lyrics) written for the theater
“Come From Away,” Music and lyrics: Irene Sankoff and David Hein
“Dear Evan Hansen,” Music and lyrics: Benj Pasek & Justin Paul
“Groundhog Day The Musical,” Music and lyrics: Tim Minchin
“Natasha, Pierre & The Great Comet of 1812,” Music and lyrics: Dave Malloy

Best revival of a play
“August Wilson’s Jitney”
“Lillian Hellman’s The Little Foxes”
“Present Laughter”
“Six Degrees of Separation”

Best revival of a musical
“Falsettos”
“Hello, Dolly!”
“Miss Saigon”

Best performance by an actor in a leading role in a play
Denis Arndt, “Heisenberg”
Chris Cooper, “A Doll’s House, Part 2″
Corey Hawkins, “Six Degrees of Separation”
Kevin Kline, “Present Laughter”
Jefferson Mays, “Oslo”

Best performance by an actress in a leading role in a play
Cate Blanchett, “The Present”
Jennifer Ehle, “Oslo”
Sally Field, “The Glass Menagerie”
Laura Linney, “Lillian Hellman’s The Little Foxes”
Laurie Metcalf, “A Doll’s House, Part 2″

Best performance by an actor in a leading role in a musical
Christian Borle, “Falsettos”
Josh Groban, “Natasha, Pierre & the Great Comet of 1812″
Andy Karl, “Groundhog Day the Musical”
David Hyde Pierce, “Hello, Dolly!”
Ben Platt, “Dear Evan Hansen”

Best performance by an actress in a leading role in a musical
Denée Benton, “Natasha, Pierre & The Great Comet of 1812″
Christine Ebersole, “War Paint”
Patti LuPone, “War Paint”
Bette Midler, “Hello, Dolly!”
Eva Noblezada, “Miss Saigon”

Best performance by an actor in a featured role in a play
Michael Aronov, “Oslo”
Danny DeVito, “Arthur Miller’s The Price”
Nathan Lane, “The Front Page”
Richard Thomas, “Lillian Hellman’s The Little Foxes”
John Douglas Thompson, “August Wilson’s Jitney”

Best performance by an actress in a featured role in a play
Johanna Day, “Sweat”
Jayne Houdyshell, “A Doll’s House, Part 2″
Cynthia Nixon, “Lillian Hellman’s The Little Foxes”
Condola Rashad, “A Doll’s House, Part 2″
Michelle Wilson, “Sweat”

Best performance by an actor in a featured role in a musical
Gavin Creel, “Hello, Dolly!”
Mike Faist, “Dear Evan Hansen”
Andrew Rannells, “Falsettos”
Lucas Steele, “Natasha, Pierre & the Great Comet of 1812″
Brandon Uranowitz, “Falsettos”

Best performance by an actress in a featured role in a musical
Kate Baldwin, “Hello, Dolly!”
Stephanie J. Block, “Falsettos”
Jenn Colella, “Come From Away”
Rachel Bay Jones, “Dear Evan Hansen”
Mary Beth Peil, “Anastasia”

Best scenic design of a play
David Gallo, “August Wilson’s Jitney”
Nigel Hook, “The Play That Goes Wrong”
Douglas W. Schmidt, “The Front Page”
Michael Yeargan, “Oslo”

Best scenic design of a musical
Rob Howell, “Groundhog Day the Musical”
David Korins, “War Paint”
Mimi Lien, “Natasha, Pierre & the Great Comet of 1812″
Santo Loquasto, “Hello, Dolly!”

Best costume design of a play
Jane Greenwood, “Lillian Hellman’s The Little Foxes”
Susan Hilferty, “Present Laughter”
Toni-Leslie James, “August Wilson’s Jitney”
David Zinn, “A Doll’s House, Part 2″

Best costume design of a musical
Linda Cho, “Anastasia”
Santo Loquasto, “Hello, Dolly!”
Paloma Young, “Natasha, Pierre & the Great Comet of 1812″
Catherine Zuber, “War Paint”

Best lighting design of a play
Christopher Akerlind, “Indecent”
Jane Cox, “August Wilson’s Jitney”
Donald Holder, “Oslo”
Jennifer Tipton, “A Doll’s House, Part 2″

Best lighting design of a musical
Howell Binkley, “Come From Away”
Natasha Katz, “Hello, Dolly!”
Bradley King, “Natasha, Pierre & the Great Comet of 1812″
Japhy Weideman, “Dear Evan Hansen”

Best direction of a play
Sam Gold, “A Doll’s House, Part 2″
Ruben Santiago-Hudson, “August Wilson’s Jitney”
Bartlett Sher, “Oslo”
Daniel Sullivan, “Lillian Hellman’s The Little Foxes”
Rebecca Taichman, “Indecent”

Best direction of a musical
Christopher Ashley, “Come From Away”
Rachel Chavkin, “Natasha, Pierre & the Great Comet of 1812″
Michael Greif, “Dear Evan Hansen”
Matthew Warchus, “Groundhog Day the Musical”
Jerry Zaks, “Hello, Dolly!”

Best choreography
Andy Blankenbuehler, Bandstand
Peter Darling and Ellen Kane, “Groundhog Day the Musical”
Kelly Devine, “Come From Away”
Denis Jones, “Holiday Inn, The New Irving Berlin Musical”
Sam Pinkleton, “Natasha, Pierre & the Great Comet of 1812″

Best orchestrations
Bill Elliott and Greg Anthony Rassen, “Bandstand”
Larry Hochman, “Hello, Dolly!”
Alex Lacamoire, “Dear Evan Hansen”
Dave Malloy, “Natasha, Pierre & The Great Comet of 1812″

And for recipients of awards and honors in noncompetitive categories:

Special Tony Award for lifetime achievement in the theater:
James Earl Jones

Special Tony Award:
Gareth Fry and Pete Malkin, sound designers for “The Encounter”

Regional Theater Tony Award:
Dallas Theater Center

Isabelle Stevenson Tony Award:
Baayork Lee

Tony Honors for Excellence in the Theatre:
Nina Lannan
Alan Wasser