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Phil Willmott

Our Chief Critic's take on the Olivier Nominations - Part 1

Laurence Olivier Awards The Olivier Awards are seen, rightly or wrongly by the public, at the Oscars of London Theatre. Here's the nominations in each category and who I'd like to see pick up the prizes.

BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Ian Bartholomew for Half A Sixpence at the Noël Coward Theatre
Adam J Bernard for Dreamgirls at the Savoy Theatre
Ben Hunter for The Girls at the Phoenix Theatre
Andrew Langtree for Groundhog Day at the Old Vic

I’d like to see Ian Bartholemew take this one. His performance as a kindly old actor in Half a Sixpence was beautifully judged. He could easily have made the old ham a scene stealing distraction but instead he skilfully integrated the character into the story telling making the most of his scenes, which are integral to the show’s success, but allowing the lead actors to take the focus. That’s my idea of the perfect supporting actor.

BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL
Haydn Gwynne for The Threepenny Opera at the Olivier, National Theatre
Victoria Hamilton-Barritt for Murder Ballad at the Arts Theatre
Rebecca Trehearn for Show Boat at the New London Theatre
Emma Williams for Half A Sixpence at the Noël Coward Theatre.

I loved Haydn Gwynne in Threepenny Opera, she took an unremarkable role and infused it with all the spiky, decadent venom of an Otto Dix painting. Both she and Nick Holder redefined the character of the Peachums, a crime family at war with Macheath. For once they were as colourful as their enemy. Loved it!

OUTSTANDING ACHIEVEMENT IN MUSIC
Dreamgirls at Savoy Theatre (music by Henry Krieger)
Harry Potter and the Cursed Child at Palace Theatre (composer and arranger Imogen Heap)
Jesus Christ Superstar at Regent’s Park Open Air Theatre (the band and company creating the gig-like rock vibe of the original concept album of Jesus Christ Superstar)
School of Rock the Musical at the New London Theatre (three children's bands who play instruments live every night)

This is a tricky one. Although one has to admire the logistics of organising three groups of kids into three credible bands to alternate playing the pupils in School of Rock, the rock vibe of Jesus Christ Superstar really did re-invent the 70’s musical to make it sound immediate and relevant in the open air at Regents Park.

BEST ENTERTAINMENT AND FAMILY
Cinderella at London Palladium
David Baddiel – My Family: Not The Sitcom at the Vaudeville Theatre
Peter Pan at the Olivier, National Theatre
The Red Shoes at Sadler’s Wells

The kids play ground aesthetic of Peter Pan at the National which made spectacle from elements found on a rubbish dump managed to stay just the right side of worthy including having a skip tied to a lamppost for a pirate ship but the real achievement for me was producer Michael Harrison’s who, with Cinderella, brought pantomime back to the London Palladium, its rightful home.

BEST THEATRE CHOREOGRAPHER
Matthew Bourne for The Red Shoes at Sadler’s Wells
Peter Darling and Ellen Kane for Groundhog Day at the Old Vic
Steven Hoggett for Harry Potter and the Cursed Child at the Palace Theatre
Drew McOnie for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Strong competition here but Peter Darling and Ellen Kane brought particular artistry to the choreography of Groundhog Day. The towns folk were given steps which never looked odd for small down America but which embraced the idea of repetition in a way that clarified character and never became wearisome. I loved how they took everyday movement and accentuated it just enough to dazzle whilst remaining true to the characters.

BEST MUSICAL REVIVAL
Funny Girl at the Savoy Theatre
Jesus Christ Superstar at Regent’s Park Open Air Theatre
Show Boat at the New London Theatre
Sunset Boulevard at London Coliseum

It was a strong year for musicals but I think the prize should go to Daniel Evans and the Show Boat team. Cruelly ignored by audiences and hastily bundled out to make room for School of Rock at the New London Theatre it none the less was a revelation. Who knew that creaky old piece could feel so topical and engaging? And the melodies were awesome.

read Part 2