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Olivier Awards nominations 2022: Cabaret at the Kit Kat Club leads the pack 

After a virtual ceremony in 2020 and no ceremony last year, the Olivier Awards are back this year with an in-person event, you may have heard. The nominations were announced today by Sam Tutty and Miriam Teak-Lee.

Some quick thoughts: Cabaret at the Kit Kat Club tops the Olivier Award nominations. The odds are in its favour. Lily Allen feels like a makeweight on this list – a so-so entry playing a hysterical wife in a contemporary haunted house-chiller. Where is Saoirse Ronan?

Frozen was mostly snubbed. Andrew Lloyd Webber’s Cinderella was left out in the cold, with one nomination to its name: not even a nod for that fitful score. Back To The Future – The Musical, a new stage adaptation of the hit 1985 film, landed seven nominations, which was surprising.

On the play front, single nods for Anna X and The Shark is Broken feel kind of stingy. The ‘7 actors who play a tiger’ in Lolita Chakrabarti’s majestic Life of Pi nomination is amazing, the show secured 9 nods. 

Jessie Buckley photo credit: Marc Brenner

The Best Actress in a Musical must be the closest fought. Jessie Buckley gives a superb and utterly unique performance in Cabaret. Sutton Foster was totally totally mesmerising in Anything Goes. Not backing Anything Goes in the Best Revival of a Musical is a practically treasonable offence, but Cabaret inches into pole position on nearly every category. These two productions are toe-to-toe, so it will be interesting to see how this plays out. 

Anyway, let’s have a recap of the nominees plus a guide to who should win each category.

Cunard Best Revival

A Number at The Old Vic

Constellations – Donmar Warehouse at Vaudeville Theatre

The Normal Heart at National Theatre – Olivier

The Tragedy Of Macbeth at Almeida Theatre

Who should win: The Normal Heart 

Who will win: The Tragedy of Macbeth 

Noël Coward/Geoffrey Johnson Award for Best Entertainment or Comedy Play

The Choir Of Man at Arts Theatre

Pantoland At The Palladium at The London Palladium

Pride And Prejudice* (*Sort Of) at Criterion Theatre

The Shark Is Broken at Ambassadors Theatre

Who should win: Pride and Prejudice (*Sort of)  

Who will win: The Shark is Broken 

Magic Radio Best Musical Revival

Anything Goes at Barbican Theatre

Cabaret at The Kit Kat Club at the Playhouse Theatre

Spring Awakening at Almeida Theatre

Who should win: Cabaret at the Kit Kat Club   

Who will win: Anything Goes 

Best Costume Design

Jon Morrell for Anything Goes at Barbican Theatre

Christopher Oram for Frozen at Theatre Royal Drury Lane

Tom Scutt for Cabaret at The Kit Kat Club at the Playhouse Theatre

Catherine Zuber for Moulin Rouge! The Musical at Piccadilly Theatre

Who should win: Tom Scutt for Cabaret 

Who will win: Tom Scutt for Cabaret

Sutton Foster photo credit Tristram Kenton

d&b audiotechnik Award for Best Sound Design

Ian Dickinson for 2:22 A Ghost Story at Noël Coward Theatre

Carolyn Downing for Life Of Pi at Wyndham’s Theatre

Nick Lidster for Cabaret at The Kit Kat Club at the Playhouse Theatre

Gareth Owen for Back To The Future – The Musical at Adelphi Theatre

Who should win: Carolyn Downing for Life Of Pi at Wyndham’s Theatre

Who will win: Gareth Owen for Back To The Future – The Musical at Adelphi Theatre

Best Original Score or New Orchestrations

Anything Goes – New Orchestrations: Bill Elliott, David Chase and Rob Fisher at Barbican Theatre

Back To The Future – The Musical – Composers: Alan Silvestri and Glen Ballard; Orchestrations: Ethan Popp and Bryan Crook at Adelphi Theatre

Get Up, Stand Up! The Bob Marley Musical – Orchestrator: Simon Hale at Lyric Theatre

Life Of Pi – Composer: Andrew T. Mackay at Wyndham’s Theatre

Who should win: Anything Goes  

Who will win: Life of Pi   

Best Theatre Choreographer

Finn Caldwell for Life Of Pi at Wyndham’s Theatre

Julia Cheng for Cabaret at The Kit Kat Club at the Playhouse Theatre

Kathleen Marshall for Anything Goes at Barbican Theatre

Sonya Tayeh for Moulin Rouge! The Musical at Piccadilly Theatre

Who should win: Cabaret 

Who will win: Cabaret 

Best Actor in a Supporting Role

7 actors who play the Tiger for Life Of Pi at Wyndham’s Theatre

Dino Fetscher for The Normal Heart at National Theatre – Olivier

Nathaniel Parker for The Mirror And The Light at Gielgud Theatre

Danny Lee Wynter for The Normal Heart at National Theatre – Olivier

Who should win: 7 actors who play the Tiger

Who will win: Dino Fetscher

Best Actress in a Supporting Role

Tori Burgess for Pride And Prejudice* (*Sort Of) at Criterion Theatre

Liz Carr for The Normal Heart at National Theatre – Olivier

Christina Gordon for Pride And Prejudice* (*Sort Of) at Criterion Theatre

Akiya Henry for The Tragedy Of Macbeth at Almeida Theatre

Who should win: Tori Burgess

Who will win: Tori Burgess 

Blue-I Theatre Technology Award for Best Set Design

Tim Hatley for Design and Nick Barnes & Finn Caldwell for Puppets for Life Of Pi at Wyndham’s Theatre

Tim Hatley for Design and Finn Ross for Video Design for Back To The Future – The Musical at Adelphi Theatre

Derek McLane for Moulin Rouge! The Musical at Piccadilly Theatre

Tom Scutt for Cabaret at The Kit Kat Club at the Playhouse Theatre 

Who should win: Life of Pi 

Who will win: Life of Pi 

Life of Pi Photo: Johan Persson

White Light Award for Best Lighting Design

Neil Austin for Frozen at Theatre Royal Drury Lane

Isabella Byrd for Cabaret at The Kit Kat Club at the Playhouse Theatre

Tim Lutkin for Back To The Future – The Musical at Adelphi Theatre

Tim Lutkin and Andrzej Goulding for Life Of Pi at Wyndham’s Theatre

 Who should win: Cabaret 

Who will win: Frozen 

Best Actress In A Supporting Role In A Musical

Gabrielle Brooks for Get Up, Stand Up! The Bob Marley Musical at Lyric Theatre

Victoria Hamilton-Barritt for Cinderella at Gillian Lynne Theatre

Carly Mercedes Dyer for Anything Goes at Barbican Theatre

Liza Sadovy for Cabaret at The Kit Kat Club at the Playhouse Theatre

Who should win: Victoria Hamilton-Barritt

Who will win: Carly Mercedes Dyer

Best Actor In A Supporting Role In A Musical

Clive Carter for Moulin Rouge! The Musical at Piccadilly Theatre

Hugh Coles for Back To The Future – The Musical at Adelphi Theatre

Elliot Levey for Cabaret at The Kit Kat Club at the Playhouse Theatre

Gary Wilmot for Anything Goes at Barbican Theatre

Who should win: Elliot Levey 

Who will win: Elliot Levey 

Eddie Redmayne photo credit: Marc Brenner

Best Actor In A Musical

Olly Dobson for Back To The Future – The Musical at Adelphi Theatre

Arinzé Kene for Get Up, Stand Up! The Bob Marley Musical at Lyric Theatre

Robert Lindsay for Anything Goes at Barbican Theatre

Eddie Redmayne for Cabaret at The Kit Kat Club at the Playhouse Theatre

Who should win: Eddie Redmayne 

Who will win: Eddie Redmayne 

Best Actress In A Musical

Jessie Buckley for Cabaret at The Kit Kat Club at the Playhouse Theatre

Sutton Foster for Anything Goes at Barbican Theatre

Beverley Knight for The Drifters Girl at Garrick Theatre

Stephanie McKeon for Frozen at Theatre Royal Drury Lane

 Who should win: JESSIE BUCKLEY

Who will win: JESSIE BUCKLEY

Best Actress

Lily Allen for 2:22 A Ghost Story at Noël Coward Theatre

Sheila Atim for Constellations – Donmar Warehouse at Vaudeville Theatre

Emma Corrin for Anna X at Harold Pinter Theatre

Cush Jumbo for Hamlet at Young Vic

Who should win: Emma Corrin 

Who will win: Lily Allen 

Best Actor

Hiran Abeysekera for Life Of Pi at Wyndham’s Theatre

Ben Daniels for The Normal Heart at National Theatre – Olivier 

Omari Douglas for Constellations – Donmar Warehouse at Vaudeville Theatre

Charles Edwards for Best Of Enemies at Young Vic

 Who should win: Hiran Abeysekera

Who will win: Ben Daniels 

Sir Peter Hall Award for Best Director

Rebecca Frecknall for Cabaret at The Kit Kat Club at the Playhouse Theatre

Michael Longhurst for Constellations – Donmar Warehouse at Vaudeville Theatre

Kathleen Marshall for Anything Goes at Barbican Theatre

Max Webster for Life Of Pi at Wyndham’s Theatre

Who should win: Rebecca Frecknall 

Who will win: Rebecca Frecknall 

Outstanding Achievement in Affiliate Theatre

10 Nights at Bush Theatre

Folk at Hampstead Theatre Downstairs

The Invisible Hand at Kiln Theatre

Old Bridge at Bush Theatre

A Place For We at Park Theatre

Who should win: Folk at Hampstead Theatre Downstairs

Who will win: 10 Nights at Bush Theatre 

Best Family Show

Billionaire Boy at Garrick Theatre

Dragons And Mythical Beasts at Regent’s Park Open Air Theatre

What The Ladybird Heard at Palace Theatre

Wolf Witch Giant Fairy at Royal Opera House – Linbury Theatre

Who should win: Billionaire Boy at Garrick Theatre

Who will win: Billionaire Boy at Garrick Theatre

Best New Play

2:22 A Ghost Story at Noël Coward Theatre

Best Of Enemies at Young Vic

Cruise at Duchess Theatre

Life Of Pi at Wyndham’s Theatre

Who should win: Cruise 

Who will win: Best of Enemies 

Mastercard Best New Musical

Back To The Future – The Musical at Adelphi Theatre

The Drifters Girl at Garrick Theatre

Frozen at Theatre Royal Drury Lane

Get Up, Stand Up! The Bob Marley Musical at Lyric Theatre

Moulin Rouge! The Musical at Piccadilly Theatre

Who should win: Moulin Rouge! 

Who will win: Moulin Rouge!  

And there we have it. 

The 2022 Olivier Awards take place on Sunday April 10 at the Royal Albert Hall.

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Top 5 Shows of 2021 (according to me)

2021. The year that tried to one-up 2020. Truly.

(I think being a neurotic, worrisome person slightly prepared me for it)

An extraordinary year for British theatre. Anyway, for my final blog of the last rollercoaster 12 months, I present my Top 5 shows of the year: 

1) Cabaret at the Kit Kat Club- Playhouse, London 

Cabaret at the Kit Kat Club made every moment ring with significance and was brimming with menace and threat. Rebecca Frecknall’s starry and immersive production of the Kander and Ebb classic was, in short, theatre heaven. 

Eddie Redmayne as the Emcee and Jessie Buckley as Sally Bowles in Cabaret at the Kit Kat Club / Marc Brenner

The in-the-round reconfiguration of London’s Playhouse theatre was kind of amazing. Eddie Redmayne as Emcee pulled the audience into a hedonistic milieu. 

Jessie Buckley’s vulnerable, edgy take reinvented Sally Bowles as a frightened and angry child. Then things got dark. 

A rising talent, Omari Douglas, shone. There’s also a wonderful performance from a pair of older actors as the ill-starred lovebirds Elliot Levey and Liza Sadovy as Fraulein Schneider and Herr Schultz. 

Alas, this was an unbelievable and electric occasion, only overshadowed by the sky-high £300 top-price tickets

Cabaret is at the Playhouse theatre, London, until 1 October 2022

2) Anything Goes – The Barbican, London 

Broadway star Sutton Foster starring as Reno Sweeney in Cole Porter’s classic musical at the Barbican was just what the doctor ordered. 

Sutton Foster as Reno Sweeney / Tristram Kenton

Gorgeous songs and dance and feisty performances from a brilliant cast made the screwball plot into an enchanting musical escape. 

Anything Goes was of the most entertaining shows I have ever seen and going by standing ovations (plural), it was for everyone else around me, too.

Directed and choreographed by Kathleen Marshall, who won a Tony for her 2011 Broadway staging, this new London production was a flat-out triumph. 

A lavish, joyful, and memorable piece of musical theatre, with solid turns from Robert Lindsay, Felicity Kendal and Gary Wilmot. 

Anything Goes is playing on BBC Two on Boxing Day at 6.40pm. 

3) South Pacific – Chichester Festival Theatre 

This was a glittering, intelligent and radical reappraisal of the Rodgers and Hammerstein classic. Daniel Evans’s production burst with energy as it foreground an anti-racist message, it marked the return of theatre in superb style. 

The company of South Pacific at Chichester Festival Theatre / Johan Persson

A strong cast was led by Julian Ovenden as the plantation owner Emile de Becque, and a pregnant Gina Beck. Rarely had the drama of the score sounded more immediate or more moving.

Evans directed an enchanted, threatening evening.

South Pacific will embark on a UK tour in 2022. 

4) The Play What I Wrote – Bimingham Rep 

Tom Hiddleston at Birmingham Rep was one of the most compelling events of my theatre year.

The A-lister provided palpable shock on opening night of this madcap revival. In the play, tensions arise between double act Dennis and Thom, as their aspirations start to diverge. During act 2 a surprise guest star arrives to be roasted by the pair. 

Thom Tuck as Thom, Tom Hiddleston as himself, and Dennis Herdman as Dennis

In this case, Hiddleston proved to be an extremely good sport, (“You might have seen my Coriolanus?”) and putting on a pink and blue dress with bows and a hoop skirt, along with a baroque style wig as he danced across the stage. 

A heartwarming tribute to Morecambe and Wise – the play was co-written 20 years ago by Sean Foley – the show generated the kind of hysterical laughter of which our theatre has lately been starved. 

At Birmingham Rep until 1 January.

5) Our Ladies of Blundellsands – Liverpool Everyman

Jonathan Harvey’s deliciously dark play featured an impeccably excellent Josie Lawrence as an agoraphobic Merseyside Norma Desmond. Nick Bagnall’s production was fast-paced and very funny without losing the pathos of guilty family secrets. 

Tonally, Our Ladies of Blundellsands cut an elegant path between humour and pathos. 

Josie Lawrence in Our Ladies of Blundellsands

In a strong ensemble, it was fascinating to realise that it is Harvey’s sublime dark wit that sheds more light on human desperation than anything else – it also emerges as Liverpool’s most entertaining and moving play for years– you could feel how much the creative team loved the material.

Frankly, I felt the same way. 

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THERE were, however, three shows I wish I’d taken a hand grenade to: Frozen the Musical (Theme Park theatre), Carousel at Regents Park Open Air Theatre (Skiffle band), and Andrew Lloyd Webber’s Cinderella (Creatively bankrupt). 

For me, this year has been many things, but as we say goodbye to 2021 let’s just choose to remember it as a load of shit with some decent theatre. 

Have a wonderful Christmas and Happy New Year. 

Let’s see how 2022 pans out, shall we? Cue violins.

Carl x 

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Cabaret, review: the show of a lifetime


Stunningly designed by Tom Scutt, London’s Playhouse Theatre is transformed into the Kit Kat Club – and Eddie Redmayne is its emcee – for this jaw dropping – expensive (the lowest price in the top two ticket price bands is £120)- production.

Eddie Redmayne and Jessie Buckley in ‘Cabaret’
(Marc Brenner)

In this grand, in the round space, these Kander and Ebb songs recall, rather strangely, the toughest emotional moments of opera, and powerfully re-render them.

The devil is in the detail.

I don’t think I have ever seen a more demented Emcee. I fell headfirst into Redmayne’s shape-shifting approach here. There was a strange menace to his otherworldly appearance, standing alone, facial features altered by extraordinary makeup.

In his party hat and Bowie attire, Redmayne resembles some kind of pale, alien clown being. Staking the stalls and swinging from the circle – you can’t take your eyes off the Oscar winner. His crumpled physicality is a marvel. 

Like a first-rate evil clown, he twists his impish body and tongue around the slippery role. He also has a beautiful singing voice.

Eddie Redmayne as Emcee / Marc Brenner

This A list casting might have triggered a frenzy, but make no mistake, this is director Rebecca Frecknall’s production — and it’s a radical reinvention with real political intent. Each possibility is laid out with complete clarity and assessed.

Her Cabaret is one of the most visually and atmospherically expressionistic productions I’ve ever seen, of anything, ever. The creative team’s theatrical ambitions are astute and dense.

Mind you, supporting cast (including an outstanding Anna Jane Casey as Fraulein Kost) may have big names to lean on but they make it look effortless; everyone is on magisterial form.

With Liza Minnelli erased from memory and Fosse’s iconic choreography stripped from this production, the audience are forced to confront the dark heart of the material. Julia Cheng’s twitchy choreography sweeps over the stage in waves. The gender-fluid ensemble frequently make you gasp. 

Omari Douglas and Jessie Buckley / Marc Brenner

Sardonic, seductive, uniquely done. This Cabaret is an distinctive, shattering, deeply humane evening. It is also genuinely cathartic, in the great, transcendent tradition of classic tragedy.

In a superb piece of acting, Jessie Buckley plays an anti-Sally Bowles; her subdued rock star approach to ‘Maybe This Time’ reduces the audience to hushed awe. But her voice rings out clear and she in total command.

Buckley gives her character a bewitching vulnerable finish that makes Sally both more life-size and broken than she’s ever been before. Her nervous breakdown performance of title song ‘Cabaret’ is distressing to watch.

Her voice is full of charm and hurt, an elemental howl that appears to affect the fabric of time. Towards the end, she roars with unruly splendour. 

Omari Douglas plays Cliff / Marc Brenner

But Omari Douglas! Holy smoke, what an actor! It would be easy to forget he is up on stage amidst the pandemonium and moments of rising fascism. But keep looking up, because occasionally there will be a scene he is in, and Douglas will be up there on the stage, apparently doing not much more than speak. Douglas gently presents the bisexual American novelist, Clifford Bradshaw.

As it is, the fact this triumphant production has been achieved 20 months into an ongoing medical emergency is nothing short of miraculous. 

Kind of amazing, I came out stunned into submission, admiring the musical more than ever: the accustomed world had shifted.

Cabaret is at the Playhouse theatre, London, until 1 October 2022.