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Olivier Awards to celebrate Greatest Moments in special TV and radio programmes

Olivier Awards

ITV will broadcast a special Olivier Awards with Mastercard programme on Sunday 5 April at 10:15pm, in place of the 2020 Royal Albert Hall awards show which was cancelled due to coronavirus.

Hosted by Jason Manford, the hour-long ‘Olivier Awards – Greatest Moments’ programme will look back at Olivier Awards ceremonies over the past ten years, with archive footage of performances and speeches, and a celebration of some of the many Olivier Award-winning productions – including Dreamgirls, Hamilton, The Book Of Mormon, Disney’s The Lion King and the RSC’s Matilda The Musical.

Official radio partner Magic Radio will broadcast a special programme from 6pm to 8pm on the same evening, also celebrating the best Olivier Awards moments, alongside a weekend of shows on Magic’s new musical theatre station Magic at the Musicals.

Nominations for the Olivier Awards 2020 with Mastercard were announced on 3 March, and the winners will be revealed in a special ceremony and event – also broadcast on ITV and Magic Radio – which depending on government medical advice is likely to be held in the Autumn, with plans to be confirmed as soon as is feasible.

In the lead-up to Sunday 5 April, the Olivier Awards social channels will be trailing the ITV and Magic Radio programmes by publishing stand-out content from shows to be featured in the broadcasts.

Julian Bird, SOLT Chief Executive and Olivier Awards Executive Producer, said:

‘Amid unprecedentedly difficult times for our theatre community, we look forward to providing audiences with a unique celebration of the last ten years of incredible, world-leading British theatre honoured at the Olivier Awards, in anticipation of a separate ceremony for this year’s winners in the Autumn. We are hugely grateful to our longstanding headline sponsor Mastercard, for their support this year and over the past decade – alongside all our other partners, who we look forward to working with again soon.’

The theatre world has seen mass closures and cancellations due to the coronavirus pandemic, with many companies, creatives and performers taking to online platforms to create new work, connect with fans and colleagues, and raise money to help those in the industry who are struggling.

Tomorrow (Thursday 26 March), Olivier Awards presenters and nominees will be participating in the NHS’s nationwide ‘Clap For Our Carers’ online campaign, and on Friday 27 March, World Theatre Day, the Olivier Awards will join other theatre organisations and individuals sharing favourite theatre memories on social media.

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#OlivierAwards

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Olivier Awards 2020: Who Will Win, Who Should Win

Olivier Awards
& Juliet

& Juliet

The nominations have been announced for this year’s Olivier Awards, led by the musicals & Juliet, Fiddler on the Roof and Dear Evan Hansen.

These awards are theatre’s biggest accolades. It is probably worth mentioning that members of the Society of London Theatre themselves choose who to nominate – and also who wins.

More power to commercial producers.

Obviously, omissions are a given.

No awards shortlist is ever perfect – it is impossible to recognise everyone that deserves it. (And while we are on the subject where’s the Young Vic’s earth-quaking production of Fairview or the National Theatre’s spellbinding Small Island in the nominations?)

From the nominees I have picked my deserving winners in some key categories, and I’ve also taken a guess at who might actually win. Wild cards include Amélie The Musical and Upstart Crow. 

Anyway, I will be there on the night to cause some mischief. So that’s something for you all to look forward to. 

Amélie The Musical

Amélie The Musical

Note: don’t get me started on Mary Poppins – no idea why it is eligible – this is a slick remount of a 15 year old production. Depressing.

Best Actor in a Supporting Role in a Musical                       

Will win: Jack Loxton for Dear Evan Hansen

Should win:  Stewart Clarke for Fiddler On The Roof

 

Best Actress in a Supporting Role in a Musical

Will win:  Petula Clark for Mary Poppins at Prince Edward Theatre                       

Should win:  Cassidy Janson for & Juliet at Shaftesbury Theatre                       

 

Best Original Score or New Orchestrations

Will win: Dear Evan Hansen – Music and Lyrics by Benj Pasek and Justin Paul, Orchestration by Alex Lacamoire 

Should win:  Amélie The Musical – Musical Supervisor and Arrangements by Barnaby Race at The Other Palace

 

Noel Coward Award for Best Entertainment or Comedy Play

Will win: Fleabag at Wyndham’s Theatre

Should win:  Emilia at Vaudeville Theatre

 

Best Theatre Choreographer

Will win: Jerome Robbins and Matt Cole for Fiddler On The Roof

Should win:  Jennifer Weber for & Juliet

 

Magic Radio Best Musical Revival

Will win: Evita at Regent’s Park Open Air Theatre

Should win:  Joseph And The Amazing Technicolor Dreamcoat at The London Palladium

 

Best Actor in a Musical

Will win: Sam Tutty for Dear Evan Hansen

Should win:  Andy Nyman for Fiddler On The Roof

 

Best Actress in a Musical

Will win: Miriam-Teak Lee for & Juliet at Shaftesbury Theatre

Should win:  Miriam-Teak Lee for & Juliet at Shaftesbury Theatre

 

Cunard Best Revival

Will win: Present Laughter at The Old Vic

Should win:  Death Of A Salesman at Young Vic and Piccadilly Theatre                       

 

Outstanding Achievement in an Affiliate Theatre

Will win: Blues In The Night at Kiln Theatre

Should win:  Baby Reindeer at Bush Theatre

 

White Light Award for Best Lighting Design

Will win: Neil Austin for Rosmersholm at Duke of York’s Theatre

Should win:  Neil Austin for Rosmersholm at Duke of York’s Theatre

 

Best Actor in a Supporting Role

Will win: Arinzé Kene for Death Of A Salesman at Young Vic                           

Should win:  Adrian Scarborough for Leopoldstadt at Wyndham’s Theatre

 

Best Actress in a Supporting Role

Will win: Sophie Thompson for Present Laughter at The Old Vic

Should win:  Sophie Thompson for Present Laughter at The Old Vic

 

Best Actor

Will win: Wendell Pierce for Death Of A Salesman at Young Vic and Piccadilly Theatre

Should win:  Wendell Pierce for Death Of A Salesman at Young Vic and Piccadilly Theatre

 

Best Actress

Will win: Sharon D. Clarke for Death Of A Salesman at Piccadilly Theatre

Should win: Sharon D. Clarke for Death Of A Salesman at Piccadilly Theatre

 

Sir Peter Hall Award for Best Director

Will win: Marianne Elliott and Miranda Cromwell for Death Of A Salesman at Young Vic and Piccadilly Theatre                       

Should win:  Marianne Elliott and Miranda Cromwell for Death Of A Salesman at Young Vic and Piccadilly Theatre                       

 

American Airlines Best New Play

Will win: The Doctor at Almeida Theatre

Should win: Leopoldstadt at Wyndham’s Theatre

 

Mastercard Best New Musical 

Will win: Dear Evan Hansen at Noël Coward Theatre

Should win: & Juliet at Shaftesbury Theatre  

Come back on the night to see how I did on the night, but be quick because I’m definitely going to come back and change all my predictions so that it looks like I knew what I was talking about.

Full list of Olivier Awards 2020 nominations:

Best Actor in a Supporting Role in a Musical                       

  • David Bedella for & Juliet at Shaftesbury Theatre                       
  • Stewart Clarke for Fiddler On The Roof at Playhouse Theatre   
  • Jack Loxton for Dear Evan Hansen at Noël Coward Theatre                       
  • Rupert Young for Dear Evan Hansen at Noël Coward Theatre                       

Best Actress in a Supporting Role in a Musical

  • Lucy Anderson for Dear Evan Hansen at Noël Coward Theatre
  • Petula Clark for Mary Poppins at Prince Edward Theatre                       
  • Cassidy Janson for & Juliet at Shaftesbury Theatre                       
  • Lauren Ward for Dear Evan Hansen at Noël Coward Theatre

Best Original Score or New Orchestrations                

  • & Juliet – New Orchestrations by Bill Sherman and Dominic Fallacaro at Shaftesbury Theatre
  • Amélie The Musical – Musical Supervisor and Arrangements by Barnaby Race at The Other Palace
  • Dear Evan Hansen – Music and Lyrics by Benj Pasek and Justin Paul, Orchestration by Alex Lacamoire at Noël Coward Theatre                       
  • Fiddler On The Roof – New Orchestrations by Jason Carr at Playhouse Theatre
  • Waitress – Music and Lyrics by Sara Bareilles at Adelphi Theatre                       

Best New Dance Production

  • La Fiesta by Israel Galván at Sadler’s Wells
  • Ingoma by Mthuthuzeli November for Ballet Black at Royal Opera House – Linbury Theatre
  • MÁM by Michael Keegan-Dolan for Teaċ Daṁsa at Sadler’s Wells
  • Vessel by Damien Jalet & Kohei Nawa at Sadler’s Wells

Outstanding Achievement in Dance

  • Sara Baras for her choreography and performance in Ballet Flamenco – Sombras at Sadler’s Wells
  • Anne Teresa De Keersmaeker for her performance in Mitten Wir Im Leben Sind/Bach6Cellosuiten at Sadler’s Wells
  • Gisèle Vienne for her choreography of Crowd, presented by Dance Umbrella at
    Sadler’s Wells

Noel Coward Award for Best Entertainment or Comedy Play

  • Emilia at Vaudeville Theatre                       
  • Fleabag at Wyndham’s Theatre                       
  • Magic Goes Wrong at Vaudeville Theatre                       
  • The Upstart Crow at Gielgud Theatre                       

Best Theatre Choreographer                 

  • Fabian Aloise for Evita at Regent’s Park Open Air Theatre
  • Matthew Bourne and Stephen Mear for Mary Poppins at Prince Edward Theatre
  • Jerome Robbins and Matt Cole for Fiddler On The Roof at Playhouse Theatre
  • Jennifer Weber for & Juliet at Shaftesbury Theatre                       

Magic Radio Best Musical Revival

  • Evita at Regent’s Park Open Air Theatre                       
  • Fiddler On The Roof at Playhouse Theatre                       
  • Joseph And The Amazing Technicolor Dreamcoat at The London Palladium
  • Mary Poppins at Prince Edward Theatre                       

Best Actor in a Musical

  • Andy Nyman for Fiddler On The Roof at Playhouse Theatre
  • Charlie Stemp for Mary Poppins at Prince Edward Theatre
  • Sam Tutty for Dear Evan Hansen at Noël Coward Theatre                       
  • Jac Yarrow for Joseph And The Amazing Technicolor Dreamcoat at The London Palladium                                   

Best Actress in a Musical

  • Audrey Brisson for Amélie The Musical at The Other Palace                        
  • Judy Kuhn for Fiddler On The Roof at Playhouse Theatre         
  • Miriam-Teak Lee for & Juliet at Shaftesbury Theatre                       
  • Zizi Strallen for Mary Poppins at Prince Edward Theatre

Cunard Best Revival                                                        

  • Cyrano De Bergerac at Playhouse Theatre                       
  • Death Of A Salesman at Young Vic and Piccadilly Theatre                       
  • Present Laughter at The Old Vic                           
  • Rosmersholm at Duke of York’s Theatre                       

Best Family Show

  • Mr Gum And The Dancing Bear – The Musical! at National Theatre – Dorfman
  • Oi Frog & Friends! at Lyric Theatre
  • To The Moon And Back at Barbican Theatre
  • The Worst Witch at Vaudeville Theatre 

Outstanding Achievement in an Affiliate Theatre

  • Baby Reindeer at Bush Theatre
  • Blues In The Night at Kiln Theatre
  • Our Lady Of Kibeho at Theatre Royal Stratford East
  • Seven Methods Of Killing Kylie Jenner at Jerwood Theatre Upstairs at the Royal Court Theatre
  • Warheads at Park Theatre

White Light Award for Best Lighting Design                        

  • Neil Austin for Rosmersholm at Duke of York’s Theatre
  • Paule Constable for The Ocean At The End Of The Lane at National Theatre – Dorfman
  • Howard Hudson for & Juliet at Shaftesbury Theatre                       
  • Bruno Poet for Uncle Vanya at Harold Pinter Theatre                       

Royal Albert Hall Award for Best Sound Design

  • Gregory Clarke for Rosmersholm at Duke of York’s Theatre
  • Emma Laxton for Emilia at Vaudeville Theatre
  • Ben and Max Ringham for ANNA at National Theatre – Dorfman
  • Ben and Max Ringham for Cyrano De Bergerac at Playhouse Theatre

Best Costume Design                        

  • Hugh Durrant for Goldilocks And The Three Bears at The London Palladium
  • Jonathan Lipman for Fiddler On The Roof at Playhouse Theatre         
  • Joanna Scotcher for Emilia at Vaudeville Theatre           
  • Paloma Young for & Juliet at Shaftesbury Theatre                       

Blue-I Theatre Technology Award for Best Set Design

  • Bob Crowley for Mary Poppins at Prince Edward Theatre                       
  • Soutra Gilmour for & Juliet at Shaftesbury Theatre                       
  • Rae Smith for Rosmersholm at Duke of York’s Theatre                       
  • Rae Smith for Uncle Vanya at Harold Pinter Theatre                       

Best Actor in a Supporting Role

  • Arinzé Kene for Death Of A Salesman at Young Vic                           
  • Colin Morgan for All My Sons at The Old Vic                           
  • Adrian Scarborough for Leopoldstadt at Wyndham’s Theatre                       
  • Reece Shearsmith for A Very Expensive Poison at The Old Vic

Best Actress in a Supporting Role

  • Michele Austin for Cyrano De Bergerac at Playhouse Theatre
  • Sophie Thompson for Present Laughter at The Old Vic
  • Indira Varma for Present Laughter at The Old Vic
  • Josie Walker for The Ocean At The End Of The Lane at National Theatre – Dorfman  

Best New Opera Production

  • Berenice at Royal Opera House – Linbury Theatre
  • Billy Budd at Royal Opera House
  • Hansel And Gretel at Regent’s Park Open Air Theatre
  • Noye’s Fludde at Theatre Royal Stratford East

Outstanding Achievement in Opera

  • Jette Parker Young Artists for their performances in Berenice, Death In Venice and Phaedra at Royal Opera House
  • The Children’s Ensemble for their performance in Noye’s Fludde at Theatre Royal Stratford East
  • Martyn Brabbins and James Henshaw for their conducting of The Mask Of Orpheus for English National Opera at London Coliseum

Best Actor                         

  • Toby Jones for Uncle Vanya at Harold Pinter Theatre                       
  • James McAvoy for Cyrano De Bergerac at Playhouse Theatre
  • Wendell Pierce for Death Of A Salesman at Young Vic and Piccadilly Theatre
  • Andrew Scott for Present Laughter at The Old Vic                           

Best Actress

  • Hayley Atwell for Rosmersholm at Duke of York’s Theatre                       
  • Sharon D. Clarke for Death Of A Salesman at Piccadilly Theatre
  • Juliet Stevenson for The Doctor at Almeida Theatre                       
  • Phoebe Waller-Bridge for Fleabag at Wyndham’s Theatre

Sir Peter Hall Award for Best Director                      

  • Marianne Elliott and Miranda Cromwell for Death Of A Salesman at Young Vic and Piccadilly Theatre                       
  • Jamie Lloyd for Cyrano De Bergerac at Playhouse Theatre                       
  • Trevor Nunn for Fiddler On The Roof at Playhouse Theatre                       
  • Ian Rickson for Uncle Vanya at Harold Pinter Theatre                                                     

American Airlines Best New Play

  • A Very Expensive Poison at The Old Vic
  • The Doctor at Almeida Theatre

 

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Nominations announced for Olivier Awards 2020

Olivier Awards
  • New British musical & Juliet leads the field with nine nominations
  • Eight nominations for Trevor Nunn’s revival of Fiddler On The Roof, with seven for Broadway transfer Dear Evan Hansen
  • The most nominated plays, with five each, are Death Of A Salesman and Rosmersholm
  • Best Actress nominations for Hayley Atwell, Sharon D. Clarke, Juliet Stevenson and Phoebe Waller-Bridge
  • Toby Jones, James McAvoy, Wendell Pierce and Andrew Scott nominated for Best Actor

The nominations have been announced for this year’s Olivier Awards, which take place on Sunday 5 April at the Royal Albert Hall.

& Juliet, a new British musical using the pop songs of Swedish hitmaker Max Martin to retell Shakespeare’s classic love story, has nine nominations – including Best New Musical, Best Actress in a Musical, Best Set Design and Best Costume Design.

Trevor Nunn’s revival of the 1964 musical Fiddler On The Roof, which opened at the Menier Chocolate Factory before transferring to the West End last year, is nominated eight times, with a Best Director nod for Nunn, as well as acting nominations for Andy Nyman and Judy Kuhn. There are also seven nominations for new musical Dear Evan Hansen, which opened on Broadway in 2016, and six for the Richard Eyre-directed revival of Mary Poppins currently running at the Prince Edward Theatre.

Leading the nominations for plays with five each, including Best Revival, are the Young Vic production of Death Of A Salesman and Rosmersholm at the Duke of York’s Theatre. Uncle Vanya at the Harold Pinter Theatre, Present Laughter at The Old Vic and Cyrano De Bergerac at the Playhouse Theatre each have four nominations.

This year’s Best New Play nominees include A Very Expensive Poison by Lucy Prebble, based on a book about the murder of Alexander Litvinenko, and Tom Stoppard’s Leopoldstadt, the epic story of a Viennese Jewish family at the start of the 20th century.

In the Best Actor category, Toby Jones is nominated for his performance in Uncle Vanya, James McAvoy for Cyrano De Bergerac (his fourth nomination), Wendell Pierce for his West End debut in Death Of A Salesman, and Andrew Scott for Present Laughter.

In the Best Actress category, Hayley Atwell is nominated for Rosmersholm, Sharon D. Clarke (who has now been nominated six times across all four acting categories) for Death Of A Salesman, and Juliet Stevenson (also now a six-time nominee) for The Doctor, an Almeida Theatre production coming to the West End in April. Phoebe Waller-Bridge receives her first acting nomination for Fleabag, which was Olivier nominated in 2014 for its run at the Soho Theatre.

Petula Clark, last Olivier-nominated in 1981, receives a Best Supporting Actress in a Musical nomination for her role as the Bird Woman in Mary Poppins. She is joined in the musical acting categories by several first-time nominees, including Miriam-Teak Lee for & Juliet, Zizi Strallen for Mary Poppins, Sam Tutty for Dear Evan Hansen and Jac Yarrow for Joseph And The Amazing Technicolor Dreamcoat.

Julian Bird, Chief Executive of Society of London Theatre and Executive Producer of the Olivier Awards, said:

‘2020’s nominations demonstrate the range of productions, talent and enterprise on our stages over the last year, with a mix of breadth and diversity that showcases the modern British theatre landscape. We look forward to celebrating all this incredible, world-leading talent on Sunday 5 April.’

The Nominees’ Celebration will take place on Friday 13 March at The May Fair Hotel (part of Edwardian Hotels London, official hotel partner for the Olivier Awards), in association with Olivier Awards partner Cunard.

The Olivier Awards ceremony will be hosted by Jason Manford, and broadcast via official media partners ITV and Magic Radio. Further details to be announced soon.

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#OlivierAwards

Full list of Olivier Awards 2020 nominations:

Best Actor in a Supporting Role in a Musical                       

  • David Bedella for & Juliet at Shaftesbury Theatre                       
  • Stewart Clarke for Fiddler On The Roof at Playhouse Theatre   
  • Jack Loxton for Dear Evan Hansen at Noël Coward Theatre                       
  • Rupert Young for Dear Evan Hansen at Noël Coward Theatre                       

Best Actress in a Supporting Role in a Musical

  • Lucy Anderson for Dear Evan Hansen at Noël Coward Theatre
  • Petula Clark for Mary Poppins at Prince Edward Theatre                       
  • Cassidy Janson for & Juliet at Shaftesbury Theatre                       
  • Lauren Ward for Dear Evan Hansen at Noël Coward Theatre

Best Original Score or New Orchestrations                

  • & Juliet – New Orchestrations by Bill Sherman and Dominic Fallacaro at Shaftesbury Theatre                       
  • Amélie The Musical – Musical Supervisor and Arrangements by Barnaby Race at The Other Palace
  • Dear Evan Hansen – Music and Lyrics by Benj Pasek and Justin Paul, Orchestration by Alex Lacamoire at Noël Coward Theatre                       
  • Fiddler On The Roof – New Orchestrations by Jason Carr at Playhouse Theatre
  • Waitress – Music and Lyrics by Sara Bareilles at Adelphi Theatre                       

Best New Dance Production

  • La Fiesta by Israel Galván at Sadler’s Wells
  • Ingoma by Mthuthuzeli November for Ballet Black at Royal Opera House – Linbury Theatre
  • MÁM by Michael Keegan-Dolan for Teaċ Daṁsa at Sadler’s Wells
  • Vessel by Damien Jalet & Kohei Nawa at Sadler’s Wells

Outstanding Achievement in Dance

  • Sara Baras for her choreography and performance in Ballet Flamenco – Sombras at Sadler’s Wells
  • Anne Teresa De Keersmaeker for her performance in Mitten Wir Im Leben Sind/Bach6Cellosuiten at Sadler’s Wells
  • Gisèle Vienne for her choreography of Crowd, presented by Dance Umbrella at
    Sadler’s Wells

Noel Coward Award for Best Entertainment or Comedy Play

  • Emilia at Vaudeville Theatre                       
  • Fleabag at Wyndham’s Theatre                       
  • Magic Goes Wrong at Vaudeville Theatre                       
  • The Upstart Crow at Gielgud Theatre                       

Best Theatre Choreographer                 

  • Fabian Aloise for Evita at Regent’s Park Open Air Theatre
  • Matthew Bourne and Stephen Mear for Mary Poppins at Prince Edward Theatre
  • Jerome Robbins and Matt Cole for Fiddler On The Roof at Playhouse Theatre
  • Jennifer Weber for & Juliet at Shaftesbury Theatre                       

Magic Radio Best Musical Revival

  • Evita at Regent’s Park Open Air Theatre                       
  • Fiddler On The Roof at Playhouse Theatre                       
  • Joseph And The Amazing Technicolor Dreamcoat at The London Palladium
  • Mary Poppins at Prince Edward Theatre                       

Best Actor in a Musical

  • Andy Nyman for Fiddler On The Roof at Playhouse Theatre
  • Charlie Stemp for Mary Poppins at Prince Edward Theatre
  • Sam Tutty for Dear Evan Hansen at Noël Coward Theatre                       
  • Jac Yarrow for Joseph And The Amazing Technicolor Dreamcoat at The London Palladium                                   

Best Actress in a Musical

  • Audrey Brisson for Amélie The Musical at The Other Palace                        
  • Judy Kuhn for Fiddler On The Roof at Playhouse Theatre         
  • Miriam-Teak Lee for & Juliet at Shaftesbury Theatre                       
  • Zizi Strallen for Mary Poppins at Prince Edward Theatre

Cunard Best Revival                                                        

  • Cyrano De Bergerac at Playhouse Theatre                       
  • Death Of A Salesman at Young Vic and Piccadilly Theatre                       
  • Present Laughter at The Old Vic                           
  • Rosmersholm at Duke of York’s Theatre                       

Best Family Show

  • Mr Gum And The Dancing Bear – The Musical! at National Theatre – Dorfman
  • Oi Frog & Friends! at Lyric Theatre
  • To The Moon And Back at Barbican Theatre
  • The Worst Witch at Vaudeville Theatre 

Outstanding Achievement in an Affiliate Theatre

  • Baby Reindeer at Bush Theatre
  • Blues In The Night at Kiln Theatre
  • Our Lady Of Kibeho at Theatre Royal Stratford East
  • Seven Methods Of Killing Kylie Jenner at Jerwood Theatre Upstairs at the Royal Court Theatre
  • Warheads at Park Theatre

White Light Award for Best Lighting Design                        

  • Neil Austin for Rosmersholm at Duke of York’s Theatre
  • Paule Constable for The Ocean At The End Of The Lane at National Theatre – Dorfman
  • Howard Hudson for & Juliet at Shaftesbury Theatre                       
  • Bruno Poet for Uncle Vanya at Harold Pinter Theatre                       

Royal Albert Hall Award for Best Sound Design

  • Gregory Clarke for Rosmersholm at Duke of York’s Theatre
  • Emma Laxton for Emilia at Vaudeville Theatre
  • Ben and Max Ringham for ANNA at National Theatre – Dorfman
  • Ben and Max Ringham for Cyrano De Bergerac at Playhouse Theatre

Best Costume Design                        

  • Hugh Durrant for Goldilocks And The Three Bears at The London Palladium
  • Jonathan Lipman for Fiddler On The Roof at Playhouse Theatre         
  • Joanna Scotcher for Emilia at Vaudeville Theatre           
  • Paloma Young for & Juliet at Shaftesbury Theatre                       

Blue-I Theatre Technology Award for Best Set Design

  • Bob Crowley for Mary Poppins at Prince Edward Theatre                       
  • Soutra Gilmour for & Juliet at Shaftesbury Theatre                       
  • Rae Smith for Rosmersholm at Duke of York’s Theatre                       
  • Rae Smith for Uncle Vanya at Harold Pinter Theatre                       

Best Actor in a Supporting Role

  • Arinzé Kene for Death Of A Salesman at Young Vic                           
  • Colin Morgan for All My Sons at The Old Vic                           
  • Adrian Scarborough for Leopoldstadt at Wyndham’s Theatre                       
  • Reece Shearsmith for A Very Expensive Poison at The Old Vic

Best Actress in a Supporting Role

  • Michele Austin for Cyrano De Bergerac at Playhouse Theatre
  • Sophie Thompson for Present Laughter at The Old Vic
  • Indira Varma for Present Laughter at The Old Vic
  • Josie Walker for The Ocean At The End Of The Lane at National Theatre – Dorfman  

Best New Opera Production

  • Berenice at Royal Opera House – Linbury Theatre
  • Billy Budd at Royal Opera House
  • Hansel And Gretel at Regent’s Park Open Air Theatre
  • Noye’s Fludde at Theatre Royal Stratford East

Outstanding Achievement in Opera

  • Jette Parker Young Artists for their performances in Berenice, Death In Venice and Phaedra at Royal Opera House
  • The Children’s Ensemble for their performance in Noye’s Fludde at Theatre Royal Stratford East
  • Martyn Brabbins and James Henshaw for their conducting of The Mask Of Orpheus for English National Opera at London Coliseum

Best Actor                         

  • Toby Jones for Uncle Vanya at Harold Pinter Theatre                       
  • James McAvoy for Cyrano De Bergerac at Playhouse Theatre
  • Wendell Pierce for Death Of A Salesman at Young Vic and Piccadilly Theatre
  • Andrew Scott for Present Laughter at The Old Vic                           

Best Actress

  • Hayley Atwell for Rosmersholm at Duke of York’s Theatre                       
  • Sharon D. Clarke for Death Of A Salesman at Piccadilly Theatre
  • Juliet Stevenson for The Doctor at Almeida Theatre                       
  • Phoebe Waller-Bridge for Fleabag at Wyndham’s Theatre

Sir Peter Hall Award for Best Director                      

  • Marianne Elliott and Miranda Cromwell for Death Of A Salesman at Young Vic and Piccadilly Theatre                       
  • Jamie Lloyd for Cyrano De Bergerac at Playhouse Theatre                       
  • Trevor Nunn for Fiddler On The Roof at Playhouse Theatre                       
  • Ian Rickson for Uncle Vanya at Harold Pinter Theatre                                                     

American Airlines Best New Play

  • A Very Expensive Poison at The Old Vic
  • The Doctor at Almeida Theatre
  • Leopoldstadt at Wyndham’s Theatre                       
  • The Ocean At The End Of The Lane at National Theatre – Dorfman

Mastercard Best New Musical

  • & Juliet at Shaftesbury Theatre                       
  • Amélie The Musical at The Other Palace                        
  • Dear Evan Hansen at Noël Coward Theatre                       
  • Waitress at Adelphi Theatre                       
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Partnerships and sustainability plans announced for 2020 Olivier Awards

Olivier Awards

Details of key partnerships have been announced ahead of the Olivier Awards 2020 with Mastercard, which take place on Sunday 5 April at the Royal Albert Hall, hosted by Jason Manford.

Mastercard mark their tenth year as headline sponsor and the beginning of a new three-year partnership.

Nicola Grant, Vice President, Integrated Marketing & Communications – Mastercard UK, Ireland, Nordics & Baltics, said:

‘We are thrilled to be headline sponsor of the Olivier Awards for our tenth year. The Olivier Awards show is always a spectacular occasion with standout performances and attendance from the best talent in theatre and we’re excited to be a part of it. As we proudly renew our partnership with Society of London Theatre, we’re delighted to continue to support UK theatre in 2020 and beyond, bringing Mastercard cardholders closer to the action through Priceless events, unique experiences and early access to tickets.’

Edwardian Hotels London, which has a long history of supporting London theatre, returns as a partner, with The May Fair Hotel again hosting the nominees’ celebration on 13 March.

Luxury cruise line Cunard will again be sponsoring the Olivier Award for Best Revival and collaborating with SOLT on future ventures including London Theatre At Sea, a new theatre-themed voyage with the inaugural transatlantic crossing in May this year. American Airlines and Audi are also returning as travel partners.

In the centenary year of Noël Coward’s first West End production, and at the awards named after his lifelong friend Laurence Olivier, the Noël Coward Foundation will be sponsoring the Noël Coward Award for Best Entertainment or Comedy Play.

Environmental sustainability has been a priority during planning for this year’s Olivier Awards, with the aim of being one of the most sustainable awards ceremonies ever. The Olivier Awards will be publishing details of steps taken, and changes made, in a drive towards making the event net zero carbon.

Julian Bird, Executive Producer of the Olivier Awards and SOLT Chief Executive, said:

‘We are extremely grateful to our Olivier Awards partners, whose support allows us to make the event such a memorable, worthy celebration of the best in theatre. It is fantastic to be celebrating ten years of partnership with Mastercard who have helped us grow the awards and inspire future generations of audiences.’

Official media partners ITV, Magic FM and Facebook Live will broadcast the Olivier Awards ceremony, with more details to be announced closer to the event.

The Olivier Awards is again partnering with h club London to organise an exclusive live screening of the ceremony on Sunday 5 April, for drama school students, media and members of the theatre industry.

Additional partners include Taittinger, Global, Heart of London Business Alliance and See Tickets, and production partners Blue-i, Newman Displays Ltd, Royal Albert Hall and White Light.

Olivier Awards nominations will be announced on Tuesday 3 March, and public tickets for the ceremony are now on sale through priceless.com.

Further details of plans for this year’s Olivier Awards will be revealed soon.

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Special recognition Olivier Award Recipients announced

Olivier Awards

Ahead of the Olivier Awards 2019 with Mastercard, Special Recognition Awards were today presented to Bendy Ashfield, (Royal Opera House Apprenticeships Manager), Vivien Wallace (The Old Vic’s former Executive Director of Development) and Linford Hudson (long-serving London Palladium Follow Spot Operator), celebrating their outstanding contributions to British theatre. Family members of fellow recipient Bob Thomas, a renowned theatre accountant who died in late 2018, collected his award on his behalf.

The awards were presented during an Olivier Awards Nominees’ Celebration at The May Fair Hotel in London (part of Edwardian Hotels London, official hotel partner for the Olivier Awards). Producer and Society of London Theatre President Kenny Wax presented Bendy Ashfield’s award, Vivien Wallace received hers from Executive Director of The Old Vic Kate Varah, composer Andrew Lloyd Webber presented Linford Hudson’s, and producer Peter Wilson presented Bob Thomas’s posthumous award.

Julian Bird, Chief Executive of Society of London Theatre and Executive Producer of the Olivier Awards, said:

‘Theatre is about so much more than what happens on stage, and the Society of London Theatre is proud to recognise these four inspirational individuals, who, in the course of their incredible careers, have all changed the industry for the better in very different ways.’

Bendy Ashfield has been Apprenticeships Manager at the Royal Opera House since 2006, and is the founder of the hugely successful ROH Apprenticeships Scheme, offering experience in backstage and technical disciplines. Many of the 50 ROH apprentices Ashfield has personally recruited and supported have gone on to long-term careers in award-winning theatre, ballet and opera. Passionate about ensuring young people from diverse backgrounds get equal opportunities, Ashfield believes that a background in theatre isn’t essential for a budding apprentice, but that more important is aptitude, enthusiasm and personality.

Vivien Wallace was Executive Director of Development at The Old Vic from 2005 until 2018, and has had an immeasurable impact on the theatre industry over a long and varied theatre career – which began as the first ever Press Officer at the Royal Ballet. Through her outstanding work as a fundraiser she introduced new audiences to the theatre and engaged local communities. In her 12 years at The Old Vic, Wallace raised £28.5 million, funding multiple education, community and talent development initiatives and maintaining the 200 year old building. She continues to support the theatre on various projects as Executive Associate.

Linford Hudson, known to many in the industry as ‘Mr Follow Spot’, is widely regarded as the best Follow Spot Operator in the business. He worked at the London Palladium for over 50 years, lighting countless legendary entertainers including Judy Garland, Frank Sinatra and Bette Midler. Hudson got the job within two months of arriving in London from Jamaica in 1962 aged fifteen. During his extraordinary career at the Palladium, Hudson lit 41 Royal Variety performances and oversaw some of its first colour TV broadcasts. Other career highlights include lighting Princess Diana’s funeral at Westminster Abbey.

Bob Thomas worked as a theatre accountant for 25 years until his death in late 2018. In the course of a varied and distinguished career, he worked with almost every producer and theatre in London and the UK. Thomas was Financial Controller at PW Productions, and also worked independently for well over 350 West End and touring shows. He guided producers through countless hits, flops and all the shows in between, with a crystal clear view of the financial state of a show – and an opinion on whether it was any good! Known and loved by many as one of Theatreland’s great characters, Thomas sadly died before he could be formally presented with his award, but was delighted to have been given it as a testament to his invaluable contribution to theatre.

The full list of nominations for the Olivier Awards 2019 with Mastercard was announced on 5 March, and is available to view on OlivierAwards.com.

The Olivier Awards will take place on Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford. The ceremony will be broadcast via official media partners ITV, Magic Radio and Facebook. Further details to be announced soon.

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Matthew Bourne To Be Honoured With Special Olivier Award

Sir Matthew Bourne OBE. Photographed by Hugo Glendinning
Sir Matthew Bourne OBE. Photographed by Hugo Glendinning

Sir Matthew Bourne OBE. Photographed by Hugo Glendinning

Sir Matthew Bourne OBE has been announced as the recipient of this year’s Special Award at the Olivier Awards 2019 with Mastercard, in recognition of his extraordinary achievements in dance.

Hailed by many as the UK’s most successful living choreographer and director, Bourne has created and directed dance for musicals, theatre and film for 30 years, receiving numerous international accolades including seven Olivier Awards. This Special Award will be Bourne’s eighth Olivier Award, making him joint holder of the most ever Olivier Awards, alongside Judi Dench.

Kenny Wax, President of the Society of London Theatre, said:

‘The Society of London Theatre is delighted to acknowledge Matthew Bourne’s extraordinary achievements in dance with this year’s Special Olivier Award. Matthew has transformed the landscape of dance in this country and across the globe with his bold, innovative and popular work, loved by audiences around the world.’

As Artistic Director of his first company, Adventures in Motion Pictures (1987 – 2002), Bourne’s award-winning work included Spitfire, Nutcracker!, Highland Fling, Cinderella andThe Car Man – as well as Swan Lake, which went on to become the longest-running ballet in the West End and on Broadway, and be performed all over the world.

In 2002, with Co-Director Robert Noble, Bourne launched New Adventures, now a hugely influential exporter of British dance around the world. With the company, Bourne has premiered iconic productions including Play Without Words, Edward Scissorhands, Sleeping Beauty and The Red Shoes. 2019 sees the world premiere of Bourne’s 12th full-length production, Romeo and Juliet, which involves young dance talent from across the UK performing alongside the New Adventures company.

Since 2008, New Adventures has delivered engaging and ambitious projects for people of all ages and abilities, reaching thousands worldwide each year as part of the company’s ambitions to develop and nurture the next generation of artists and audiences.

Bourne has created choreography for several major musicals, including Cameron Mackintosh’s productions of Oliver! and My Fair Lady, the National Theatre’s revival of South Pacific, and the 2004 production of Mary Poppins (with Stephen Mear), which returns to the West End later this year.

Awarded the OBE for Services to Dance in 2001, Bourne was knighted in the Queen’s New Year Honours 2016 for services to dance, and awarded the Queen Elizabeth II Coronation Award in recognition of his outstanding services to the art of ballet.

The Olivier Awards, widely recognised as Britain’s most prestigious stage honours, return to the Royal Albert Hall on Sunday 7 April. This year’s nominations will be announced on Tuesday 5 March, and further details of the ceremony – including the host – will also be announced soon.

Past recipients of the Special Award include Kenneth Branagh, Stephen Sondheim, Judi Dench and Ian McKellen.

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Bill Deamer: ‘We are not doing a carbon copy; that was that production of Follies and this is a new production of Follies.’

Follies

Choreographer Bill Deamer enters the room. ‘Hello!’ he says cheerily.

Bill Deamer is one of Britain’s leading song and dance men for theatre, film and TV. Last year he bagged himself an Olivier nomination for Best Theatre Choreographer for Follies. 

Now Dominic Cooke’s production of Stephen Sondheim and James Goldman’s masterpiece, is back at the National Theatre. We are talking in the interview room backstage at the National Theatre and Deamer has just been giving notes to the cast of Follies. ‘We now have to let them take the show and run with it,’ he says.

The 2019 Follies Company with Bill Deamer

The 2019 Follies Company with Bill Deamer

It’s tricky, Deamer explains, to reimagine a critically acclaimed musical for the Olivier stage with new cast members in just over a month, yet they have cleared that obstacle with breath-taking ease. ‘We’ve only had four weeks rehearsal whereas we had 9 originally. What you can’t do when you recast is assume the energy is going to be the same.’

It’s not only the cast that has changed since the 2017 production, however. The ensemble brings glorious new touches to the big number choreography; particularly the Mirror Mirror number, in which Dawn Hope leads the cast through a show-stopping musical theatre extravaganza.

FOLLIES 2.0

FOLLIES 2.0

Rehearsals must have been full-on? ‘To learn and create and become the Follies company in four weeks was a tall order, Deamer says. ‘The actors are different, we are not doing a carbon copy; that was that production of Follies and this is a new production of Follies. We’ve looked at certain concepts and developed them even more. The ghosts and how they are in contact with and interact with their older selves have all been developed.’

‘There’s a moment at the beginning of the show, during the Overture and all of a sudden the ghosts realise that they are back and they all gesture to the front,’ he continues. ‘There’s so much power in it, it gives me Gooseflesh talking about it.’

During a recent preview an audience member took a photograph of Joanna Riding performing as her voice cracked during the last lines of Losing My Mind. Follies’ Associate Director, Josh Seymour tweeted his dismay.

He winces when I mention it. ‘Good job Imelda wasn’t there!’ he says. ‘I can’t believe that during one of the most sensitive parts of the show somebody actually pulls a camera out to take a photograph – with a flash on. It’s absurd. Why do people do it? It’s so rude – it is disrespectful to the actors and it disrespectful to the audience.’

Should they have been ejected? ‘Yes.’ Deamer says bemused.

Were they? ‘No. It was such a subtle part of the show it would have disturbed things more to chuck them out,’ he says.

‘I think we all talk about audience etiquette and audience behaviour but it is not made clear enough – when you are recording for TV you hand your phones in. Maybe that is the way to go? I just don’t know.’

We discuss the mythical Follies 2018 Cast Recording that has just finally been released. ‘I’ve heard all of the various productions of Follies that have been recorded and they all have their merits. I think the quality of all of the vocals are quite extraordinary – Stephen Sondheim’s music and Jonathan Tunick’s arrangement just come to life.’

Alexander Hanson and Joanna Riding credit: Johan-Persson

Alexander Hanson and Joanna Riding credit: Johan-Persson

Does he have a favourite? ‘I have to say that Too Many Mornings breaks my heart; the woodwind, the obo – that wonderful sound. There is something in it that just moves me completely. Hearing Phillip (Quast) and Imelda (Staunton) sing it together is quite extraordinary,’ Deamer says.

The ghosts of those former cast certainly loom over the return of Follies; there are some big tap-shoes to fill. Now though, replacing Staunton as Sally is Joanna Riding and Alexander Hanson takes on the role of Ben. ‘Joanna and Alex are so completely different from their predecessors,’ Deamer says.

‘Jo is so different from Imelda – you couldn’t say that one is better than another; they are completely different. Alex brings such pathos to Ben. I have my amazing memories of working with Imelda and Phillip and now I have my memories of working with Jo and Alex.’

Dawn Hope Stella and the company National Theatre credit: Johan Persson

Dawn Hope Stella and the company National Theatre credit: Johan Persson

‘They are quite wonderful because Dominic and I have worked hard with them and it is all based as it was originally: the director, the designer, the choreographer and the music, we all work as one. So, we had that strength in the rehearsal room.’

Deamer has been a consistently working choreographer for over twenty-five years. His first Olivier nomination was for the critically acclaimed production of The Boy Friend that opened at Regents Park Open Air Theatre in 2006. He has beavered away across theatre, film and television winning an Olivier Award as Best Choreographer in 2013 for Top Hat, as a musical theatre and Charleston specialist for Strictly Come Dancing.

Bill Deamer and Carl Woodward

Bill Deamer and Carl Woodward

He never stops.

The last thing Deamer wants is to be thought of as, he stresses, a one-style  choreographer. ‘People assume I just do the old-fashioned stuff- which drives me insane. Actually, it is not old fashioned, it is classic. I’ve got Saturday Night Fever out on tour at the moment. I have a production of Evita that’s toured for 11 years around Europe out on the road.’

‘I’m a fully trained dancer and a musical theatre choreographer,’ he shrugs. ‘I trained in classical dance and ballet and jazz and indeed if anyone knows my work on TV with Strictly. For me, pigeonholing any artist is just nonsense.’

Dominic Cooke (Director) and Bill Deamer (Choreographer) in rehearsal for Follies at

Dominic Cooke (Director) and Bill Deamer (Choreographer) in rehearsal for Follies 

What advice does he have for aspiring choreographers? ‘The first thing that I say to any performer is: learn your craft. Get your technique – without that you will not survive. Too many dancers are jack of all trades and master of none and quite simply, it isn’t going to work.’

Our time has come to an end and it’s time for Bill to go.

‘I’m very luck to do what I do – I have worked for it and I’ve learnt my trade. It is wonderful to work with such brilliantly diverse people and create theatre – it feels like such a privilege to be able to work on the various projects that I do; when it doesn’t, I won’t do it,’ he concludes. The words are spoken without a hint of mawkishness, only sincerity. It is all he knows.

Follies is at the Oliver, London until 11 May.

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Sheila Atim interview: ‘The government could do with empowering people to get in the driving seat, particularly those who otherwise wouldn’t get the chance.’

In April, Olivier Award winning Actor Sheila Atim said that she wanted to see more women ‘who look like her’ winning Olivier awards. Atim also warned that the industry should not “get complacent” about diversity, saying there is “always work to do”.

Atim is positive about developments but also direct about the pressing importance of diversity on and off stage. “I’m seeing a lot more of friends getting great roles and I’m seeing a lot more of my non-white friends in stronger positions to create work,” says Atim, 27.

Sheila Atim at Olivier Awards 2018

We talk about representation, in all its forms, on and off stage. “Representation is the perfect word,” she agrees. “It is not just the representation on stage. The reality is until you get to the top level you are the last person – as the actor – to come on board a project. In terms of how the shots are called and before we get to the casting process, we need to look at shifting the culture of that group,” Atim says.

“There is definitely a momentum building to take control of our own careers, you can look at it as progress,” she says. “Ultimately, I think it is important that those people are in that space and are aware of the disparities. They have a responsibility to create a channel and have a position where they can genuinely call some shots. If I reach that point, I’m not going to sit there by myself. I will try and do that to make sure I facilitate others – you can’t just talk about it – every forward motion has equal and opposite reaction.”

In 2017 Atim starred as Marianne in Conor McPherson’s stunning Bob Dylan musical Girl From The North Country, taking Dylan’s music and giving it a new spin. This year she took home the best actress in a supporting role in a musical Olivier Award for her exquisite performance.

Arinze Kene, Sheila Atim in Girl From The North Country, 2017

She brightens when I ask what that whirlwind was like. I tell her that she owes me an apology for breaking my heart. “I can’t overstate how special that job was and to be able to share it with the people that we shared it with,” she says, cheerfully. “It was like a weird dream that was happening to us all. It felt like one of those moments where I’d say – everything about this is right –everyone gets it – this is it. That is why when people tell me they enjoyed it so much, I still feel moved,” she adds.

We discuss patronage; those privileged few in positions of power who control appointments and decisions. She says: ‘We have to allow people to stand on their own two feet and make sure that everyone’s voices are being heard – this is a larger conversation to do with allyship; you have to allow us to take the steering wheel – otherwise we will remain in a position where we are at someone else’s mercy.”

Now she is starring in an independent film – as shipwrecked twins Viola and Sebastian in a modern screen adaptation of William Shakespeare’s comedy Twelfth Night by Shanty Productions – an independent film production company, co-founded by Rakie Ayola and Adam Smethurst. The play has been adapted for the screen to reflect multicultural Britain today.

Does she see the 400-year-old play as a comedy? “It is a comedy but when I was filming my sections – I was not experiencing comedy,” she exclaims.

Sheila Atim in Shanty Productions Twelfth Night

“There is humour in the conceit of Viola and Sebastian being twins and people thinking that they’re dead, however, the distress they are feeling is very real: Viola thinks her brother is dead and assumes an image of her brother and is worried about her currency of being a woman – that is a really sad story! She has someone who has fallen in love with her but is trying to facilitate a relationship – similarly for Sebastian. It was interesting playing both those characters and seeing the film and being reminded that it is a funny film – it was a great experience. Truly. Around the time we filmed it there had been a lot in the media around the refugee crisis – which this does give nods to. Even now, it feels timely.”

Atim is no stranger to Shakespeare – in 2016 she performed in Phyllida Lloyd‘s acclaimed all-female Shakespeare trilogy at the Donmar. Recently she starred in Othello as Emilia, alongside Mark Rylance, at Shakespeare’s Globe. Does she see herself doing more of the Bard’s work in the future? “I do want to do more,” she says. “However, I feel interspersing Shakespeare with other stuff is great because then it gives me a chance to not get cynical and get back to it,”.

Sheila Atim in Shakespeare Trilogy at the Donmar

“If I stayed in that classical world for too long, though, I wouldn’t be able to marry the good things that come with dealing a piece of work that is 400 years old,” says Atim.

“I don’t believe in loading every production with a concept. I do believe that when you go into a project you have to be very clear about what it is your trying to explore. I think for it to really be worth it – otherwise there is no point in putting on these plays –when I want to be in a Shakespeare play I’m trying to provoke something.”

Atim has been particularly vocal about the importance of a creative curriculum in our state schools. She highlighted this recently when she visited her old school, The Coopers’ Company and Coborn School to speak about the importance of Drama. When I ask her thoughts on new research published that found almost a third of children did not realise that Shakespeare was a playwright and half of secondary pupils have not been to the theatre with school, she says: “I’ll tell you why I find that alarming – not because I think everyone should know who Shakespeare is for any ideological reason. What confuses me about those figures are that Shakespeare is everywhere. There are modern adaptations, films, revivals and we have two fantastic theatres that are dedicated to his work: The RSC and The Globe,”.

“I understand the strain that schools are under – my own school was nearly forced to cut it’s A level drama and music courses because of funding cuts. The message from our current government is one that feels that the arts are a luxury. But art is all around us –the design of a book cover, galleries, music -you can’t escape it. You can try and dress it up and make it for a certain group of people but that is not the case. I find that really worrying because the cultural experience opens up so much for people,” says Atim.

I ask Sheila if there’s anything she’d like to add? “Oh, that’s a good question.”

She thinks for a moment.

“I know that Brexit is coming up but the arts could do with more money, more investment” she says frankly. “The government could do with empowering people to get in the driving seat, particularly those who otherwise wouldn’t get the chance– they can be there and they deserve to be there – charity is great – but we need to allow people to build their own agency. It cannot be forever the case that the arts are waiting for handouts.”

Twelfth Night by Shanty Productions is available to download and watch now on Amazon 

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