Best New Musical - Book of Mormon Best Actor in Musical - Kyle Scatliffe Best Actress in Musical - Zrinka Cvitesic Best Musical Revival - Merrily We Roll Along Best Revival - Othello (But would love Private Lives to win) Best Actor - Jude Law Best Actress - Judi Dench
Here's who I think will win (although some categories are educated guesses. Those I've marked with an asterisk are winners I think deserve to win.
Best actor: Rory Kinnear – Othello * Best actress: Lesley Manville – Ghosts * Best actor in a supporting role: Mark Gatiss – Coriolanus Best actress in a supporting role: Cecilia Noble – The Amen Corner * Best new play: Chimerica * Best new comedy: Jeeves & Wooster In Perfect Nonsense Best director: Lyndsey Turner – Chimerica * Best actor in a musical: Kyle Scatliffe – The Scottsboro Boys Best actress in a musical: Jenna Russell – Merrily We Roll Along * Best supporting performance in a musical: Stephen Ashfield – The Book of Mormon * Best new musical: Once Best revival: Ghosts * Best musical revival: Merrily We Roll Along * Best theatre choreographer: Casey Nicholaw – The Book of Mormon Best entertainment and family: Barry Humphries' Farewell Tour: Eat, Pray, Laugh! Outstanding achievement in music: The Scottsboro Boys – John Kander & Fred Ebb for music & lyrics Best lighting design: Peter Mumford – Ghosts * Best sound design: Simon Baker – The Light Princess Best costume design: Mark Thompson – Charlie and the Chocolate Factory Best set design: Es Devlin – Chimerica * Outstanding achievement in an affiliate theatre: Cush Jumbo – Josephine And I Best new dance production: Barbican Britten: Phaedra Outstanding achievement in dance: The Mark Morris Season at Sadler's Wells Best new opera production: Wozzeck Outstanding achievement in opera: Joyce DiDonato and Juan Diego - La Donna Del Lago BBC Radio 2 audience award: Matilda
Best actor: Rory Kinnear – Othello Best actress: Judi Dench - Peter and Alice Best actor in a supporting role: Jack Lowden - Ghosts Best actress in a supporting role: Katherine Kingsley - A Midsummer Nights Dream Best new play: Peter and Alice Best new comedy: Jeeves & Wooster In Perfect Nonsense Best director: Maria Friedman - Merrily We Roll Along Best actor in a musical: Douglas Hodge - Charlie and the Chocolate Factory Best actress in a musical: Jenna Russell – Merrily We Roll Along Best supporting performance in a musical: Stephen Ashfield – The Book of Mormon Best new musical: Charlie and the Chocolate Factory Best revival: Private Lives Best musical revival: Merrily We Roll Along Best theatre choreographer: Peter Darling - Charlie and the Chocolate Factory Best entertainment and family: The Wind in the Willows - Duchess Theatre Outstanding achievement in music: Trey Parker, Robert Lopez & Matt Stone - The Book of Mormon Best lighting design: Paul Pyant & Jon Driscoll - Charlie and the Chocolate Factory Best sound design: Clive Goodwin - Once Best costume design: Mark Thompson – Charlie and the Chocolate Factory Best set design: Mark Thompson - Charlie and the Chocolate Factory Outstanding achievement in an affiliate theatre: Handbagged - Tricycle Theatre Best new dance production: Richard Alston Dance Company / Britten Sinfonia for Barbican Britten Outstanding achievement in dance: Authur Pita Best new opera production: Wozzeck Outstanding achievement in opera: English Touring Opera BBC Radio 2 audience award: Matilda
Best new musical - The Book of Mormon Best actor in a musical - Gavin Creel, The Book of Mormon Best actress in a musical - Jenna Russell, Merrily We Roll Along Best supporting performance in a musical - Torn here... Could this be Josefina Gabrielle's year? I think Mormon scores another win here...
Overall, I think Mormon will do better than Once (Once would win all over if it didn't have the competition it has this year. Mormon is the flashier show)
I'd love Russell to win best musical actress, but I can see a scenario where she's snubbed for someone like Charlotte Wakefield or Rosalie Craig...
I know the new music category is shocking... Either split it up into best orchestration, best MD and best composer/lyricist or don't have any at all. Shocking.
Me neither, Princeton, me neither. And that makes me sad. Why don't you care about the Oliviers that much?
I think for me, as primarily a "musicals" person, because most of the time the shows being nominated are either a) rubbish or b) imported (and therefore have already won awards or otherwise) there's nothing much to prove. You can't sell a show on an Olivier, either to theatre fans or to the general public, and the ceremony itself is usually dull or poorly covered. If Light Princess had been a better show I'd have been more excited; as it is I can't see it winning anything as popular support seems to be behind Jenna Russell instead of Rosalie Craig.
Even the play awards don't tend to excite me that much; I enjoyed the race for Best Play last year but Curious Incident was a totally foregone conclusion in so many categories that it wasn't worth getting wound up over.
I do still get excited about the Tonys, though. Such double standards
Sometimes I think its an age thing, when I was younger I used to care about awards, guessing who would win, watching them etc. Now I barely read the results.
The Oliviers have always been a self congratulatory pat on the back from quite a closed off world of luvvies more than a celebration of theatre. And the WOS Awards are more a popularity contest, but at least they involve and welcome the theatregoing public. And their categories make more sense.
Thats another issue, the Olivier Awards categories make no sense, they are not full enough to mark every achievement.
Then theres the fact that I don't live in London so its hard to have seen all productions anyway.
They also don't mean anything, often what wins has already closed so I can't go and see it. And unlike Broadway, a show thats still open doesn't generally gain a boost from winning. At least with the big movie awards we can all still see the winners.
Im a theatre fan and if I can't get interested in them, how do they expect the public at large to care.
The Tonys at least are entertaining and I think most of the time, the shows that perform do an excellent job, The Oliviers are really dull in comparison, I think they should move it from the Royal Opera House to a more traditional theatre with the same sufficient capacity.
I think if I was in charge of revamping the Olivier, I would only feature shows that have been nominated or have opened that year unless they've already closed. I wouldn't have long runners perform unless it's an anniversary of some sort. Also drop the Audience award, it's pointless rewarding shows just for still running.
I do not hold the Tony award in higher esteem than the Oliviers and vice versa, if anything the Oliviers are more earnest and wear their heart on the sleeve more, the Olivier awards are more open, we will see awards given out to what the panel thinks are, which one is the best show on offer, of what is nominated, at least with the Olivier Awards there's isn't any lobbying to win the 'best of' awards, shows do win that have sinced closed, the Tonys are more of an expo, to start advertise the show to out of town theatre owners.
I'd thought all the apathy a bit harsh. But 15 mins in and having been subjected to: an opening musical number worse than the BAFTAs, an introduction so cringeworthy Dame Judi must have wished filming had overrun and kept her from this embarrassment too, gay jokes which, admittedly were very funny when Tina Fey and Amy Poehler first used them, and a black joke that even Nigel Farage would have thought twice about I'm bored already. Anyone who thinks Brits can do award shows would be disappointed after this mess.