Best Revival
Hamlet at the Barbican theatre
Les Liaisons Dangereuses at Donmar Warehouse
Ma Rainey’s Black Bottom at National Theatre, Lyttelton
The Winter’s Tale at Garrick theatre
Delightfully, I have seen every single one of these nominees! (This is NOT going to be the case for all of the categories!) Though I am confident without question that Hamlet is the most famous nominee, I am equally confident that the actual best revival is Ma Rainey's Black Bottom. The good news is it's still running until 18th May, so you still have time to book a goddamned ticket and go and see this heartbreaking miracle of a play.
Best New Comedy
A Christmas Carol at Noël Coward theatre
Hand to God at Vaudeville theatre
Nell Gwynn at Apollo theatre
Peter Pan Goes Wrong at Apollo theatre
I have seen precisely half of these nominees. There are three strong contenders for the most famous nominee (the reasons being "Jim Broadbent!", "Gemma Arterton!", and "that play where some idiot in New York tried to charge his phone on the actual set!"), but as A Christmas Carol and Hand to God appear to have been a little damp-squibbish in actuality, and neither had a real live King Charles Cavalier spaniel, the most famous nominee right now feels like Nell Gwynn. And I'd be okay with this lovely warm female-focused play winning, but also I'm REALLY into the Wendy/Crocodile romance of Peter Pan Goes Wrong (the only currently acceptable version of the tiresome tale) so I'd be delighted if the victory went that way.
Best Costume Design
Gregg Barnes for Kinky Boots at Adelphi theatre
Hugh Durrant for Nell Gwynn at Apollo theatre
Jonathan Fensom for Farinelli and the King at Duke of York’s theatre
Katrina Lindsay for Bend It Like Beckham at Phoenix theatre
Yes. These people all designed costumes for their relative productions (I am that awful nerd who has not seen the musicals but did see the two that entered the West End from the general direction of the Globe) that were appropriate to the stories being told, achieved for the budget allowed (presumably), and were created to proper professional standards that were deemed worthy of being potentially awarded the Best Costume Design in the year of our lord 2016. Congratulations, you are all truly winners.
Blue-i Theatre Technology Award for Best Set Design
Hildegard Bechtler for Oresteia at Almeida theatre
Es Devlin for Hamlet at Barbican theatre
Jonathan Fensom for Farinelli and the King at Duke of York’s theatre
Anna Fleischle for Hangmen at Jerwood theatre Downstairs at the Royal Court and Wyndham’s theatre
I have seen all four of the nominees for the Blue-i Theatre Technology Award for Best Set Design, though I'm not entirely sure that my experience of Farinelli and the King applies here, as I saw it at the Sam Wanamaker Playhouse where the set was "well there might be some kind of day bed on the stage but lol like you're going to see anything but candles mate". (I presume the West End set involved a certain degree of recreation of the experience, in which case I hope that any victory would be shared with the architect(s).) I'd be quite happy to see Hamlet take the Blue-i Theatre Technology Award for Best Set Design, as there were quite long periods of the production where the set was the most interesting thing happening, and it's certainly the most famous nominee. I have a feeling Hangmen is a strong contender here, though it's arguable that creating three different but equally realistic sets might be cheating when compared with creating one set that can be representative of different spaces without explicitly spelling them out.
White Light Award for Best Lighting Design
Neil Austin for The Winter’s Tale at Garrick theatre
Natasha Chivers for Oresteia at Almeida theatre
James Farncombe for People, Places and Things at National Theatre, Dorfman
Mark Henderson for Gypsy at Savoy theatre
I think I'm the only person within easy reach of the M25 who has yet to see People, Places and Things, though I will at least be remedying that in a couple of months. The most famous nominee here is probably Gypsy, though The Winter's Tale would come a close second. I rarely have any strong opinions on lighting (unless it's a Katie Mitchell production), but I seem to recall that The Winter's Tale was rather nicely done?
Best Sound Design
George Dennis for The Homecoming at Trafalgar Studios 1
Tom Gibbons for People, Places and Things at National Theatre, Dorfman
Christopher Shutt for The Father at Wyndham’s theatre
Christopher Shutt for Hamlet at Barbican theatre
You've got to feel for sound designers. In the majority of cases, the job is basically "make it audible but also make it naturalistic, if we notice you've done anything at all then you've probably not done it right". It is literally the most invisible part of theatre, and we should count ourselves extremely lucky that this award still exists - the Tony Awards have done away with the category all together, with some kind of mealy-mouthed muttering that they could always give a Special Award if they ever manage to notice that some sound designer has done a cracking job actually. (Please don't notice that I am part of the problem by also failing to notice sound design apart from "well at least if you're working with Jamie Lloyd there's a good chance you'll get to make a lot of menacing noises that other productions just wouldn't bother with because seriously grow some subtlety and give it a rest".)
Sorry chaps, I have to draw a line somewhere, and if I start regularly attending opera in addition to all the plays and musicals then I'll literally never have the money or time to eat ever again.
Best Actor in a Supporting Role
Mark Gatiss for Three Days In The Country at National Theatre, Lyttelton
Michael Pennington for The Winter’s Tale at Garrick theatre
Tom Sturridge for American Buffalo at Wyndham’s theatre
David Suchet for The Importance of Being Earnest at Vaudeville theatre
Or, as I like to call it, the category that's going to get me really cross about peculiar casting ideas. Honestly, David Suchet as Lady Bracknell is just about the most irritating thing I have ever seen. Lady Bracknell is the mother of Gwendolen, who is not yet married but old enough to be engaged, so this would put her reasonably in her late teens or early twenties. Surely then Lady Bracknell is more likely to be in her mid-40s than rapidly approaching 70? For shame, casting people, for shame. (Oh, and congratulations on taking a brilliant role for a middle-aged woman, of which there are shamefully few, and giving it to a man. Slow. Claps. For. You.) You may be the most famous nominee, but you are also the most embarrassing. Please give the award to Mark Gatiss, and let's put this all behind us. Come on, he's done Doctor Who and Sherlock, he's surely famous enough in his own right.
Best Actress in a Supporting Role
Judi Dench for The Winter’s Tale at Garrick theatre
Michele Dotrice for Nell Gwynn at Apollo theatre
Melody Grove for Farinelli and the King at Duke of York’s theatre
Catherine Steadman for Oppenheimer at Vaudeville theatre
I did not see Michele Dotrice in Nell Gwynn, but I find it difficult to believe anyone could do better than Amanda Lawrence in the same role. I have seen the other three, and the most famous nominee is clearly Judi Dench (not to mention we are probably running out of opportunities to see her on stage, what with her eyesight and everything). Somehow this is literally the only nomination the brilliant Oppenheimer has received, so although I'm not going to get my hopes up, my hopes will nonetheless be firmly with Catherine Steadman.
Outstanding Achievement in an Affiliate Theatre
Barbarians at The Clare, Young Vic
Phil Dunster for his role in Pink Mist at Bush theatre
Pat Kinevane and Fishamble for Silent at Soho theatre
Violence and Son at Jerwood theatre Upstairs at the Royal Court
Is it absurd to comment on a category if you only saw one of the nominees but have heard that a couple of the others quite good? You're right, it is, I'll move on.
Virgin Atlantic Best New Play
Farinelli and the King at Duke of York’s theatre
The Father at Wyndham’s theatre
Hangmen at Jerwood theatre Downstairs at the Royal Court and Wyndham’s theatre
People, Places and Things at National Theatre, Dorfman
Only being 75% qualified to talk about this category, I nonetheless feel qualified enough to state that where Farinelli and Hangmen excelled was pretty much not in the writing as much as in other areas. The reason I haven't seen People, Places and Things yet is because the first wave of people who went to see it at the NT did not really think the writing was up to much (though there was some warmth towards Denise Gough for her performance), so I didn't bother. Then the next few waves went and came out resounding with praise, and although it was mostly for Denise Gough rather than the writing, it was strong enough for me to promise myself I'd see it if it achieved a West End transfer. I don't suppose this category is specifically for the writing though (separate it out! Give a separate writing award to honour the playwrights who get lumbered with godawful productions for their dazzling words!), so I don't suppose it matters. I can't say I care overmuch, though I would be more annoyed at Hangmen winning than any of the others.
Best Actor
Kenneth Branagh for The Winter’s Tale at Garrick theatre
Kenneth Cranham for The Father at Wyndham’s theatre
Benedict Cumberbatch for Hamlet at Barbican theatre
Adrian Lester for Red Velvet at Garrick theatre
Mark Rylance for Farinelli and the King at Duke of York’s theatre
We have here two strong contenders for most famous nominee, and in my experience of all five of these performances, they are coincidentally the two least strong contenders for best actor. People should be banned from nominating Kenneth Branagh for anything acting-based until he remembers there are more people than just those in the first few rows, and maybe those at the back would like to hear his dialogue too. And Benedict Cumberbatch - who is admittedly a good actor and does seem to be a nice man - JUST NEEDS TO GET OUT OF MY FACE ALREADY. What a travesty of nonsense if either of these two beat Kenneth Cranham to the crown, but I'll accept either of the others quite happily too.
Best Actress
Gemma Arterton for Nell Gwynn at Apollo theatre
Denise Gough for People, Places And Things at National Theatre, Dorfman
Nicole Kidman for Photograph 51 at Noël Coward theatre
Janet McTeer for Les Liaisons Dangereuses at Donmar Warehouse
Lia Williams for Oresteia at Almeida theatre
In the game of "most famous vs most deserving nominee", then going by all the online discussion of the last few months, this would appear to be a two-horse race between Denise Gough and Nicole Kidman. Lia Williams was great, Janet McTeer was Janet McTeer, and I'm sure Gemma Arterton is just as charming as Gugu Mbatha-Raw was, but it would be terrifically surprising if it weren't a case of "if she shows up, give it to Nicole, if she doesn't, give it to Denise". (Go on, surprise us all, have Nicole Kidman sitting in the front row, and give it to Denise anyway.)
Best Entertainment and Family
Alice’s Adventures Underground at the Vaults
Dr Seuss’s The Lorax at the Old Vic
I Want My Hat Back at National Theatre, Temporary theatre
Peter Pan at Regent’s Park Open Air theatre
Showstopper! The Improvised Musical at Apollo theatre
Sometimes I wonder if I should worry about myself when two of my finest theatrical experiences of the whole year turn up under the best entertainment and family category. Then I remember when The Elephantom was the best thing I saw in a year that also included John Heffernan's Edward II and The Drowned Man, and I don't give a damn. I think the best nominee is The Lorax. I don't think there's an especially famous nominee. But I do want a moratorium on theatre based on Alice in Wonderland and Peter Pan, so I'd be disgruntled if either of those won. Even though Alice's Adventures Underground was lovely.
Look, all I know about dance is it's a key component of Punchdrunk shows so is usually a great way of non-verbally expressing sexual jealousy. I am VERY non-qualified to talk about these.
Autograph Sound Award for Outstanding Achievement in Music
Bend It Like Beckham – Music by Howard Goodall, Lyrics by Charles Hart and Orchestrations by Howard Goodall and Kuljit Bhamra at Phoenix theatre
Farinelli and the King – Claire van Kampen for Musical Arrangements, the Musicians and Iestyn Davies and the Singers who alternated the singing role of Farinelli at Duke of York’s theatre
In The Heights – Music and Lyrics by Lin-Manuel Miranda at King’s Cross theatre
Kinky Boots – Music and Lyrics by Cyndi Lauper, Music Supervision, Arrangements and Orchestrations by Stephen Oremus at Adelphi theatre
Look, I am a totally 100% biased creature, even if I had seen all four of these shows, I'd still be all about In the Heights, because In the Heights is VERY IMPORTANT TO ME. Also, fun fact: Lin-Manuel Miranda is currently on holiday from Hamilton and rumour has it he's been seen on a plane heading east from New York. Do you suppose it may be because he's flying over to collect an award, HMMM? Admit it, you've heard less convincing theories than this one.
Best Theatre Choreographer
Carlos Acosta and Andrew Wright for Guys And Dolls at Savoy theatre
Drew McOnie for In The Heights at King’s Cross theatre
Stephen Mear for Gypsy at Savoy theatre
Jerry Mitchell for Kinky Boots at Adelphi theatre
Oh heavens, are we still talking about dancing?
Best Director
Rob Ashford and Kenneth Branagh for The Winter’s Tale at Garrick theatre
Matthew Dunster for Hangmen at Jerwood theatre Downstairs at Royal Court and Wyndham’s theatre
Robert Icke for Oresteia at Almeida theatre
Jonathan Kent for Gypsy at Savoy theatre
I'm torn. On the one hand, Oresteia was a simply astonishing achievement, and an incredibly large part of that was Robert Icke's direction. But... do we really want to encourage him? If he wins the award for this, and takes in all the good feedback about Uncle Vanya, then he's never going to keep his running times reasonable again. Remember he's going to be doing Hamlet next year - do you really want to be getting home from that at around 3 in the morning? Do the least damaging thing, guys. Give it to ANYONE ELSE. (Actually, The Winter's Tale needed a tighter directorial hand, and I'm Team Hangmen-Was-Okay-I-Suppose, so give it to Jonathan Kent.)
Best Actor in a Supporting Role in a Musical
David Bedella for In the Heights at King’s Cross theatre
Dan Burton for Gypsy at Savoy theatre
Peter Davison for Gypsy at Savoy theatre
Gavin Spokes for Guys and Dolls at Savoy theatre
I have yet to see Guys and Dolls (I rather like the replacement cast and the touring cast a damn sight more than the Chichester/West End cast), and Dan Burton was out when I went to Gypsy. So if I were choosing between David Bedella and Peter Davison (which I must, perforce), then it's Bedella all the way. Although Davison probably counts as the most famous nominee here.
Best Actress in a Supporting Role in a Musical
Preeya Kalidas for Bend It Like Beckham at Phoenix theatre
Amy Lennox for Kinky Boots at Adelphi theatre
Lara Pulver for Gypsy at Savoy theatre
Emma Williams for Mrs Henderson Presents at Noël Coward theatre
Although I have seen Gypsy, it was post-Pulver, so I have no knowledge of this category! Huzzah! Moving on!
Best Musical Revival
Bugsy Malone at Lyric Hammersmith
Guys and Dolls at Savoy theatre
Gypsy at Savoy theatre
Seven Brides for Seven Brothers at Regent’s Park Open Air theatre
Well, it's going to be Gypsy, isn't it? The idea of any of the others (none of which I have seen admittedly) somehow getting a jump on Gypsy is by this point almost absurd. Still, stranger things have happened.
Best Actor in a Musical
Ian Bartholomew for Mrs Henderson Presents at Noël Coward theatre
Killian Donnelly for Kinky Boots at Adelphi theatre
David Haig for Guys and Dolls at Savoy theatre
Matt Henry for Kinky Boots at Adelphi theatre
Jamie Parker for Guys and Dolls at Savoy theatre
Have not seen, also do not care! Yay!
Best Actress in a Musical
Tracie Bennett for Mrs Henderson Presents at Noël Coward theatre
Natalie Dew for Bend It Like Beckham at Phoenix theatre
Laura Pitt-Pulford for Seven Brides for Seven Brothers at Regent’s Park Open Air theatre
Imelda Staunton for Gypsy at Savoy theatre
Sophie Thompson for Guys and Dolls at Savoy theatre
Should I take a minute to work through the nominees and explain how much I adore Laura Pitt-Pulford generally, or the good things I have heard about Natalie Dew, or the split opinions that came back about Sophie Thompson? Or shall we just all agree on Imelda and move on? Honestly, this category has the potential to be THE BIGGEST upset of the evening if the judges have decided that Imelda was just okay actually.
MasterCard Best New Musical
Bend It Like Beckham at Phoenix theatre
In the Heights at King’s Cross theatre
Kinky Boots at Adelphi theatre
Mrs Henderson Presents at Noël Coward theatre
See previous ramblings about In the Heights being VERY IMPORTANT TO ME, also the rumours as to Lin-Manuel Miranda's current whereabouts, also my absolute failure to see the other three shows, honestly, I don't know why I bother trying to have opinions on musicals, for all I love them I very rarely get around to actually seeing them.
So that's that. I doubt I'll do a follow-up post when the awards are announced, but you should watch this space anyway just in case I do decide that's something I definitely must do after all. (I was right. I'm not doing a follow-up. But I am marking the winners, so.)
So that's that. I doubt I'll do a follow-up post when the awards are announced, but you should watch this space anyway just in case I do decide that's something I definitely must do after all. (I was right. I'm not doing a follow-up. But I am marking the winners, so.)
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