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Post by alece10 on Mar 12, 2024 17:21:32 GMT
Can someone explain how the voting works please?
As some of the shows closed before nominations announced have those who vote already seen them and does that mean they have to see every single musical and play in advance of nominations? If that makes sense.
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Post by BurlyBeaR on Mar 12, 2024 17:46:25 GMT
Can we do a vote system on here for the noms? Too many categories with too many nominees to make that viable Im afraid. Ok so I’ve added a poll. Sorry there are no technicals, supporting or more niche categories (sorry opera and dance!) it’s just too big. Vote for one in each category, you don’t have to vote for every category. Joseph Fuentes = Joseph Fiennes! Autocorrect 🤷🏻♂️. I can’t edit it now. |
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Post by Mark on Mar 12, 2024 18:44:06 GMT
No noms for Doubtfire, Ain't Too Proud or The Witches. Quite surprising. I think the musical categories should definitely have had 5 nominees each, it was really a bumper of a year for London theatre. Best Actress in a Musical is a great category!
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Post by AddisonMizner on Mar 12, 2024 19:17:25 GMT
My two cents:
Stephen Sondheim’s Old Friends, music and lyrics by Stephen Sondheim at the Gielgud Theatre
Best Family Show
N/A. Haven’t seen any of the nominees.
Gillian Lynne Award for Best Theatre Choreographer
Fabian Aloise for Sunset Boulevard at the Savoy Theatre
Mithridate Award for Best Costume Design
Bunny Christie and Deborah Andrews for Guys and Dolls at the Bridge Theatre
Cunard Best Revival
N/A. Haven’t seen any of the nominees.
Best Musical Revival
Sunset Boulevard, music by Andrew Lloyd Webber, lyrics and book by Don Black & Christopher Hampton at the Savoy Theatre
d&b audiotechnik Award for Best Sound Design
Adam Fisher for Sunset Boulevard at the Savoy Theatre
Outstanding Musical Contribution
Alan Williams for Musical Supervision and Musical Direction for Sunset Boulevard at the Savoy Theatre
Best Actor in a Supporting Role
Luke Thompson for A Little Life at the Harold Pinter Theatre and Savoy Theatre
Best Actress in a Supporting Role
Gina McKee for Dear England at the National Theatre – Olivier
Blue-i Theatre Technology Award for Best Set Design
Soutra Gilmour for Set Design and Nathan Amzi and Joe Ransom for Video Design for Sunset Boulevard at the Savoy Theatre
White Light Award for Best Lighting Design
Jack Knowles for Sunset Boulevard at the Savoy Theatre
Best Actress in a Supporting Role In a Musical
Eleanor Worthington-Cox for Next To Normal at the Donmar Warehouse
Best Actor in a Supporting Role In a Musical
Jack Wolfe for Next To Normal at the Donmar Warehouse
TAIT Award for Best New Opera Production
Blue by the English National Opera at the London Coliseum
Outstanding Achievement in Opera
Antonio Pappano for his role as musical director of the Royal Opera House
Best Actor in a Musical
Daniel Mays for Guys and Dolls at the Bridge Theatre
Best Actress in a Musical
Caissie Levy for Next to Normal at the Donmar Warehouse
Best New Dance Production
N/A. Haven’t seen any of the nominees.
Outstanding Achievement in Dance
Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre
N/A. Haven’t seen any of the nominees.
Sir Peter Hall Award for Best Director
Jamie Lloyd for Sunset Boulevard at the Savoy Theatre
Best Actress
N/A. Haven’t seen any of the nominees.
Best Actor
James Norton for A Little Life at the Harold Pinter Theatre and Savoy Theatre
The Londoner Award for Best New Play
Dear England by James Graham at the National Theatre – Olivier and Prince Edward Theatre
Mastercard Best New Musical
Next To Normal, music by Tom Kitt, book and lyrics by Brian Yorkey at the Donmar Warehouse
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Post by lynette on Mar 12, 2024 20:33:41 GMT
Can someone explain how the voting works please? As some of the shows closed before nominations announced have those who vote already seen them and does that mean they have to see every single musical and play in advance of nominations? If that makes sense. Not sure I understand the question but back in the day when I was on the panel we saw everything in the category we were supposed to. So I saw all the plays before the nominations. On one occasion though when meeting another panel member at a performance we were chatting and what we had seen and she admitted she didn’t see everything. Just her? No idea but I suspect some panel members do not see all the productions before the nominations. |
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8,167 posts
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Post by alece10 on Mar 12, 2024 20:42:29 GMT
Can someone explain how the voting works please? As some of the shows closed before nominations announced have those who vote already seen them and does that mean they have to see every single musical and play in advance of nominations? If that makes sense. Not sure I understand the question but back in the day when I was on the panel we saw everything in the category we were supposed to. So I saw all the plays before the nominations. On one occasion though when meeting another panel member at a performance we were chatting and what we had seen and she admitted she didn’t see everything. Just her? No idea but I suspect some panel members do not see all the productions before the nominations. Thanks, I didn't explain very well but that's what I thought but wasn't sure. |
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Post by Dawnstar on Mar 12, 2024 21:54:13 GMT
There seems to be an anti-musical bias. Even in the performer categories, plays get 5 nomination slots and musicals get 4. What’s that about? I thought the same when reading the nominations list earlier. It also seems a bit off to have "Best Actor" and "Best Actor in a Musical". It implies that the proper actors are the ones in plays & the ones in musicals are a bit of an afterthought. Surely "Best Actor in a Play" and "Best Actor in a Musical" would be a more polite way of differentiating it.
If Pappano doesn't win the Outstanding Achievement in Opera category then it will be ridiculous. The other 2 nominations aren't remotely comparable.
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Post by mkb on Mar 12, 2024 22:27:44 GMT
How does Operation Mincemeat qualify as a new musical? I saw it 2.5 years ago and that was a revival.
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Post by Mark on Mar 12, 2024 22:37:52 GMT
How does Operation Mincemeat qualify as a new musical? I saw it 3.5 years ago and that was a revival. Same way that Next to Normal does. It's the first time it's played a West End house. |
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Post by sf on Mar 12, 2024 22:58:34 GMT
How does Operation Mincemeat qualify as a new musical? I saw it 3.5 years ago and that was a revival. Same way that Next to Normal does. It's the first time it's played a West End house. in 1998 the Oliviers nominated the National Theatre production of Lady in the Dark as Best New Musical. The show was first produced in 1941. |
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Post by Rory on Mar 12, 2024 23:20:32 GMT
Two quick queries:
1. When did the Bridge become eligible for the Oliviers?
2. Stranger Things is neither a comedy play nor an 'entertainment', is it?!
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Post by jaggy on Mar 13, 2024 1:39:56 GMT
Two quick queries: 1. When did the Bridge become eligible for the Oliviers? 2. Stranger Things is neither a comedy play nor an 'entertainment', is it?! 1. I believe the Bridge became eligible sometime this year or maybe late last year. They probably wised up and paid for the Society of London Theatre membership knowing they'd get a lot of noms for Guys and Dolls. 2. I REALLY have no clue. I thought it would be considered a "play". A friend asked me today why Harry Potter was classed as a play whereas this isn't. I presume because the show is such a spectacle they've reduced it to "entertainment" like Totoro last year. |
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Post by greenandbrownandblue on Mar 13, 2024 6:42:37 GMT
Re your point 2, I was on the public panel a few years ago. The way it worked then, and I think still now, is that the producers ask it to be considered as entertainment rather than a play or musical. I guess some calculate that they have a better chance in that category.
I must say I find Hadestown nominated as best revival of a musical to be very strange. It's a transfer of the NT production, albeit with a different cast. Similarly Groundhog Day, which was a pared back remount. Can't believe either were nominated over Crazy for You. Or rather I can, as I now take the Oliviers with a pinch of salt anyway.
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Post by adamkinsey on Mar 13, 2024 7:08:51 GMT
There are always a couple of "WTF?" nominations every year with the Oliviers and - for me, anyway - this time that includes Sarah Jessica Parker as best actress (play). It's an ok performance but to put it as one of the top 5 best female lead performances of the past 12 months is bizarre.
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Post by greenandbrownandblue on Mar 13, 2024 7:34:10 GMT
There are always a couple of "WTF?" nominations every year with the Oliviers and - for me, anyway - this time that includes Sarah Jessica Parker as best actress (play). It's an ok performance but to put it as one of the top 5 best female lead performances of the past 12 months is bizarre. Not surprised by her inclusion at all - helps generate headlines and ensures she'll be on the red carpet. |
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Post by BurlyBeaR on Mar 13, 2024 7:49:50 GMT
Sends a message to similar people eh. “Go to London, appear in a play, get nommed for a gong, tell everyone in Hollywood how great it is”. It’s kind of understandable.
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Post by adamkinsey on Mar 13, 2024 8:21:18 GMT
There are always a couple of "WTF?" nominations every year with the Oliviers and - for me, anyway - this time that includes Sarah Jessica Parker as best actress (play). It's an ok performance but to put it as one of the top 5 best female lead performances of the past 12 months is bizarre. Not surprised by her inclusion at all - helps generate headlines and ensures she'll be on the red carpet. Oh I know that's the actual reason for her inclusion. I'm just old fashioned and prefer nominations to be given on merit to recognise the best talent and celebrate excellence rather than for being famous. |
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Post by mrbarnaby on Mar 13, 2024 9:15:06 GMT
Some of these nominations are bonkers.
I love Susan Stroman work on Crazy for you- but she won the Olivier for it years ago and it’s the same choreography?
Same thing happened and Stephen Mear actually won twice for the same work on Mary Poppins. It makes absolutely no sense.
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Post by teamyali on Mar 13, 2024 9:24:16 GMT
Any guesses on who could be the honoree/s for the Special Recognition and Special Award? I believe these are two distinct honorary awards, and I think it’s also different from the Industry Recognition Awards (which they already announced - officiallondontheatre.com/news/olivier-awards-industry-recognition-award-recipients-2024/). The Special Awards are mostly reserved to the theatre A-listers. Last year, Sir Derek Jacobi and Dame Arlene Phillips were honored for Special Recognition Award on the awards night. My money’s on Sir Mark Rylance getting an honorary award. I know he was snubbed for Best Actor for Dr Semmelweis this season (and Best Actor in a play is a very competitive year), so maybe he will get the Olivier Special Award instead. His recent show aside, he’s worthy of this award. |
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Post by Dave B on Mar 13, 2024 9:31:48 GMT
Re your point 2, I was on the public panel a few years ago. The way it worked then, and I think still now, is that the producers ask it to be considered as entertainment rather than a play or musical. I guess some calculate that they have a better chance in that category. I must say I find Hadestown nominated as best revival of a musical to be very strange. It's a transfer of the NT production, albeit with a different cast. Similarly Groundhog Day, which was a pared back remount. Can't believe either were nominated over Crazy for You. Or rather I can, as I now take the Oliviers with a pinch of salt anyway. Am I reading too much into your post when it makes me think that perhaps your panel voted for productions/people who were then not recognised by the wider vote? |
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Post by Rory on Mar 13, 2024 10:09:29 GMT
Two quick queries: 1. When did the Bridge become eligible for the Oliviers? 2. Stranger Things is neither a comedy play nor an 'entertainment', is it?! 1. I believe the Bridge became eligible sometime this year or maybe late last year. They probably wised up and paid for the Society of London Theatre membership knowing they'd get a lot of noms for Guys and Dolls. 2. I REALLY have no clue. I thought it would be considered a "play". A friend asked me today why Harry Potter was classed as a play whereas this isn't. I presume because the show is such a spectacle they've reduced it to "entertainment" like Totoro last year. It's interesting. If you look at the Official London Theatre Show Guide, Stranger Things is firmly included in the 'Drama' category, and not the 'Comedy / Entertainment' one. |
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Post by couldileaveyou on Mar 13, 2024 10:15:22 GMT
It doesn't make a lot of sense, but admittedly so many paper-thin plays have won the Olivier on the strength of spectacular productions that it's not awful to prioritize playwriting by sending installments of franchises in the entertainment category.
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Post by jaggy on Mar 13, 2024 11:57:09 GMT
Ah! I didn’t know that the producers were behind it. Thank you for that.
I love SJP so I’m a little more okay with her getting a nom. Would I have give her a nom myself? No.
I thought Alison Oliver was more deserving of a nod for Portia Coughlan. Maybe the play was too divisive.
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Post by thistimetomorrow on Mar 13, 2024 12:54:17 GMT
Yeah the panel make a long list of suggestions for the wider voting body, however, the voting body don't have to listen to the panel's suggestions and can opt to vote for anyone else who is eligible. It's only for the supporting acting categories that the long list the panel makes is the sole list the wider voting body can vote on.
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Post by greenandbrownandblue on Mar 13, 2024 18:55:09 GMT
Re your point 2, I was on the public panel a few years ago. The way it worked then, and I think still now, is that the producers ask it to be considered as entertainment rather than a play or musical. I guess some calculate that they have a better chance in that category. I must say I find Hadestown nominated as best revival of a musical to be very strange. It's a transfer of the NT production, albeit with a different cast. Similarly Groundhog Day, which was a pared back remount. Can't believe either were nominated over Crazy for You. Or rather I can, as I now take the Oliviers with a pinch of salt anyway. Am I reading too much into your post when it makes me think that perhaps your panel voted for productions/people who were then not recognised by the wider vote? No that's fair - there were some on the nominations long list (which is then voted on by SOLT members) that none of us really rated, and vice versa. Though that really only applies to categories like supporting actor where there are so many choose from, and therefore the panel has some say. There were a couple of big name inclusions which we were politely guided to include, despite none of the panel suggesting them. The nominations long list meeting was really short too, given the task at hand - I remember it being only a couple of hours, including a nice cold buffet dinner! SOLT members, plus the panel, vote on nominations, and similarly they vote on the winners. What's also worth noting is that takeovers can be nominated if, and only if, the producers ask them to be considered. We had that at least once in my year (though they didn't get a nomination). The panel can also be invited to watch a show more than once - I had that a few times, one time going to a big musical and receiving a goody bag of merch including a cast recording! |
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