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Post by teamyali on Feb 3, 2022 16:46:11 GMT
I dunno if we should start doing predictions…
Best Actress in a Musical - three-way race between Sutton, Jessie, and CHF?
Best Play Revival - looks like it’s gonna be the battle between the subsidised theatres - Almeida (The Tragedy of Macbeth) vs NT (The Normal Heart) vs Old Vic (A Number)
I also hope they nominate at least SIX nominees per category; similar to the BAFTAs (Film and TV)
Where to transfers get nominated, and do they still get nominated? Such as Cyrano (which is now at Harold Pinter) and The Ocean at the End of the Lane (now at Duke of York’s). Both were nominated in the past season. Are they still considered eligible?
Can plays/musicals which are near the eligibility deadline be able to make it to the cut-off? Or does a production have to have its press night before they are considered for the awards?
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Post by mrbarnaby on Feb 4, 2022 0:30:34 GMT
I think any other year and Sutton would have won, but Jessie will have too much steam behind her after those reviews
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Post by Mark on Feb 4, 2022 0:40:14 GMT
Where to transfers get nominated, and do they still get nominated? Such as Cyrano (which is now at Harold Pinter) and The Ocean at the End of the Lane (now at Duke of York’s). Both were nominated in the past season. Are they still considered eligible? Can plays/musicals which are near the eligibility deadline be able to make it to the cut-off? Or does a production have to have its press night before they are considered for the awards? Productions previously nominated (such as Ocean/Cyrano) are ineligible. Productions need to have opened by the cut off to be considered. |
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Post by craig on Feb 4, 2022 9:28:00 GMT
Is there no-one more 'highbrow' available to host? I get Manford has the household appeal for the huns and mums ratings but the few I've seen him host he appears a bit out of place, lost and the jokes never really seem to land. It really is getting beyond a joke now. He's becoming James Corden levels of ubiquitous. |
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Post by jojo on Feb 4, 2022 17:04:16 GMT
I think it's time for an awards that are for touring and regional theatre, I know a few awards do encompass them such as the WOS Awards and UK Theatre Awards but they seem a bit limited. What we need I think is an awards on the same scale as the oliviers specifically for regional and touring shows, that includes all the technical and creative awards as well. It's a shame that the great work we see on regional stages isn't really rewarded in the same way as London shows are. Agreed. I remember having a conversation about it (on here?) a few years ago, and quite a lot of people were against it, but I don't recall any really good arguments. Just some London-centric excuses about the difficulty of judging things not in London and the assumption that regional productions should be assumed to be lesser than their West End equivalents. I accept that there's a lot more variability in quality in regional tours, but all the more reason to reward those companies that do put the effort into taking quality theatre to the rest of the country. And some touring casts are genuinely excellent. If I remember correctly, the discussion last time was simply to have an extra couple of categories for best regional/touring musical and regional/touring play, but perhaps a whole separate set of awards would give them the attention (some of them) deserve. There could be categories according to the size of theatre too, to give smaller productions that visit smaller towns a chance to shine too. |
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Post by frosty on Feb 4, 2022 23:02:50 GMT
Is there no-one more 'highbrow' available to host? I get Manford has the household appeal for the huns and mums ratings but the few I've seen him host he appears a bit out of place, lost and the jokes never really seem to land. It really is getting beyond a joke now. He's becoming James Corden levels of ubiquitous. Careful what you wish for...next time it will be Rylan! To be fair to Jason, I've been to the awards when Michael Ball, Catherine Tate and Jason have hosted and Jason was hands down the best host and safest pair of hands, he didn't need a single retake of anything! But I do agree, it would be good to shake it up a bit :-) |
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Post by Phantom of London on Feb 4, 2022 23:57:58 GMT
I think it's time for an awards that are for touring and regional theatre, I know a few awards do encompass them such as the WOS Awards and UK Theatre Awards but they seem a bit limited. What we need I think is an awards on the same scale as the oliviers specifically for regional and touring shows, that includes all the technical and creative awards as well. It's a shame that the great work we see on regional stages isn't really rewarded in the same way as London shows are. Agreed. I remember having a conversation about it (on here?) a few years ago, and quite a lot of people were against it, but I don't recall any really good arguments. Just some London-centric excuses about the difficulty of judging things not in London and the assumption that regional productions should be assumed to be lesser than their West End equivalents. I accept that there's a lot more variability in quality in regional tours, but all the more reason to reward those companies that do put the effort into taking quality theatre to the rest of the country. And some touring casts are genuinely excellent. If I remember correctly, the discussion last time was simply to have an extra couple of categories for best regional/touring musical and regional/touring play, but perhaps a whole separate set of awards would give them the attention (some of them) deserve. There could be categories according to the size of theatre too, to give smaller productions that visit smaller towns a chance to shine too. As a starters it would be nice if they just split the creatives between plays/musicals. |
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Post by craig on Feb 6, 2022 10:58:51 GMT
It really is getting beyond a joke now. He's becoming James Corden levels of ubiquitous. Careful what you wish for...next time it will be Rylan! To be fair to Jason, I've been to the awards when Michael Ball, Catherine Tate and Jason have hosted and Jason was hands down the best host and safest pair of hands, he didn't need a single retake of anything! But I do agree, it would be good to shake it up a bit :-) He’s absolutely a professional. I don’t even dislike the man, I just find it a bit samey having him present anything theatre related. |
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Post by Deleted on Feb 6, 2022 14:37:56 GMT
I'd imagine Sutton will be nominated, but hard to see them not giving best actress sin a musical to Jessie, especially with all her film and film award buzz this year too. Good year for her.
What other shows are in the mix? Do we have a list?
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Post by teamyali on Feb 6, 2022 15:10:51 GMT
Some of my own predictions in my view, basing on reviews/acclaim, buzz, etc. (Doing the Oscars prediction is always always fun and chaotic lol)
Best New Play
2:22 A Ghost Story, Noël Coward Theatre & Gielgud Theatre
Best of Enemies, Young Vic
Life of Pi, Wyndham’s Theatre
Pride & Prejudice (*sort of), Criterion Theatre
The Shark is Broken, Ambassadors Theatre
What If If Only, Royal Court
Best Play Revival
A Number, The Old Vic
Constellations, Vaudeville Theatre
Is God Is, Royal Court
The Normal Heart, National Theatre
The Tragedy of Macbeth, Almeida Theatre
Best New Musical
Back to the Future the Musical, Adelphi Theatre
Cinderella, Gillian Lynne Theatre
Frozen, Theatre Royal Drury Lane
Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre
Moulin Rouge!, Piccadilly Theatre
Best Musical Revival
Anything Goes, Barbican Centre
Cabaret, Kit Kat Club at the Playhouse Theatre
Spring Awakening, Almeida Theatre
Best Director
Dominic Cooke, The Normal Heart
Clint Dyer, Get Up, Stand Up! The Bob Marley Musical
Yaël Farber, The Tragedy of Macbeth
Rebecca Frecknall, Cabaret
Rupert Goold, Spring Awakening
Jeremy Herrin, Best of Enemies
Best Actor
Ben Daniels, The Normal Heart
Charles Edwards, Best of Enemies
Paapa Essiedu, A Number
David Harewood, Best of Enemies
James McArdle, The Tragedy of Macbeth
Best Actress
Lily Allen, 2:22 A Ghost Story
Emma Corrin, Anna X
Patsy Ferran, Camp Siegfried
Cush Jumbo, Hamlet
Anna Maxwell Martin, Constellations
Saoirse Ronan, The Tragedy of Macbeth
I’m not really into musicals, so I dunno
Also, I don’t think Donmar’s Henry V and Young Vic’s A Collaboration will be opening by the cut off? I didn’t include them in my predictions.
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Post by couldileaveyou on Feb 6, 2022 15:19:14 GMT
I forgot what a miserable year it's been for new musicals
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Post by Mark on Feb 6, 2022 15:22:09 GMT
Neither Prince of Egypt nor Pretty Woman were eligible last time around (opened after the cut off) so they will also be eligible this time. Whether or not the former is remembered remains to be seen.
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Post by budd on Feb 6, 2022 21:22:29 GMT
Could anyone give me an idea of the number of people who would be SOLT members? They're very opaque about their membership.
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Post by theatremiss on Feb 7, 2022 0:49:04 GMT
Neither Prince of Egypt nor Pretty Woman were eligible last time around (opened after the cut off) so they will also be eligible this time. Whether or not the former is remembered remains to be seen. Tbh I thought Prince of Egypt wasn’t memorable at all, forgot all about it within minutes of leaving the theatre, we’ll apart from the scarring of the production as a whole. I think I am resigned to not liking Stephen Schwartz work except perhaps Pippin. |
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Post by rhd on Feb 7, 2022 13:44:09 GMT
I forgot what a miserable year it's been for new musicals I feel like this year has highlighted the limits of Bio-Musicals and musicals based on films. With the exception of Cinderella (Based on the oldest IP in the world) and Be More Chill (Which was based on a YA novel, and may be considered ineligible due to the fact its run at The Other Place began at the (narrowly) pre-pandemic cut off point), all the original musicals that had a press night in the 2020-22 season belong to those two overexposed categories. The new musicals this season all seem to have been painfully average. It's really telling that Frozen will probably do better at the Oliviers than it did in the Tonys (where it was shut out of the technical categories entirely). Moulin Rouge is the favourite, but the reviews weren't as enthusiastic as many expected based on its Tonys success. The two big Revivals (Anything Goes and Cabaret) will dominate the acting categories, and Moulin Rouge is likely to win most of the technical awards, with Frozen maybe sneaking in a few leftover ones... |
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Post by rhd on Feb 7, 2022 13:46:40 GMT
Neither Prince of Egypt nor Pretty Woman were eligible last time around (opened after the cut off) so they will also be eligible this time. Whether or not the former is remembered remains to be seen. POE is an extremely long shot. Pretty Woman MIGHT sneak a few nominations based on its relative success at the Savoy, but the volume of Bio-musicals and movie adaptations this year means that there are enough newer ones to take the four/five spots in the Best Musical category... |
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Post by shambles on Feb 7, 2022 14:21:25 GMT
I forgot what a miserable year it's been for new musicals I feel like this year has highlighted the limits of Bio-Musicals and musicals based on films. With the exception of Cinderella (Based on the oldest IP in the world) and Be More Chill (Which was based on a YA novel, and may be considered ineligible due to the fact its run at The Other Place began at the (narrowly) pre-pandemic cut off point), all the original musicals that had a press night in the 2020-22 season belong to those two overexposed categories. The new musicals this season all seem to have been painfully average. It's really telling that Frozen will probably do better at the Oliviers than it did in the Tonys (where it was shut out of the technical categories entirely). Moulin Rouge is the favourite, but the reviews weren't as enthusiastic as many expected based on its Tonys success. The two big Revivals (Anything Goes and Cabaret) will dominate the acting categories, and Moulin Rouge is likely to win most of the technical awards, with Frozen maybe sneaking in a few leftover ones... To be honest, despite how beautiful some of the design work on Moulin Rouge is, I don't feel that it deserves to win things like set design (even Spring Awakening would be a better choice given it's inventiveness) , when so many of the iconic pieces are just copied from the film. Even costumes are very derivative, and Frozen would especially does not deserve them in that category. |
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Post by rhd on Feb 7, 2022 14:38:24 GMT
I feel like this year has highlighted the limits of Bio-Musicals and musicals based on films. With the exception of Cinderella (Based on the oldest IP in the world) and Be More Chill (Which was based on a YA novel, and may be considered ineligible due to the fact its run at The Other Place began at the (narrowly) pre-pandemic cut off point), all the original musicals that had a press night in the 2020-22 season belong to those two overexposed categories. The new musicals this season all seem to have been painfully average. It's really telling that Frozen will probably do better at the Oliviers than it did in the Tonys (where it was shut out of the technical categories entirely). Moulin Rouge is the favourite, but the reviews weren't as enthusiastic as many expected based on its Tonys success. The two big Revivals (Anything Goes and Cabaret) will dominate the acting categories, and Moulin Rouge is likely to win most of the technical awards, with Frozen maybe sneaking in a few leftover ones... To be honest, despite how beautiful some of the design work on Moulin Rouge is, I don't feel that it deserves to win things like set design (even Spring Awakening would be a better choice given it's inventiveness) , when so many of the iconic pieces are just copied from the film. Even costumes are very derivative, and Frozen would especially does not deserve them in that category. I don't think that remakes are an inherently bad thing, but there are too many of them. I feel like the technical difficulties of reproducing film on stage need to be acknowledged, but it does feel a bit unimaginative compared to the minimalism that theatre can do so well... Re. Frozen, It takes a lot of effort to try and reproduce animation in live-action, and the constraints of the stage are another complication (which is why Disney's live-action stage adaptations don't really receive the same widespread disdain as their recent wave film adaptations, even though both rely on stretching the animated films into 2 hour plus "epics"). However, the "Double Event" costumes of The Lion King are the only time when Disney Theatrical costumes have felt like more than just "The Animated Costumes in Live Action". Sven is an impressive piece of puppetry, but I'm not sure it's enough to make the entire thing awards worthy. When I said Frozen would do better than it did at the Tonys, I was referring to nominations. It will certainly get a few technical nominations, and the cast and crew could sneak into the other categories, albeit as 4th/5th choice. But It's a 3 horse race this year, and those three horses are Anything Goes, Cabaret and Moulin Rouge... |
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Post by stagebyte on Feb 8, 2022 0:20:47 GMT
When are the noms usually announced?
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Post by Jan on Feb 8, 2022 7:17:04 GMT
Best Play Revival - looks like it’s gonna be the battle between the subsidised theatres - Almeida (The Tragedy of Macbeth) vs NT (The Normal Heart) vs Old Vic (A Number) Old Vic isn't subsidised actually. That seems like a really weak list but I can't think of anything else that might be on it. |
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Post by mrbarnaby on Feb 9, 2022 0:39:12 GMT
When are the noms usually announced? They we’re announced March 3rd in 2020.. ahead of a scheduled 25 April ceremony (that didn’t happen obviously) so maybe around then (latest?) |
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Post by NorthernAlien on Feb 9, 2022 22:21:00 GMT
Best Play Revival - looks like it’s gonna be the battle between the subsidised theatres - Almeida (The Tragedy of Macbeth) vs NT (The Normal Heart) vs Old Vic (A Number) Old Vic isn't subsidised actually. That seems like a really weak list but I can't think of anything else that might be on it. Is Leopoldstadt eligible? Or would it have fallen into the 2021 awards if not for covid? |
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Post by Mark on Feb 9, 2022 22:34:36 GMT
Old Vic isn't subsidised actually. That seems like a really weak list but I can't think of anything else that might be on it. Is Leopoldstadt eligible? Or would it have fallen into the 2021 awards if not for covid? It already won Best new play at the 2020 awards. |
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Post by NorthernAlien on Feb 10, 2022 18:30:55 GMT
Is Leopoldstadt eligible? Or would it have fallen into the 2021 awards if not for covid? It already won Best new play at the 2020 awards. Well that shows how little attention I was paying in 2020! |
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Post by Jan on Feb 11, 2022 7:34:33 GMT
It already won Best new play at the 2020 awards. Well that shows how little attention I was paying in 2020! Oh, I thought you were proposing that although it won best new play in 2020 the 2021 post-Covid revival of it should have qualified it for the best play revival this year too  .I was ready to agree. I wonder how they actually define "revival" ? I mean that production of Inspector Calls that has been re-appearing and touring for 20 years with different casts and directors and a different (somewhat) set, that still counts as the original production does it ? |
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.I was ready to agree. I wonder how they actually define "revival" ? I mean that production of Inspector Calls that has been re-appearing and touring for 20 years with different casts and directors and a different (somewhat) set, that still counts as the original production does it ?