It feels like forever ago that we could simply hop down to the West End and – perhaps after a spot of bank robbery to afford a ticket – bask in the brilliance of some of the most spectacular musicals London has ever seen. Presumably, all the nominees at this year’s delayed Olivier Awards deserve a prize or two, but memories fade and some of those shows are but distant streaks of colour amidst the grey haze of 2020’s relentless woe. Before Sunday’s ceremony (10.20pm on ITV), let’s remind ourselves of the shows in contention:
& Juliet
Can Shakespeare be improved upon? We’ve had four centuries years to try, so one would assume the answer to that is: probably. Can Shakespeare be improved upon by adding Britney Spears and Backstreet Boys songs? Nobody would have expected it, but Max Martin and David West Read’s & Juliet makes a compelling case, and is a deliciously fun evening at the theatre. Martin’s familiar songs (he has written basically every pop hit from the last couple of decades) sound massive over the Shaftesbury Theatre’s sound system.
& Juliet is nominated for Best New Musical, Best Original Score, Best Lighting Design, Best Costume Design, Best Set Design, and Best Theatre Choreographer (for Jenifer Weber). Starring as Juliet herself, the terrific Miriam-Teak Lee is nominated for Best Actress in a Musical, with Cassidy Janson and David Bedella nominated for their supporting roles as Anne Hathaway and Lance.
Amélie The Musical
Anticipation was sky-high for the original Broadway production of Amélie (original songs by Daniel Messé and Nathan Tysen and book by Craig Lucas). Surprisingly, the show received only average reviews and closed early after receiving no Tony Award nominations whatsoever. Given that Jean-Pierre Jeunet’s 2001 film was so beloved and the star was none other than Hamilton/Great Comet legend herself, Philippa Soo, perhaps the show itself just wasn’t very good?
The UK production opened in 2019 – originally at Newbury’s Watermill Theatre before going on tour and finally settling at The Other Palace around Christmas time – and to great relief it turned out to be entirely delightful. Director Michael Fentiman leans harder into the quirky magic of the source material, employing a cast of talented actor-musos to best re-create that quaint, Parisian feel. The show is nominated for Best New Musical, and Best Original Score or New Arrangements (for arranger Barnaby Rice), plus Best Actress in a Musical for Audrey Brisson’s charming performance in the title role.
Dear Evan Hansen
It is always a joy when a brand new and original piece of musical theatre comes to dominate the theatre scene. Not since Hamilton has a show so connected with its audience as Steven Levenson (book) and Benj Pasek and Justin Paul’s (songs) Dear Evan Hansen. The show tackles important issues of social anxiety, depression and suicide in a way that both honours the seriousness of these topics, but is also hopeful and inspiring.
The show is nominated for Best New Musical and Best Original Score or new orchestrations for Pasek and Paul and London arranger, Alex Lacamoire (Hamilton, In the Heights). West End newcomer Sam Tutty’s heartfelt performance in the title role has earned him a nomination for Best Actor in a Musical, alongside supporting role nods for his co-stars Jack Loxton, Rupert Young, Lucy Anderson and Lauren Ward.
Waitress
The final nominee for best new musical is Waitress, a successful Broadway transfer based on the 2007 film of the same name written by Adrienne Shelly. For just over a year, audiences have been bewitched by popstar/composer Sara Bareilles’ catchy score, Jessie Nelson’s amusing book and the Adelphi Theatre’s freshly-baked pie aromas. In this time, the lead role has been played by Katharine McPhee, Lucie Jones, Desi Oakley, and most recently, Bareilles herself, who has been nominated for her original score.
Evita
Jamie Lloyd’s production of Andrew Lloyd-Webber and Tim Rice’s Evita at Regent’s Park Open Air Theatre received solid reviews for its pared-down staging and chaotic energy. The excellent choreography and bouncy musical arrangements created a brilliant atmosphere in the gorgeous outdoor venue. When performed on a slightly less grand scale than usual, Eva Peron becomes somehow more human, heightening the drama. The show is nominated for Best Musical Revival.
Fiddler on the Roof
This Trevor Nunn-directed revival at the Playhouse Theatre was as affecting, powerful, and political as Jerry Bock (music), Sheldon Harnick (lyrics) and Joseph Stein (book)’s musical has ever been. Andy Nyman starred as the alternately hilarious and heart-breaking Tevye – an impoverished Jewish milkman raising five daughters in a 1905 Russian shtetl – and is nominated for Best Actor in a Musical. Also nominated are his co-stars Judy Kuhn – for Best Actress in a Musical – and Stewart Clarke – for Best Actor in a Supporting Role in a Musical. The show itself is nominated for Best Musical Revival, Best Original Score or New Orchestrations (Jason Carr), Best Costume Design, and Best Choreography. Nunn himself is nominated for Best Director and this year is the only director in that category to be nominated for a musical.
Joseph and the Amazing Technicolor Dreamcoat
Millions of fans cannot be wrong! This Andrew Lloyd Webber/Time Rice biblical-retelling has defied critical cynicism to entertain packed theatres for decades. Last winter it was the London Palladium’s turn and Argyll Street was undeniably made more colourful during those bleak months. It is nominated for Best Musical Revival, and its young star Jac Yarrow has been nominated for Best Actor in a Musical.
Mary Poppins
The source material is beloved, the stars are talented, and the production company has a bigger budget than some countries’ governments. Of course the show was going to be impressive, but the impressive density of joyous and magical moments in the 2019 Prince Edward Theatre revival of Mary Poppins was truly overwhelming. Zizi Strallen commanded the auditorium in the title role, and has received a well-deserved nomination for Best Actress in a Musical. Her co-star Charlie Stemp is nominated for Best Actor in a Musical for his affable and virtuosic performance as Bert. Music legend Petula Clark is nominated for her brief but heart-rending supporting role as The Bird Woman. The show itself is nominated for Best Musical Revival and Bob Crowley for Best Set Design.
Blues in the Night
The final musical to be honoured at this year’s Olivier Awards is the Kiln Theatre’s production of Blues in the Night, which is nominated for outstanding achievement in an affiliate theatre. This revue of classic blues songs was conceived and written by Sheldon Ebbs and originally premiered Off-Broadway in 1980. The Kiln Theatre production was directed by Susie McKenna and had a stellar cast including previous Olivier winner Sharon D Clarke, Debbie Kurup, Clive Rowe and Gemma Sutton. It won great praise for its evocative atmosphere and infectiously raucous energy.
Also nominated are several plays which for some unfathomable reason do not have songs in them. I’m sure they’re fine if you’re into that sort of thing. Good luck to them.
So, did your favourite shows of last year receive their due? Which of these brilliant musicals deserves to win big? And where exactly is Boulevard Theatre’s life-alteringly superb production of Ghost Quartet? Give us your 2020 Olivier Award hot takes in the comments as we get ourselves worked up for this weekend’s ceremony!
Ian Bowkett
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