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Who was snubbed by the Olivier Awards? | All the shows and stars who deserved nominations in 2024
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Mickey Jo
Oh, I've said the word snubbed too many times now and it no longer sounds like a real word. Does anyone remember snubbies? They were like, like little dog toys, I think me and all the snubbies as cute as can be. That's awakened a memory. Oh, my God. Hey. Welcome back to my theatre themed YouTube channel. My name is Mickey Jo and I am obsessed with all things theatre. I am a professional freelance theatre critic. I'm a content creator here on social media. I am a theater goer and fan and I am also a theatre pundit. And today I will be continuing to talk about the 2024 Laurence Olivier Award nominations. If you don' These are annual awards which celebrate the best of West End theatre. Plays, musicals, dance, opera, family shows, comedy and entertainment, whatever that means. Now, the nominations were announced on Tuesday. I did a video here prior to that with my stagey fiance, Erin James, predicting what we thought the nominations were going to be. We then did another video reacting to the nominations, which was predictably chaotic. And now that the flames have calmed a little bit, I thought I would come on here as promised and talk to you about the shows and individuals which were snubbed in this year's nominations. Now, snubbed implies someone who was worthy of nomination, who sort of was expected to get a nomination even and did not get one. So while I will bring your attention to all of the other people in shows who could have been nominated, it's really only a handful of people who were technically snubbed in each category. I will also just make a quick note here about eligibility. The shows eligible for Olivier Award nominations are those that opened from a particular mid February date last year through to a particular mid February date this year in a SALT membership theatre that is a theatre that pays to be a member of the Society of London Theatres or any of its affiliate theatres who paid for a full membership this year, like the Bridge Theatre, we didn't think Guys and Dolls was going to be eligible. And then, surprise plot twist, it was because they paid to be. They did this because the Olivier Awards are a mark of quality. It is a big attainment for a show. For their marketing, they get to say, we've had 12 Olivier nominations. We won the Olivier Award for Best New Musical. A show like Standing at the Sky's Edge has just opened in the west, partially on the back of winning Best New Musical at the Oliviers last year. But for individuals, it also makes a big difference to their careers. You know, it can change the trajectory of an actor's career progression if they become an Olivier Award nominee again, it's that endorsement of quality that can really help people. All of which is to illustrate that awards nominations do matter. This is not just a frivolous evening at the Royal Albert hall where everyone wears nice dresses, although the dress I plan to wear will be. Will be lovely. No, I think I'd fall up too many stairs. There are a lot of stairs at the Royal Albert hall and I drink champagne. Anyhoo, let's talk about the Olivier noms. Now, as always, I welcome your input in the comments section down below. Which was the nomination you were most surprised not to see on Tuesday morning, and who do you think got snubbed? Share your thoughts, especially if I didn't mention them in this video. For now, though, let's talk through these categories and who was missing? So let's start with Best New Musical, because I for months have been saying to you all that such a crowded year for new musicals and there were going to be lots of omissions from this category. Let's talk about the ones who got left out. So we did see nominations for the Little Big Things for A Strange Loop, which I was thrilled about because I was concerned that wasn't going to happen. Operation Mincemeat got a nomination and Next to Normal got a nomination. I was shocked to only see four. There have been other years where we have seen five nominees. If any year called for five nominees, it was this one. Let me prove to you why so some of the most obvious candidates for that fifth slot, either because they were really well received by critics or by audiences. The Witches at the National Theatre, Just For One Day at the Old Vic, the Secret Life of Bees at the Almeda was a lovely, beautiful, haunting show that was just too far away. I don't think it was ever really going to get remembered. But also something like Cold War at the Almeida, I thought may have done deceptively well, didn't pick up any nominations. In fact, except for Just for One Day, all of those shows that I mentioned were entirely snubbed. Less likely to get that last slot for various reasons. But also missing from Best New Musical, the Great British Bake off, the musical ain't too proud. Mrs. Doubtfire, the time traveller's wife also flowers for Mrs. Harris at the Riverside Studios, which, although not the original production of the show, so felt like a revival in many ways was technically the first time it was being done in London, so probably would have been considered Best New Musical. And that little clarification brings us to our Next category, Best Revival of a Musical, because this is where we saw an unexpected nominee. Hadestown ended up being nominated for Best Revival on the technicality of it, having previously been seen in London at the National Theatre. I don't know if this came from the nominators or from the producers themselves who thought they might be likely. More likely, that is, to get a nomination in revival because new musical was more crowded. Ultimately, the nominees were Hadestown, Groundhog Day at the Old Vic, technically a newly staged production, albeit by the same creative team at the same venue it was seen at before when it won the Olivier for Best New Musical with the same director, with the same leading actor who won for Best Lead Actor in a Musical back then. So something that doesn't really feel like a revival but legitimately was. And then two shows that felt very much like revivals because they took a sledgehammer to the preconceptions of what they might be. Sunset Boulevard and Guys and Dolls. Bold reimagined reinventions of their material. But there is one nominee I was shocked not to see on this list, especially because it did pick up a lot of nominations in other categories. So unusual to see love for it in creative areas and for its performers and not to see any. Here I am talking about Crazy for your, the revival of Crazy for your that originated in Chichester Festival Theatre and went to London's Gillian Lynn. How could this not get a nomination for Best revival? Don't tell me it wasn't different enough to the original production when Groundhog Day and Hadestown were both in there. I mean, if we're talking about differences to the original, Hadestown is a really weird one because it wasn't that different to the National Theatre version. I know we talk about the show being updated, but not that much. And Crazy for your is not the only show I was expecting to see in this category because the Regent's park revival of Le Carge aux Folly was also getting a lot of love. There have been rumors about that transferring to an indoors West End theater, and I was really expecting to see that getting a nomination in the Best Revival category. So I would say that those two are the ones I was most surprised to see omitted. But again, there were other revivals this year. 42nd street at Sadler's Wells that then embarked on a tour and went to Canada. I really loved that production. I thought it was tremendous and took a lot of risks in altering again, preconceptions about the show. There was also the wizard of Oz at the London Palladium, not favourite production but really rich creatively, took a lot of big swings and has become very commercially rewarding. It's currently on a UK tour. That production originated at the Leicester Curve, I must add. Now, we've talked about musicals, let's talk about plays. Which were the new plays snubbed from this year's list of Olivier nominations. I think the biggest for me was A Little Life, Ivo Van Hove's production of A Little Life. I was kind of shocked not to see this nominated in Best New Play. Now, I did not see this production simply because I decided for once that I would allow myself to have some input as to what I go and see and not feel as though I have to report on everything. And it just felt as though it was going to be a little too harrowing for my tastes. Everyone was describing it as trauma porn. And I think at the time I really just wasn't in a place mentally where I felt like that was something that I needed to go and see. But whether or not people loved it, and I think people did find it divisive, it was not like raved about across the board. Critically, it made a big impact. And we saw nominations in other categories, so always a new unusual when that happens, but the show itself doesn't get one. Now here is where it gets a little bit tricky because I also expected to see Stranger Things, the first Shadow, in this category, but they ended up in Best Entertainment or Comedy play. We're going to talk about that in just a second. The nominees we did have were Dear England at the National Theatre, which also went to the Prince Edward, the Hills of California at the Harold Pinter new Jez Butterworth play. We had Till the Stars Come down, also at the National Theatre at the Dorfman Space and the Motive at the Queue. Once again, a National Theatre production that transferred transferred to the West End's Noel Coward Theatre. So a great year for the National Theatre, but that also means less of a great year for the other playhouses outside of this category and across the board. This was not a fantastic year for the Almeida or for the Young Vic. We saw some nominations representing the Donmar Warehouse, but for the most part, the theatre I noticed coming up the most after the National Theatre was the Duke of York, simply because so many eligible nominated productions went into that theatre. But I'll tell you about that in the next category, we did have a lot of plays this year by a ste esteemed playwrights and from great directors that were really raved about. I mean, some of the biggest box office hits of the year have been the plays, which is really exciting and I feel like it's very London theatre. But it also meant that something had to be brilliant or of real status to get into this category. I think the slightly more understated Infinite Life by Annie Baker again at the National Theatre would have been deserving of a nomination. I didn't see Backstairs Billy. People said it was charming. I don't know if it was quite big enough. Hamnet had mixed to poor reviews from what I remember from the critics. There was also the one woman play that Maureen Lippman performed called Rose and I mean various others. There have been plenty more plays going back over the last year. Help me out in the comments section and let me know which play you might have been surprised not to see nominated for an Olivier Award for Best New Play. Next, let's talk about the play revivals. So the ones that we did get. This is where the Duke of York's Theatre comes into play was Vanya, the one man version of Vanya starring Andrew Scott. Another one person show at the Duke of York's Shirley Valentine starring Sheridan Smith. There was also the Macbeth at the Donmar Warehouse with David Tennant and Kush Jumbo and the Effect once again at the National Theatre. Like I said, great year for the National Theatre. And Macbeth is the only Shakespeare revival that was on here. Certainly there have been others. Kenneth Branagh's production of King Lear did not make this list. Equally, the Pillow man was not nominated in this category, though it was again at the Duke of York's Theatre. That theatre just loves a play revival. And another one, the Picture of Dorian Gray. Now I'm not sure how this would have been considered eligible because it is ostensibly an adaptation of the book on stage. The adaptation is new and so is the adaptation of Uncle Vanya for Vanya for Andrew Scott. So I'm assuming that also would have been eligible in the best revival of a Play category and wasn't nominated despite getting other nominations. So now let's talk about the oddity that is Best Entertainment or Comedy Player, which is increasingly becoming a way for miscellaneous shows to submit themselves to this category for what might be considered an easier Olivier win. They're not up against these prestigious, you know, masterpiece plays. In this category you have Stranger Things, the First Shadow, which is a play. I'm sorry, it's a play. It's Stranger Things on stage. It's not a variety show, it's not a comedy and it's entertaining, but entertaining as a play. You have Stephen Sondheim's old friends. And this is a review. It's a musical review, but I wouldn't necessarily call it Best New Musical. So I'm gonna let them stay here. Accidental Death of an Anarchist, which is a revival of a comedy. It's sort of an edgy comedy revival. So it gets in here for being comedy, but it's also a play revival, so I have mixed feelings about that. And then Vardy versus Rooney. The Wagatha Christie Trial, which is an out and out comedy and a verbatim adaptation of a trial. So four very different shows up against each other here. The one I take the most issue with is Stranger Things. I feel like that ought to have gone into Best New Play. And they have just put it in here because they saw that, like for My Neighbor Totoro the year before. This can be an easier category to guarantee a win. And admittedly, I can't think of many new comedy plays that were snubbed in this category or kept out of this category by more sort of encroaching on that territory. I don't think the Crown Jewels would have expected a nomination. I don't know if the Enfield Haunting still knows if it's trying to be a comedy play or not, but I get the creeping feeling it's not. Maybe Backstairs Billy was a comedy play. I didn't see it. Someone can tell me more about Backstairs Billy. The Peter Pan pantomime at the London Palladio usually gets a nomination in this category. So that was surprising not to see that one here. Aproper of absolutely nothing whatsoever. I do think that the Winnie the Pooh show should have been nominated for Best Family Show. And I take it as a personal attack that he wasn't. That is my friend. Let's move on now to talking about performances and the one I desperately want to tell you about. First, Best Actor in a Musical. This category Absolutely Mad Because Men sort of unexpectedly really pulled it out of the bag this year. I unashamedly, at awards shows, I'm always most excited about. Specifically Best Supporting Actress in a Musical. That's my favourite category of all time. Because that I think is where some of the best performances and the most well written roles are. But Leading Actor in a Musical this year is the category to be in. So you have Charlie Stemp for Crazy for your, Tom Francis for Sunset Boulevard, Walking around the Block, singing at the same Time, David Cumming for Operation Mincemeat and Daniel Mays for Guys and Dolls. Again, we absolutely should have had more than four nominees they have five in the play categories, they have four in the musicals for no good reason whatsoever other than snobbery. But in this one in particular, there were some shocking omissions to Mickey. Not only Andrew Richardson for Guys and Dolls, who I think was just as strong as Daniel Mays, but also Gabriel Vick for Doubtfire. When people went to see the press performances of Doubtfire last year, everyone in the week that followed was saying to each other how he was guaranteed to win the Olivier and he doesn't get nominated. Like what? Also Kyle Ramar Freeman from A Strange Loop. One of the most vulnerable, raw, heartbreaking performances I saw on stage last year. I cannot believe that he did not get a nomination for this. I was just devastated not to see his name in that category. He should absolutely have been there. And there are plenty more that could also have made this shortlist. David Hunter for the Time Traveller's Wife, Donal Finn for Hadestown, Jamie Parker for Next to Normal. My goodness. I think he may give the strongest acting performance in Next to Normal, and he was the only one out of that central quartet not to get nominated. Craig Ells is doing really strong work in Just for One Day. I don't know about the eligibility of two Strangers Carry a Cake Across New York. I gather that they weren't eligible for main category awards. Otherwise I would be writing on behalf of Sam Tutty saying that he should have got a nomination for this because he's better in it than he was in Dear Evan Hansen and he won for that. But you start to see what I mean when I tell you leading actor in a musical this year was stacked. We also have Ed Larkin and Johnny Amies for the Little Big Things that a lot of people said they were disappointed not to see nominee. Now let's talk about leading actresses in a musical. A quieter year just for leading actress roles in a musical. But the conspicuous omission here, Celinda Schoenmaker, which I know for a fact I'm pronouncing wrong. Sorry, Celinda. And the Dutch community Schoenmarker. Perhaps. Perhaps. The nominees that we did get, Nicole Scherzinger for Sunset Boulevard, Marisha Wallace for Guys and Dolls, Casey Levy for Next to Normal, and Natasha Hodgson for Operation Mincemeat. I cannot be mad at any of them, but Salinda should absolutely be there and this is why we need five in each category. She is not the only snub from this category, if you ask me, because Tanisha Spring also did such brilliant subtle work with a very challenging role. In Groundhog Day, I think hers is not like the most hard working role on stage, but it's the hardest to pitch correctly. Whether because of Andy Cole's ineligibility, people just kind of forgot about the possibility of her as a nominee. I don't know. But that's not a good excuse. Excuse? Oh, I didn't mention him for leading actor in a musical. But both of the leads of Cold War at the Almeida could have been on here. Equally. Nicole. Lily Baisdon for 42nd Street. You tried tap dancing that hard. Also, Joanna Woodward from the Time Traveller's Wife. And presuming that flowers for Mrs. Harris was eligible, then the beautiful performance by Jenna Russell. Now, if we move on to supporting performances in a musical, both actors and actresses, there are so, so many that we could talk about. I'm gonna look through the list. I mean, ain't too proud. Tosh specifically and ain't too proud, but various people in that cast did a fantastic job. The Ladies of Hadestown. My goodness. Gloria Enietri and Melnila Barry. I was stunned speechless not to see them nominated. Not to see either of them nominated just for one day. Julie Atherton's Margaret Thatcher is the one that very much could have got a nomination here. And thinking all the way back to the Great British Bake Off, I really would have loved to have seen a Claremore nomination because she did just about stop that show with her number in the second act and she's a theatrical legend and that has to count for something in my book. Now, Amy Trigg got the supporting actress nomination for the Little Big Things and she has us the slightly better part than Lindsay Hateley. But Lindsay Hateley also did beautiful work in that show and various of the supporting men in that cast actually as well, really deserved recognition. Then we get back to the Secret Life of Bees at the Almeida. Rachel John, but also Ava Brennan. My goodness. And Danielle Fiamanya. Ava, like, oh, my gosh. I just really wish there had been some nugget of recognition for that show that I sadly don't think will go on to have any kind of a future life. Because it was just really stirring and soulful and lovely. I hope you went to see it. It's useless me telling you this now. The witches at the National Theatre did not get performance nominations. Now, I will say I'm enduringly a little bit confused about whether Katherine Kingsley and Sally Ann Triplet that were supporting or leading roles. I don't know if that contributed to the lack of nomination there. But the most egregious snubbing of that cast. I think Daniel Rigby. I would have loved to have seen a nomination for Daniel Rigby in Best Supporting Actor in a Musical, although I was very happy with the category that we had. Again, we just need five nominations for musical theatre performers. Why do we only have four staying in Supporting Actor in a Musical, Tom Edden in Crazy for your. I was surprised not to see him on there, but we could be at this all day. I'm going to move on. Let's go over to the actors in plays and talk about the ones who missed out on nominations there. So starting with Best Leading Actor in a Play, we got Mark Gatiss for the Motive and the Cue, but we didn't get Johnny Flynn and the two of them together in this play. I mean, my goodness. And I think it's Johnny Flynn that does more unexpected things that we didn't really, really know that he could do. This is not all that a surprising turn from Mark Gatiss. I do think it's a beautifully human and nuanced performance. I celebrate that being nominated. But I'm really sad not to see Johnny Flynn there alongside him and surprised the other nominees in this category. Of course, there are five because it's plays. Don't get me started. I started a long time ago. Let's be honest with ourselves. We also had Andrew Scott for Vanya, as well as Mark Gatiss. We also had Joseph Fiennes for Dear England. This year's potential sweeping. Dear England. You heard it here first. Who else was nominated for this? We also had James Norton for A Little Life and finally David Tennant for Macbeth at the Donmar Warehouse, as well as Johnny Flynn. We also didn't see a nomination for Louis McCartney from Stranger Things, the first shadow in a cast of talented young performers. His is the performance I was most expecting to see a nomination for and most wanted to see a nomination for because he deserves the recognition. He is working very hard on that stage and it's a real breakthrough performance from him. Him. And once again, Daniel Rigby. If I was sad about him not getting a performance for supporting actor for the Witches, I was devastated about him not getting a performance for leading actor for Accidental Death of an Anarchist. If you saw that play, you know that it was just him going full tilt. A thousand miles per hour, manic insanity for two and a half hours. He was so, so good. I would have him winning this category, not only nominated in it. I am sad that he did not get into it, but this was a year that Kenneth Branagh did not break into this category. This is a year that Matt Smith did not break into this category. Alongside fellow former Doctor who David Tennant. This is a year that Luke Evans did not break into this category. So it's not a question of celebrity name or not. There were just a lot of big performances this year over in the leading actresses. Meanwhile, again, it was a quieter year for roles for women. It was also quite a year for women directing. None of which is good, by the way, in 2024, that's concerning. But the actresses that we did see nominated Laura Donnelly, the Hills of California, Sophie Okonedo for Madea Sheridan Smith for Shirley Valentine. One woman show we also had. This is the moment where I start to forget. Oh, the Sarahs. Sarah Jessica Parker for Plaza Suite and Sarah Snook for the Picture of Dorian Grace. Sarah Jessica Parker's nomination does raise sort of a potential snubbing of her husband, Matthew Broderick. It's a two person. It's not a two person show. There's more people in that cast, but they are the two leads of that. They're the faces on the poster. In any case, she got a nomination and he didn't. But I have heard that she's better in it. That's no shade to Matthew Broderick. I love Matthew Broderick. I wanna be a producer. So who do I think was snubbed from this category? I'm sure there were more names in my head. I mean, Harriet Walter was in the House of Bernarda Alba did not get a nomination for this one. None of the cast of Infinite Life, by the way, got nominations. That's rude. Maureen Lippman, for that solo show that I mentioned to you, Rose. I think she really deserved a nomination for that one. It was this powerful monologue performance. I just don't know if it was too long ago and it was forgotten. Kush Jumbo is another leading actress in a play opposite David Tennant's Macbeth, who we didn't see getting a nomination. But again, there were plenty of plays that I didn't get to see this year. Comment down below with who you were most surprised not to see getting a nomination. If we're talking about supporting performers in plays, again, actors and actresses, it was the lack of any of the female supporting cast of the Hills of California that really surprised me. I thought any or all of these could have had supporting nominations. There also could have been more from Dear England. We did get nominations for Will Close and Gina McKee from the show's original National Theatre run. But where was the nomination for Dara Hand? I also thought if there was going to be more love for Stranger Things, then Patrick Vale might get a nomination. Now, he is no stranger to getting snubbed from the Oliviers because inexplicably, he was not nominated for his mesmerizing performance as Jud Fry in Oklahoma last year. I. I'm still not over it and honestly I don't plan to be anytime soon, but the one that hurt me this year, and I will say, out of everything this was, I'm gonna say my biggest shock and my biggest outrage was that Tuppence Middleton was not nominated for Best Supporting Actress in a play for the Motive and the Q. I've spoken about her performance in my review video. If you haven't, you can go and watch that one where I talk about her being the catalyst of this entire play, her magnetic performance as Elizabeth Taylor. I thought she was wonderful. Devastated that she didn't get nominated in this category again. I would have had her winning this category. Now I am going to talk about creatives. I'm not going to go through every single creative category because we can talk about the shows that should have got nominations for their sound and should have got nominations for their lighting, but I'm just going to be listing the same things over and over. I will say generally that it's disappointing to only see one musical nominated for sound design against a bunch of different plays. And the set design category has become much more about video design than just about set design this year because three out of four of the set design nominees are co nominated with the video designers. I think Hadestown should have been in there for sound design. Guys and Dolls probably should have been in there for sound design. The fact that you can stand all around the performers in Guys and Dolls in this space, you can stand between them and the band and the sound is perfectly balanced everywhere. That's an achievement. I mean, come on now, who got lighting design nominations? Dear England, Stranger Things, Guys and Dolls, Sunset Boulevard. I think again, Hadestown really deserved a lighting design nomination. Set design. I was shocked not to see the Witches getting a set design nomination. If you saw that set, then my goodness. But literally, Stranger Things, Dear England and Sunset Boulevard all co nominated for set design and video design. It's only Bunny Christie's set design for Guys and Dolls. That is just a set. And not to sound like a broken record, but again, Hadestown ought to have had a nomination for set design and costume. I don't think they got costume either. Nope. Costume was Guys and Dolls, Le Cage, Peter Pan at the Palladium and the Picture of Dorian Gray, all of which, you know, I was pleased to see there. I was happy to see this not getting dominated by the big names, by the Stranger Thingses and by the Dear Englands. Would have been nice to see a Hadestown. Would have been nice to see a Crazy for you. But let's talk about theatre choreography. So we did get five nominees in this category. We got Arlene Phillips with James Cousins for Guys and Dolls at the Bridge. We got Ellen Kane and Hannes Langolf for Dear England at the National Theatre. Fabian Eloise for Sunset Boulevard. We got Susan Stroman for Crazy for your and Mark Smith for the Little Big Things. I celebrate the inclusion of all of those, and I wasn't particularly surprised. I did think that Stephen Meir was going to get a nomination for his choreography for Le Carge aux Folles at Region Park. That was the biggest snub there, I thought, looking through the rest of these lists of nominated musicals. If 42nd street was eligible for its choreography, which I assume it was, then that also feels like an egregious exclusion, especially when the amount of dance featured in the show is obviously so much more than the admittedly impressive movement in a play like Dear England. That did make the list. Oh, and Ain't Too Proud as well. Ain't Too Proud. Absolutely should have had a choreography nomination. And a strange loop, even. Also a strange loop. Should have taken set design while I'm at it. My goodness, that was a set design. And you know what costume. Now this, I feel, brings us to director. And this is, you know, it's a category of all male nominees, but it's also all heavyweight, prestigious, big British theatre names. Like, it wasn't even about a gender divide here. Like, nobody other than these heavyweights was breaking into this category. Because you had Sam Mendes for the Motive in the queue. Not nominated. Was Sam Mendes, also for the Hills of California, nominated for one of his shows and not for the other? I'm sure he'll get over it. There was Jamie Lloyd for Sunset Boulevard. There was Rupert Gold for Dear England, and there was Stephen Daltrey and Justin Martin for Stranger Things, the first Shadow. But a category that Nicholas Heitner can't get into with Guys and Dolls, that having been a big hit with multiple nominations, and he can't even break into this category. A category that Ivo Van Hove can't get into with A Little Life. That's a hard category. In a perfect World. They would have had more nominations. I don't know why they only had four when its Best Director and choreographer had five. Rachel Chavkin should have been in there for Hadestown. I thought. I would have liked to have seen Stephen Brackett in there for a Strange loop in all of these creative categories. Those of you who follow the Tony Awards may realize how shocking it is that the Oliviers combine plays and musicals into the same category. And I think that's most egregious with Best Director, because the idea of directing a musical and directing a play are two completely different ball games. They're two completely different disciplines. And we had not one director of a new musical in this category. The fact that Operation Mincemeat can be as nominated as it was, but its director wasn't, that's astonishing. Also, while I realize it, Mincemeat should have taken set design. Luke Shepard probably deserved a nomination for his direction of the Little Big Things, and perhaps Michael Longhurst for his direction of Next to Normal. Finally, there is only one category left that I want to talk to you about, and that is Best Musical Contribution or Outstanding Musical Contribution. Because this category has gone on a little bit of a journey. It's had various different names over the years. It was most recently Best Original Score or New Orchestrations. And now the composers, lyricists of the shows are nominated as part of the Best New Musical Nominations. Nominations. So the writers of Strange Luke, Michael R. Jackson of the Little Big Things, of Operation Mincemeat, of Next Normal, have all been nominated as part of the nomination of those shows for Best New Musical. And this category is just about the arrangers and orchestrators. So on that note, we had Guys and Dolls just for one day, Operation Mincemeat and Sunset Boulevard. The musical teams from those, in some instances, the musical supervisors, in others, the orchestrators, the musical directors, the arrangers. And it's great to see recognition for all of those roles, but it is a slightly muddled category. And if Alan Williams is nominated for musical supervision and musical direction for Sunset Boulevard, there ought to also be a nomination for Stephen Sondheim's Old Friends, which was every bit as glorious. That's probably the biggest snub here, thinking about it. But once again, Hadestown. I'm gonna keep talking about Hadestown. And while we're at it, crazy for you and the Little Big Things. But those have been, from my perspective, some of the most shocking omissions from this year's Olivier Awards. That's literally off the top of my head. And as I sit here. I'm not reading through some long list of all of the performances and all of the shows that we had this year. So if I have omitted anyone conspicuous, if I have snubbed anyone from my snubs video, please let me know by commenting down below. Thank you so much for watching this video. I hope that you have enjoyed and I hope that you are looking Forward to the 2024 Olivier Awards. They will be coming in April. There will be more coverage here and across all of my social media channels. Make sure to go and follow me on TikTok on Instagram. I am ickyjoetheater. Thank you so much for watching this video. I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Micky Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.