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Who was snubbed by the OLIVIER AWARDS? | Shows, actors and creatives who should have been nominated
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Mickey Jo
Who was snubbed? Who was snubbed? Who was snubbed? Who was snubbed? Who was snubbed when it came to the 2025 Laurence Olivier Award nominations. 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. And yes, we have some new lighting here today. For those of you watching right here on my theatre themed YouTube channel, for those of you listening on podcast platforms, it's. It's going to sound the same, I'll be honest. But fear not, because today we are having an important convers sensation in the wake of the recent very exciting 2025 Olivier Award nominations, which I predicted here on social media, which I reacted to here on social media and then subsequently commented on, talking about some of the biggest shocks and surprises. Today we are going to be talking about another important aspect of really any awards discourse. We're going to be talking about the snubs. And this is important not because we want to pile onto those individuals, shows and creatives who were not nominated for this year's Olivier Awards, which, if you don't know, annually recognise the best of West End and Lond theater, but because it's important to uplift and celebrate their work and to acknowledge that, you know, awards aren't everything and awards are also very finite. There is not enough space in every single category to acknowledge all of the brilliant creative work that happened on a London stage this year. So today we're going to be talking through what I think subjectively are some of the most egregious snubs for this year's Olivier Award nominations. But I expect you may have different opinions to me. So I would like you to comment in the comment section down below with the performers, the shows, the creatives that you were most disappointed not to see included in this year's list of Olivier Award nominations. Now, the ceremony itself will be taking place in early April. I will be attending once again with my stagey fiance, Aaron James. Stay tuned for the vlog. And between now and then, we will of course be sitting down together to predict who we think is going to win alongside who we think should win. Make sure you stay tuned for that very exciting video. Make sure you're subscribed right here on YouTube with the notifications on so you don't miss it when it gets posted. And make sure you're following me on podcast platforms if that is how you find me. In the meantime, let's talk about those snubs. Now. Last year, when I talked about this, I feel like I kind of just ended up listing every eligible individual in each category, every eligible show. And the connotation of a snub is that this is someone or something which was really worthy of recognition but did not receive it. But for a show or an actor to not get nominated and for me then to list like all but them in a particular category feels particularly harsh. So I'm going to try and limit myself by listing what I think is simply the one most surprising or most egregious snub in each category I'm going to go through. And in each category, I'm allowed to say the one nomination I think we ought to have seen if the category was that little bit wider. And can I just say while we're here and we're going to talk a little bit about the way the Olivier Awards work today, which is always slightly mystifying and slightly challenging, there isn't really a discernible reason why the categories can't be that one slot wider. The Tony Awards and the Watson Stage Awards and many other theatre awards manage to nominate more individuals per category than the Oliviers do. More shows per category, more creatives as well. But for now, at least, that is how it is. So let's talk through these categories and the nominations I was really surprised not to see. Beginning with a big hitter. Let's talk about Best New Musical. Now, the nominations that we did see here were for the Curious Case of Benjamin Button, for Natasha Pierre and the great Comet of 1812, for M.J. the Musical and for why Am I so Single. Nice to see a mixture of original British musicals and transfers. Nice to see a mixture between the more. More artistic and the more commercial. There are a handful of shows that I think were worthy of recognition here. I'm thinking about Kathy and Stella Solver, Murder. I'm thinking about Fangirls. But the one I was particularly surprised not to see, which just recently won the what's On Stage Award for Best New Musical, which is admittedly fan voted, but even so is Mean Girls, I think, and some friends who have seen many iterations of the show recently came over and concurred with this. That Mean Girls, the most recent version of the show, the show that opened in the West End, is the best and most well honed version that material. I think the cast is terrific. I think the production is pretty great over here. And, you know, I don't necessarily think that it's the best new musical of the year. I don't think that I would call it the winner of that category, but I'm surprised not to see it alongside the likes of mj, for example. I think if we can include some commercial nods. I was surprised not to see Mean Girls on the list. I was. Now, let's talk about the nominations for Best New Play. We saw nominations here for the fear of 13 at the Donmar Warehouse, for Shifters in the West End, for Kyoto at At Soho Place for the Years, and for Giant. All terrific plays. This is a really contentious category. I am shocked that we didn't see a nomination for Slave Play, Jeremy O. Harris's record Tony Award nominated play. That is to say that at the time, it set a new record for the most Tony Award nominations in the history of the Tony Awards for a play. You have to assume that they were anticipating a little bit of a stronger reaction than getting zero Olivier Awards. That was a really conspicuous snob over here. If we're talking about the productions that were snubbed the most overall in the world of plays, Slave Play has to be at the very top of that list. And I don't know that it was received in the same way here because of the differences in American and British sensibility. I really get why this play resonated in the US And I also understand why it didn't make the same impact here. There's a little bit of timing to it as well, but then something like Shifters, you know, a fondness for that endured, and that was on stage at a similar time last summer. For whatever reason, we did not see a nomination for Slave Play. Now, musical revivals, I think this is a pretty perfect category and they were all extraordinary productions. This was Fiddler on the Roof, the multi Olivier Award nominated production of Fiddler on the Roof at Regent's Park. Hello Dolly Oliver and Starlight Express. This is one of the hottest races of the year. I guess the closest to also sneaking into that category would have been Kiss Me Kate. But I understand why it didn't make it in alongside the others. If you want to understand why it didn't make it in, you can go and check out my review of the production from last year at the Barbican, where I share some thoughts on why it didn't really connect all the way to the great production that it ought to have been. Given the cast and given the creative team, it should have been better than it was. In the world of play revivals, we had Mackinaw, the Importance of Being Earnest, Oedipus and Waiting for Godot. And not that the Old Vic aren't presumably happy Enough with the nomination for Mackinac. But I think the real thing ought to have made it into this category as well. I thought that was a really interesting new production of the play, which has been an awards darling in the past when it was first produced. And not that I want to encourage this foolishness, but if we're going to nominate, as we have done in the past, productions that returned for the same production to the same theatre, starring the same leading performers, I'm talking about the Return of Jerusalem starring Mark Rylance at the Apollo Theater. If that can be eligible for best revival, then so could People, Places and Things. When it returned last summer to the Trafalgar Theatre in the West End. And that remains a really staggering and impactful piece of theatre that I still talk to people about, that I still think about often. So by the Olivier's own standard, we ought to have seen that there as well. But I'm never entirely clear on what the rule is in terms of what qualifies. Qualifies for a revival. My kingdom for more specific criteria. And while we're having that conversation, it seems like as good a time as any to dive into the ambiguous world of best entertainment or new comedy play. This category used to be about comedy. It was abused even then because there were plays that weren't comedies that ended up there for whatever reason. It is now a category for stuff that doesn't quite, you know, what stuff that could be called a play, stuff that could be called a musical. But they think that this is an easier race to win and they're correct. The likes of Titanique nominated in this category ought to be nominated as a musical because it's a musical. Ballet Shoes, meanwhile, is a play. There's nothing wrong with calling Ballet Shoes a play, but it's in this category. So is Inside Number nine, Stage Fright and Spirited Away. But no nomination this year, surprisingly for the Palladium pantomime. There's probably something else that's slipping my mind, but that feels like the biggest surprise in terms of stuff that we didn't see in this category, that we didn't see a nomination for their production of Robin Hood. I didn't see the Palladium Pantomime this year. I heard great things about it from friends of mine who are pantomime connoisseurs, I' know. But just like in costume design, you can usually anticipate seeing a nomination for that production in the world of best new entertainment or comedy play. Next up, the nomination for best set design. We saw recognition here for Ballet Shoes for Fiddler on the Roof, which was recognized in several categories as the most nominated show, in fact, jointly setting the record for the most Olivier nominations of all time, along with Hamilton making it also the most Olivier Award nominated revival of all time. But I'm getting ahead of myself. Like I said, Fiddler on the Roof, Ballet Shoes, Spirited Away at the London Coliseum and Coriolanus at the National Theatre. Now, there are a whole host of set designs that we could talk about here. I'm thinking about Jethro Compton's beautiful work, Jethro, who is the writer, director and also the set designer of the Curious Case of Benjamin Button. I'm thinking about multiple National Theatre productions. I'm thinking about Slave Play, I'm thinking about Kyoto. But the one I think we really have to talk about here is Starlight Express. And I'm going to mention this in a lot of creative categories. And it has a leg up, I think, over a lot of the others because of it, its requirements. It has to put in place a lot of stuff that these other shows don't have to think about. They don't have to think about the angles of ramps and the speed that that's going to imply. They don't have to have these kind of scientific conversations about the impact that that's going to have on performers on wheels, for crying out loud. I think it's a really stunning, visually striking set that does an awful lot of cool things, the way that it incorporates different audience seating elements. I mean, I think it's a hugely impressive creative undertaking and I'm really surprised not to see it nominated for its set design justice for Tim Hatley. Starlight Express was nominated, however, for the White Light Best Lighting Design award, alongside Oliver, alongside Fiddler on the Roof also, and alongside the lighting heavy production of Natasha Pierre and the great Comet of 1812. And I don't know that I feel as passionately about any particular snubs here. I think there's gorgeous lighting in Benjamin Button. I think there is gorgeous lighting in the likes of the Years and Spirited Away with all of its creative elements. I actually think Jamie Lloyd's Shakespearean productions of Romeo and Juliet and the Tempest perhaps ought to have been acknowledged for their lighting as well. You might be surprised to hear me saying that I was not a fan of either production, but that doesn't mean I can't acknowledge the creative work that went into them, particularly for Romeo and Juliet. You know, when you are capturing stuff on screen, when there's indoor outdoor elements, for whatever baffling reason and there's different times of day. There's a lot of considerations they had to have in terms of lighting. But then are we shifting from a conversation of like, best lighting design to the inherent, apparently most challenging lighting design? And honestly, I was really happy with the nominations that we did see in this category. Slave Play is another one with brilliantly atmospheric and purposeful lighting design. Necessarily harsh and then intimate, but with a sort of nefarious subtext, and warm when it needed to be as well, and romantic, but then a little twisted. That perhaps is the one that I think should have appeared in this category alongside all those musicals. And speaking of musicals, only one out of four nominations for best sound design went to a musical theater production, which, and I mean, this is really the category I find to be the most ludicrous. It's funny, though, isn't it? When you say sound design is going to incorporate plays and musicals alongside each other. You would assume that musicals would dominate the conversation because there's so much more that goes into it. Again, we're talking about inherently what is the most challenging sound design, but it's a completely different world when you're talking about these levels in live musical performances based on plays with largely spoken delivery. Something like Spirited Away is a little different to that, as was the Years, which also included a little bit of singing. And Oedipus, which included music in the sense of soundscapes for its modern dance elements. This was the production of Oedipus at the Old Vic, but wasn't balancing that with vocal levels like Fiddler on the Roof, which I appreciate being nominated here. It was outdoors. They're singing, for crying out loud. There's a Fiddler on the Roof. There's a lot going on. But the one I was shocked in real time not to see on this list was Starlight Express. Just like the lighting has hugely clever elements that allows it to follow the performers. They are doing crazy things at Starlight Express, using Bluetooth technology to communicate with the sound systems about the location of performers at any given time. So, I mean, the sound is fantastic. I went to. Not the first preview performance, the invited dress rehearsal prior to the first preview performance. The sound was already great then. The sound is never great at first previews, and that's for shows that are on a stage and people just sit in front of it. They are skating around different parts of the. The audience, they're on wheels and the sound was still great. I was astonished by the sound design in Starlight Express, and I think that's a really Egregious snob. Particularly if anyone's decided to play a drinking game and take a shot every time I say the word egregious or snub in this video, then I hope you enjoy the buzz that you should already be feeling right about now. Finally then, in the world of design elements, let's talk about costume design. There were nominations here for the productions of Fiddler on the Roof, for Tom Scott, Gabriella Slade for Starlight Express, for the annual London Palladium pantomime, Robin Hood, which, you know, has these audacious grand costumes and is very often seen in this category, as well as for the production of Spirited Away. Now, it's my contention, I think puppetry, especially in that production, ought to be included under costume design. I think the puppetry designers should go alongside that rather than alongside set design, especially where the puppets are are characters, especially when a lot of the puppetry is wearable elements. I think it more neatly sits alongside costume design. But that's just my opinion. Now, there are a lot of snubs, I think, here. I mean, there was gorgeous classic costuming in the revivals of hello Dolly and Kiss Me Kate Oliver was a really big shock to me that we didn't see that one. There is such beautiful, meaningful detail in the costuming there from Les Brotherstone. Also the National Theatre's production of the Importance of Being Earnest. I know I'm doing very well at just naming one in each category, aren't I? This is going great. The one that I'm going to settle on here, the Devil Wears Prada. A lot of people have said they didn't like the costumes in the Devil Was Prada. I loved the costumes in the Devil Wears Prada, a creative collaboration between Greg Barnes, who dressed the majority of the company, and Pablo Rowland, who designed Miranda Priestley's outfits specifically. I liked a lot of the costuming in the Devil Wears Prada. I thought it was very fashion forward. I thought it was visually striking. I thought thought they were characterful for the characters that we really got to know. I thought it played with some iconic looks from the film and it felt sort of contemporary, but also of the era and just enough like obnoxious high fashion. It was sleek, it was sexy. I liked those outfits. I liked those costumes. I think it's a shame not to see them nominated at the Olivier Awards, especially for a show that is so about its costumes. Let's talk next about performances in a play. So for Best actor in a play, we saw nominations for Billy Crudup and Papa Estyedoux. I was surprised to see nominations for both of those, but I was thrilled. They both gave fantastic performances also for Adrien Brody, for John Lithgow and Mark Strong for his performance in Oedipus. A couple of conspicuous omissions here. This is a really, a really competitive category. I think the most competitive acting category of the year is leading actor in a play. Almost all of these performances are worthy of recognition of actually winning the thing, let alone being nominated. But the fact that we didn't see Stephen Kunkan from Kyoto getting a nomination shocked me beyond anything else. On that day I thought he was a lock for a nomination. I thought he maybe even had the momentum to overtake the frontrunners John Lithgow and Adrien Brody in this category. And now I don't know what's going to happen because it blew my tiny mind. I was astonished that he didn't get a nomination. His performance in Kyoto is staggering. He carries the whole thing. You can go and check out my review of that to find out how brilliant he isn't it and what a great play it is as well. Better still, you can go and see it at Soho Place and find out for yourself. He is wonderful in that production. And speaking of that production, if we pivot slightly to best supporting actress in a play, I thought Jenna Organ was going to get a nomination. Deserved a nomination for her brilliant work in that play also. Now this category saw nominations for Sharon D. Clark, for Romla Garai, for Giant, also for Romola Garai for the years alongside one of her co stars, Gina McKee for the years. I was anticipating them doing a joint nomination for all five performers from the years, but they chose to pick out those two who I think have some of the best material and give provide some of the best moments amongst a really terrific company who work brilliantly together as an ensemble. I think it's a shame not to see all five of the performers from the years there, but it does sort of signify even more recognition for those two who did stand out work. But yeah, Jenna Organ is going to be my most conspicuous omission from this category. Those final moments of Kyoto really sold it to me in terms of her winning performance. I thought she was pretty great and deserved to be nominated. Let's head back towards leading in a slightly symmetrical way by talking next about supporting actors in a play. This is one of the categories I found the hardest to predict because I don't know how many impactful supporting actor in a play performances I've seen this year. I mentioned in another video that this really felt like a strong year for leading actors in a play and supporting actresses in a play. Make of that what you will. But we did see nominations for Jorge Bosch from Kyoto, the only company member from Kyoto to be nominated. Also for Tom Edden for Waiting for Godot, Elliot Levy for Giant, and Ben Whishaw for Blewitz. Now the nomination I really wanted to see. Fisio Akiard for Slave Play. I think he does staggering, passionate, emotive work. Did staggering, passionate, emotive work in that production last year and has been doing great stage work and deserves the recognition of an Olivier Award nomination nomination. Deeply sad not to see that happening for this production. Among it being completely overlooked. And that is also where we will find, I think, the most snubbed leading actress in a play. This category did see nominations for two different leads from Oedipus. Leslie Manville and Indira Varma, both nominated for playing the role of Jocasta in two different productions of Oedipus. Nominated here alongside Rosie Sheehy for Mackinaw, Mira Sayal for A Tupperware of Ashes, and Heather Agiapong for Shifters. But no nomination for Olivia Washington, who, based on the Tony Awards interpretation of the various different roles in Slave Play, would have been designated the production's leading actress and gave, I think, a really blistering, brilliant performance. Sadly not recognized here. Now, before we move on to the world of musical performances, there are a few more creative categories we have to talk about, including Best Director, the Sir Peter Hall Award for Best Director. Only four nominees this year. They were Eline Arbo for the Years, Robert Icke for Oedipus, Nicholas Heitner for Giant, and Jordan Fine for Fiddler on the Roof, the solo director of a musical to be nominated in this category alongside directors of plays. For the sake of a little bit more balance, I would have liked to have seen a nomination for Sir Matthew Bourne. He is nominated for his choreography for Oliver. I think his direction of this production is significantly stronger than his choreography of this production, interestingly enough. But right up there alongside this was a really difficult decision was the directing team for Kyoto, comprised of Stephen Daldrey and Justin Martin. If you've seen that play, then you know exactly what I'm talking about when I say that. The way that it's brought to the stage, the way it's so ingeniously staged, the way that the tension flows, the way that we are invited into it, the way that it all works, but it oughtn't. I think it's really masterful work, especially when it comes to the direction. So they're both snubs as far as I'm concerned. I mentioned best choreographer. Let's talk about that next. As I already said, Samantha, Matthew Bourne for Oliver alongside Hoffesh Schechter for the aforementioned contemporary dance Elements of Oedipus at the Old Vic. There was also Julia Chang for Fiddler on the Roof and Christopher Wheeldon for MJ the Musical. None of these nominations a surprise. There are a lot of great choreography nominations that we could talk about here. Kiss Me Kate had a particularly show stopping opening to its second act, but I think Ellen Kane is going to be my pick. Akir twice snubbed both for her work in Ballet Shoes, which I didn't see, but a lot of people have been talking about how beautiful the dance moments in that were and how they ought to have been nominated, but also for why Am I so Single, which I think is strikingly contemporary, modern, edgy, fun, camp, vibrant, characterful and witty choreography, which are some of my favourite adjectives to associate with dance because you had these performers tumbling onto the stage stage to play furniture. You had contemporary tap. Contemporary tap imitating the sounds of text, tapping noises on a smartphone and like deleting messages that you're sending to someone who you're dating and like you're feeling complicated about it. So witty, so brilliant, so smart and just fun, fun to watch. Dynamic, high energy, exciting choreography. I think Ellen Kane is one of the most exciting choreographers working at the moment and ought to have been nominated in this category. I feel very strongly about that. Finally then, the always slightly confusing Best Musical contribution, which I will remind you, as I've said several times before, is not recognition for the writers of the scores of musicals. They are recognized within the award for Best New musical, which is designated to award material and not the production that now goes to the writers and not to the producers. That at least is what I have been told by the Olivier Awards when I was a co signatory of an open letter politely requesting that they change it. Outstanding Musical Contribution, meanwhile, recognizes other creatives working on the music team. Arrangers, orchestrators, musical directors. The nominations here were for the teams working on Fiddler on the Roof, the Curious Case of Benjamin Button, Natasha Pierre and the Great Comet of 1812 and Ballet Shoes at the National Theatre. Three out of four musicals, which I can. I Can Sleep at Night with that ratio. And not that there isn't beautiful work musically that goes into plays, but obviously it's not entirely comparable with the work that goes into musicals. And lots of surprises here because I thought there would be more of a leaning towards the prestige revivals, the likes of Oliver and hello Dolly. But I also thought that MJ very possibly would see a nomination here. This is another one where I'm pretty happy with the category as it is, and I think the right people did get recognized. Perhaps the biggest snub might be for the MJ team musically and realizing those iconic songs on the stage in a dramatic context. I'm not the biggest fan of that show. You can go and check out that review and find out a little bit more about why from way back in last March. But I do think a lot of great work has been done to stage it and especially on the musical side of things. And I believe, thinking through all the categories, I think that brings us to our final four, which are the categories designated to nominate actors in musicals. Let's begin with Best Leading Actress in a musical. The nominees are Kamisa Dawnford May for Natasha Pierre and the Great Comet of 1812, Imelda Staunton for hello Dolly, Lauren Drew for Titanique, Claire Foster for the Curious Case of Benjamin Button, and Lara Pulver for Fiddler on the Roof. No nominations for the two female leads from the Devil Wears Prada, Georgie Buckland or Vanessa Williams. Similarly, no nominations for the two female leads of Mean Girls, West End, Charlie Byrne or Georgina Castle. All of these, I think, were snubs, but the one I think was perhaps the most deserved. The biggest surprise. Nothing for Stephanie J. Block in Kiss Me Kate, who I think carried that production with a sophisticated and nuanced performance. I wasn't the biggest fan of the show. I don't think she put a single toe wrong. I thought she was divine in that and definitely should have received a nomination. What are we even doing if Stephanie J. Block can give that performance on London stage, be eligible for an Olivier Award nomination and not receive one? That is not how we're going to entice her to return to our country and perform once again on the London stage, which is something I would like to happen very much. We have done you wrong, Stephanie J. Block, and I apologize on behalf of the nation. I suppose there's a little bit of a surprise here because Jamie Moscato is nominated as a leading actor for his performance of what some people, myself included, think might really be a supporting role in Natasha Pierre and the great comedy of 1812. But he's an Olivier Award nominee now for the first time in any case, and I'm very, very happy for him. There were also nominations in a category with five nominations. Finally, thank goodness for Adam Danheiser for Fiddler on the Roof, for Simon Lipkin, for Oliver, for Tony Award winner Miles Frost, for MJ the Musical and for John Derek Leish playing Benjamin Button in the Curious Case of Benjamin Button. And there are a couple more who could have made it into this category. I thought Andy Nyman, interestingly enough, was going to be in this category for his performance in hello Dolly. I really would have loved to see Jeevan Brach here. I think that is a conspicuous snub because he has been winning multiple awards this season. Now, the Watson Stage Award was fan voted and the stage Debut award was about him in the context of a debut performance, which is slightly different criteria. But I do think there has to be something said for acting, singing and dancing and doing it on wheels, for crying out loud. I've said it before, I'll say it again. Also, Declan Bennett for Natasha Pierre and the Great Comet of 1812 surprised to see three of his co stars nominated. And for him not to be, but the one I'm going to say settle on the actor who really, really, really should have been Olivier Award nominated for his performance, Giles Torreira in Passing Strange at the Young Vic. It didn't make as much of a splash over here as it had done previously in New York, but if anyone saw that production, you witnessed the way that he galvanized and incited that audience at the end of the first act. I thought it was a really layered performance that gained such considerable momentum throughout. It was, as we've come to expect from him, a really smart and nuanced acting performance. I thought he was staggeringly good in it as he so often is on stage. Now our supporting actress and musical nominees this year were the wonderfully talented, all of them. Beverly Klein, liv Andrusier, Amy DiBartolomeo and Maimouna Memon Maimouna nominated for Natasha Pierre in the Great ComEd of 1812, Amy for the Devil Wears Prada and Liv and Beverly both for Fiddler on the Roof. And I think there are nominations here that we could have seen for Al Nott playing Greaseball in Starlight Express guess for I mean multiple cast members from Mean Girls. But I think Grace Mowat as Karen might have the showiest part, especially in this production. Jenna Russell in hello Dolly I thought was a real surprise to not see her nominated. But the one I'm going to call the biggest snub, Shanae Holmes for Nancy in Oliver. I think she does really Moving work in this production. I thought in general, Oliver was going to get many more nominations than it did. I think it really lost out to Fiddler in that regard. I was very surprised not to see Shanae Holmes becoming an Olivier Award nominee with this production. And in supporting actor in a musical, then if anyone checked in with my Olivier Award nominations predictions, I got this one very wrong. I think the only nomination I accurately predicted was Tom Zander for Mean Girls. He was nominated alongside the fierce and show stopping Leighton Williams in Titanique, Andy Nyman for hello Dolly, who ended up in supporting rather than leading, and Raphael Papo for Fiddler on the Roof, who in fact played the fiddler on the roof. And trying to restrict myself to one, I think the nomination because of the way that things fell in terms of categories and Andy Nyman ending up here rather than in leading the nomination, I was most disappointed and surprised not to see was Harry Heppel for hello Dolly. Again, I was not totally convinced by the production. I still thought it was really quite brilliant in many ways and I thought he was hugely charming. One of my favorite performances performances in that show. I was saddened not to see him getting a nomination for Best Supporting Actor in a musical. If I sit here and think about it, there are probably many more that I could bring to mind. One other little footnote, while we're talking about musical performances and in fact in plays, also snubbed were non binary performers who still can't be recognized within these specifically gendered acting categories. That is an ongoing disappointment. And at the forefront of my mind was the brilliant and witty and charming performance of Joe Foster in why Am I so Single? And while we're at it, let's talk about wigs, hair and makeup, who continue to be snubbed with no recognition whatsoever from the Olivier Awards, other awarding bodies have since introduced a category for wigs, hair and makeup. And it was correctly pointed out that when the nominations were announced and you had Nicole Scherzinger and Tom Francis, last year's winner for Best Leading Actress and Actor in a musical respectively, just off stage in Sunset Boulevard in New York York, wearing their costumes, covered in blood, that that was kind of a slap in the face to the wigs, hair and makeup team who had helped get them ready, whose work was being acknowledged in that moment but wasn't going to be acknowledged within the awards nominations. Why are they not there alongside their peers in different departments, with more and more use of screens on stage and projections incorporated into design elements? It also feels, while we're at it, like video design, especially as we talk about Sunset Boulevard ought to be a category in the Oliviers as well, but we could have this conversation for quite a long time. In the meantime, those are, I think the biggest snubs from this year's Oliviers, but as I mentioned before, those are just my opinions. I would love to know what yours are. Comment down below with the actors, the creatives, the productions you think were most disappointingly overlooked last week when the Olivier Award nominations were announced. Thank you for listening to this one. Make sure to stay tuned for my predictions to find out who I and my stagey fiance Aaron James think will win on the the Night in April and also who should win. If you want a little bit of an inkling as to what I think is going to happen, I have already published some thoughts about some of the categories, not all of them in londontheatre.co.uk, you can go and check that out. But in the meantime, make sure you are subscribed right here on YouTube with notifications turned on or following me on podcast platforms so you don't miss any upcoming content, including Olivier's coverage. I hope that everyone is staying safe and that you have a Stay stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a Stagey Day. Subscribe.