Who will win at the Olivier Awards? | Predicting the 2024 West End theatre awards ft Aeron James ​

Summary

Podcast Summary: "Who will win at the Olivier Awards? | Predicting the 2024 West End Theatre Awards ft Aeron James"

Release Date: April 13, 2024

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Introduction

In the latest episode of MickeyJoTheatre, host Mickey-Jo and co-host Erin James dive into the upcoming 2024 Olivier Awards, analyzing and predicting potential winners across various categories. With a lively and engaging conversation, they explore the strengths and contenders of the year's West End productions, offering insights into the competitive landscape of British theatre.

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Best Actor in a Musical

The episode kicks off with a discussion on the Best Actor in a Musical category. The nominees include:

• David Cumming for Operation Mincemeat
• Tom Francis for Sunset Boulevard
• Daniel Mays for Guys and Dolls
• Charlie Stemp for Crazy For You

Mickey Jo highlights the depth of talent this year, stating, “If there's someone who's really stood out, it has to be Charlie Stemp” (03:03). Both hosts agree that Charlie Stemp is a frontrunner, given his impressive performances in previous productions like Mary Poppins and his current role in Crazy For You. However, Mickey Jo remains open to potential upsets, suggesting Tom Francis as a possible dark horse due to his standout moments in Sunset Boulevard.

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Best Leading Actress in a Musical

Moving to the Best Leading Actress in a Musical category, the nominees are:

• Natasha Hodgson for Operation Mincemeat
• Casey Levy for Next to Normal
• Nicole Scherzinger for Sunset Boulevard
• Marisha Wallace for Guys and Dolls

Erin James confidently predicts, “Nicole Scherzinger’s performance is phenomenal,” attributing her likely win to the show’s widespread acclaim (05:01). Mickey Jo concurs, emphasizing Nicole’s versatility and stage presence. The conversation touches on the possibility of a split vote, with Marisha Wallace and Casey Levy also receiving strong consideration for their nuanced performances.

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Best New Entertainment or Comedy Play

The hosts tackle the Best New Entertainment or Comedy Play category, featuring:

• Accidental Death of an Anarchist
• Stephen Sondheim's Old Friends
• Stranger Things, the First Shadow
• Vardy vs. Rooney for Wake Up: for Christie Trial

Mickey Jo leans towards Stranger Things, the First Shadow, citing its spectacular stage execution as a key factor (07:01). Erin James agrees, noting the show's ability to captivate audiences with its technical prowess and storytelling.

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Best Theatre Choreographer

In the Best Theatre Choreographer category, nominees include:

• Fabien Alouise for Sunset Boulevard
• Ellen Kane and Hannes Langolf for Dear England
• Arlene Phillips with James Cousins for Guys and Dolls
• Mark Smith for The Little Big Things
• Susan Stroman for Crazy For You

Arlene Phillips emerges as a favorite due to her innovative choreography in the immersive production of Guys and Dolls (08:20). Both hosts appreciate the creativity and inclusivity in her work, though Susan Stroman's contributions in Crazy For You are also recognized.

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Mithridate Award for Best Costume Design

The Mithridate Award for Best Costume Design features:

• Bunny Christie for Guys and Dolls
• Deborah Andrews for Guys and Dolls
• Ryan Dawson Late for Le Cage aux Folk at Reading's Park
• Hugh Durant for Peter Pan at the London Palladium
• Marg Horwell for The Picture of Doreen Gray at Theodore Haymarket

Mickey Jo and Erin James both predict Guys and Dolls will dominate this category, appreciating its stunning and innovative costume designs that align with the show's modern aesthetic (10:33).

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Best Lighting Design

The nominations for Best Lighting Design include:

• John Clarke for Dear England
• John Clarke for Stranger Things, the First Shadow
• Paulie Constable for Guys and Dolls
• Jack Knowles for Sunset Boulevard

Both hosts agree that Jack Knowles' lighting design for Sunset Boulevard is a standout, enhancing the show's minimalistic set and dramatic moments (29:16).

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Best Supporting Roles

Best Actor in a Supporting Role in a Musical

The contenders are:

• Jack Malone for Operation Mincemeat
• Cedric Neal for Guys and Dolls
• David Thian for Sunset Boulevard
• Jack Wolfe for Next to Normal

Mickey Jo and Erin James shortlist Jack Malone and Jack Wolfe as the leading candidates, with Malone's performance in Operation Mincemeat being particularly impactful (22:03).

Best Actress in a Supporting Role in a Play

Nominees include:

• Laura Donnelly for The Hills of California
• Sofia Okonedo for Medea
• Sarah Jessica Parker for Plaza Suite
• Sheridan Smith for Shirley Valentine
• Sarah Snook for The Picture of Dorian Gray

The discussion leans towards Laura Donnelly for her compelling portrayal in The Hills of California, though Sarah Snook and Sheridan Smith are also highly praised for their demanding roles (37:35).

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Best Director

The Best Director nominees are:

• Stephen Daldry and Justin Martin for Stranger Things, the First Shadow
• Rupert Gold for Dear England
• Jamie Lloyd for Sunset Boulevard
• Sam Mendes for The Motive and The Cue

Mickey Jo and Erin James predict Jamie Lloyd will secure the win, highlighting his visionary direction in Sunset Boulevard (34:27).

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MasterCard Award for Best New Musical

The nominees for Best New Musical are:

• The Little Big Things by Nick Butcher, Tom Ling, and Joe White
• Next to Normal by Tom Kitt and Brian Yorkey
• Operation Mincemeat by David Cumming, Felix Hargan, Natasha Hodgson, and Zoe Roberts
• A Strange Loop by Michael R. Jackson

Erin James advocates for A Strange Loop due to its groundbreaking narrative and composition, while Mickey Jo favors Operation Mincemeat for its sustained momentum and widespread acclaim (43:33). Despite their differing opinions, both acknowledge the significant contributions of each musical to the theatre landscape.

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Best New Play (Londoner Award)

The Best New Play contenders are:

• Dear England by James Grant
• The Hills of California by Jez Butterworth
• The Motive and The Cue by Jack Thorne
• Till the Stars Come Down by Beth Steele

Mickey Jo and Erin James unanimously predict Dear England will win, recognizing its innovative approach and ability to attract a diverse audience base by bridging football fandom with theatre enthusiasts (40:20).

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Conclusion and Final Predictions

As the episode wraps up, Mickey Jo and Erin James reflect on their predictions, noting areas of agreement and disagreement. They emphasize the unpredictability of the awards and encourage listeners to share their own predictions in the comments. The hosts also tease an upcoming Olivier Awards recap video, promising detailed coverage and personal insights from the ceremony.

Mickey Jo concludes with enthusiasm, “Make sure you're subscribed for this post Olivier Awards recap video because there are scores to settle here” (40:37).

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Notable Quotes

• Mickey Jo: “If there's someone who's really stood out, it has to be Charlie Stemp.” (03:03)
• Erin James: “Nicole Scherzinger’s performance is phenomenal.” (05:01)
• Mickey Jo: “Guys and Dolls is the closest this category has to a juggernaut.” (10:54)
• Erin James: “The star of that production was the lighting design.” (29:43)
• Mickey Jo: “Make sure you're subscribed for this post Olivier Awards recap video because there are scores to settle here.” (40:37)

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Final Thoughts

This episode of MickeyJoTheatre offers an in-depth analysis of the 2024 Olivier Awards, showcasing the hosts' expertise and passion for theatre. Their engaging dialogue provides listeners with a comprehensive overview of the contenders, enriched by thoughtful predictions and critical insights. Whether you’re a seasoned theatre enthusiast or new to the West End scene, this episode delivers valuable content and a vibrant discussion on one of theatre’s most prestigious award ceremonies.

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Time Stamps Reference:

• 03:03
• 05:01
• 07:01
• 08:20
• 10:33
• 22:03
• 29:16
• 34:27
• 37:35
• 40:20
• 40:37

Note: Time stamps correspond to the transcript sections.

Transcript

[Micky Jo]

Oh, my God. Hey. Hello. Welcome back to my theatre themed YouTube channel. My name is Micky Jo. And I'm Erin James, my stagey fiancee. Yay. Yay. Still with the creaky chair. I can't.

[Erin James]

How does that happen so quickly?

[Micky Jo]

I don't. All I do is sit on it and talk about musicals.

[Erin James]

It's not under strain, but you like to spin around.

[Micky Jo]

Only sometimes. We are here to talk about the upcoming 2024 Olivier Awards, celebrating the best of the last year of West End theatre. Yeah, right. Or at least the shows that they've decided to nominate.

[Erin James]

Well, the ones that are in the running to win.

[Micky Jo]

It's a matter of opinion. And that's exactly why we're here today, because we are going to each predict who we think is going to win most of the categories at the Olivier Awards.

[Erin James]

And we're doing it slightly different than last time, where before we've done like a who should and who will. This time we're kind of just gonna do like a will. But we might mention if there's somebody.

[Micky Jo]

We'Ll talk through the categories. But like, should is a hard thing to say this year with certainty, because there's so much talent and it's a hell of a year.

[Erin James]

So many shows and so many new musicals from Britain and from America. Often we don't get to see so many kind of big UK shows compete that originated here in the musical categories.

[Micky Jo]

All you need to do is look at the shows, the individuals, the creatives who were snubbed and shut out of nominations in many categories to see what an incredibly rich and competitive year it was. And if you'd like to know more about those, you can go and watch a video I made here a little while ago about all of the performers and shows and creatives who were snubbed at the Oliviers this year. But today we're going to predict some winners because the Olivier Awards are nearly upon us. I have no idea when you're watching this video because I don't know when I'm posting this video, but they're happening on Sunday, this weekend. Yeah. And by the time they're happening, we will be there and I will hopefully fit into the suits that I plan to wear. Now, if you enjoy today's video, make sure to subscribe to my channel. We gonna post another video. Post Olivier Awards to talk through and we'll find out which of us won, basically by guessing more correct things. Do you remember, I think I won by one point last time?

[Erin James]

You won by one point.

[Micky Jo]

So I am the reigning champion. And also we are joined today, we're very lucky to be joined by some of this year's nominees and previous winners. How lucky we are. So, Erin James, do you want to tell us what the first category is going to be?

[Erin James]

So the first category is going to be Best Actor in a Musical. So it's between David Cumming for Operation Mincemeat, Tom Francis for Sunset Boulevard, Daniel Mays for Guys and Dolls, and Charlie Stemp for Crazy for your.

[Micky Jo]

This is a very challenging category already. And I've been saying for a while this is the category of the year because not every year do I say this, but men really pulled it out of the bag this year. Like good job men. Men. Men really did the thing.

[Erin James]

But then, even then you were saying that for also people that then didn't get nominations.

[Micky Jo]

Oh, yeah. Oh, yeah. I mean, we can talk about Kyla, Lamar Freeman, we can talk about Gabriel Vick. To my mind, there is a clear winner who will and should win.

[Erin James]

Yep, I feel the same.

[Micky Jo]

Okay. Three, two, one. Charlie Stamp. It's Charlie Stamp. It's Charlie Stemp's year, everybody.

[Erin James]

I mean, when you look back at the performances he's been nominated for and you kind of say, what more can does he have to do to win?

[Micky Jo]

Yeah, you had that. So he was nominated for the first time for half a sixpence, which was this whole like a star is born catapulting him to the spotlight basically. And then he was nominated again for Mary Poppins, which was like, oh my gosh, the things he does on that stage. So much talent. And now with Crazy for your, it's like the culmination of both of those things together. It's this really star making role that solidifies him as this like really fantastic West End star that shows an abundance of talent on stage and showcases all the things that he can do really well. The dancing, the comedy, the charisma, all of it. It has to be Charlie Stamp. If there is likely to be an upset. Who is it and why is it Tom Francis for Sunset Boulevard?

[Erin James]

Yeah, I think he had that moment that everybody talks about. I mean, when you look at awards, sometimes you think there's the moment that everybody talks about. And with him performing Sunset Boulevard Outside and Round was like one of the big moments of the year.

[Micky Jo]

Walking around that theater singing that song.

[Erin James]

And sometimes people love to give a sweep across the board for a show.

[Micky Jo]

This is the thing is like we can predict in each individual category, but Sunset Boulevard could just pull a cabaret and take every single Acting category. So our next category is Best Leading Actress in a Musical. It doesn't say leading, but I've changed the name of the category because I just have. We have Natasha Hodgson for Operation Mincemeat, Casey Levy for Next to Normal, Nicole Scherzinger for Sunset Boulevard, and Marisha Wallace for Guys and Dolls.

[Erin James]

I mean, I feel like it's Nicole Schertzinger's to lose. I think pre her performance, it was a lot more up in the air. And then the second that that show opened and everybody was wowed by what she did, it just feels like.

[Micky Jo]

It feels like it's full on Conclusion. If we're talking about Sunset possibly sweeping all the acting categories it's given, Nicole definitely is definitely gonna win.

[Erin James]

And now with Broadway announced like that she's going there and I think she was nominated before for Cats. So we know that the. We know that the Olivier Awards really like Nicole. So it kind of feels like this is the. This is the bestowing of. You are a phenomenal theatre performer.

[Micky Jo]

Yeah. What's interesting, and this is a little off topic, but they recently announced which shows are going to be performing at the ceremony and it's all of the new musicals and. And three out of four of the revivals because allegedly Sunset Boulevard is not confirmed to be performing. Surely Nicole is going to do one of those big songs, but apparently not. And like, they had her chatting at the big night of musicals on tv, but she didn't perform there either.

[Erin James]

It's interesting that so far she's never publicly performed any of her songs outside of a show.

[Micky Jo]

Maybe they're saving it for the Tonys.

[Erin James]

If it went to somebody else, it would be Marisha.

[Micky Jo]

I think it would. I think Marisha is the most likely runner up. But if we want to have a conversation about who else is worthy of it alongside Nicole, I think while, you know, she blew me away, Casey Levy broke my heart in different ways. And, you know, it's very inverse performances because for all of the grandeur and the stratospheric power that Nicole had, Katie does something very different with nuance and with subtlety.

[Erin James]

And Natasha Hodgson.

[Micky Jo]

How fun would Natasha Hodgson upset B. That would be great.

[Erin James]

If everybody kind of split the votes. Who knows? It could go to Mincemeat.

[Micky Jo]

Anything could happen.

[Erin James]

And the next category is for best new entertainment or comedy play.

[Micky Jo]

Ooh, what a weird category this is. Talk us through the incredibly disparate nominees.

[Erin James]

Accidental Death of an Anarchist. We have Stephen Sondheim's Old Friends, A Musical Review. We have Stranger Things, the First Shadow, a play. And we have Vardy versus Rooney for Wake up for Christie Trial.

[Micky Jo]

The Ghost of Sondheim could upset this one, but I feel like it's gonna be Stranger Things.

[Erin James]

I think Stranger Things has been put there for the award and I feel like people have been won over by the spectacle and what they've managed to do on stage. I think New York probably has more of an affinity to giving an award for a Sondheim show because of his passing more than the UK does. When we look at, like, past ones, like my neighbour Totoro last year, it kind of. I feel like the Spectacle sometimes wins in these categories.

[Micky Jo]

Yeah. I mean, it's interesting to consider. It's such a weird category.

[Erin James]

They're not. You're not comparing similar things.

[Micky Jo]

No. You don't know what they're going on. How do you weigh Stephen Sondheim's old friends against Stranger Things? The First Shadow, it's this wild category and I do think there is still the chance that old friends could take it, but Stranger Things feels like the front runner.

[Erin James]

Yeah.

[Micky Jo]

So thus far, we are entirely in agreement.

[Erin James]

Literally.

[Micky Jo]

How incredibly unexciting.

[Erin James]

I know.

[Micky Jo]

Which category is next? Oh, next we have the Gillian Lynn Award for Best Theatre Choreographer. And the nominees are Fabien Alouise for Sunset Boulevard, Ellen Kane and Hannes Langolf for Dear England, Arlene Phillips with James Cousins for Guys and Dolls, Mark Smith for the Little Big Things, and Susan Stroman for Crazy for your. Oh, I have to think about this one a little bit.

[Erin James]

So my instant reaction when this was first announced was that it would be Arlene, the choreography being part of this immersive production and how they managed to do so much choreo when there are so many humans that are not performers in that space.

[Micky Jo]

I think I'm leaning Arlene, just because, though Sunset, I think, will have a very strong night. And I think Fabian's work was wonderful in Sunset Boulevard, the choreography was very much not at the forefront of that show and of that show's, like, narrative and its reputation. Interesting that we're not saying Susan Stromany for some of the best dance. Is it just because it wasn't all new choreography? Is that why we're being perhaps a little too readily dismissive, maybe?

[Erin James]

Yeah.

[Micky Jo]

Like the dancing Crazy for you brought euphoric joy. And that's, you know, when you're watching something that has that effect.

[Erin James]

The more I think about the Little Big Things now, not only does the choreography include bsl, but how it also is somebody Choreographing for wheelchair using performers as well as a range of disabilities and able bodied performers. I think sometimes when talking about choreography, sometimes it's not the most amount of choreography, but the fact that they made it so it's possible for people to do.

[Micky Jo]

Do you know what? You're so right. Because when I talk about like who I think deserves, and I'll say this later, for like Best New Musical and Best New Player, I always talk about who's pushing the medium forwards. And much as I loved Crazy for your, it's doing classic beautifully, but little big things in terms of the innovation, in terms of this sort of contemporary sensibility. I think you're very right. That's a very good point. But I don't know that it will.

[Erin James]

Win in the same sense. Arlene doing that amount of choreo in an immersive space. Yeah, we haven't really seen like even with the Bridge, they've never done this much choreo that close to public. It's true audience members and it's the.

[Micky Jo]

Number of times I have nearly been kicked in the face. But not. Final answer. Who do you predict will win on the night? Three, two, one.

[Erin James]

Guys and Dolls.

[Micky Jo]

There we go. We are still in agreement. This is why we're close.

[Erin James]

The Mithridate Award for best costume design.

[Micky Jo]

Is that new this year?

[Erin James]

I know. I've never noticed it being called that before Mithridate. So the nominations are for Bunny Christie and Deborah Andrews for Guys and Dolls of the Bridge, Ryan Dawson late for Le Cage aux Folk at Reading's Park, Hugh Durant for Peter Pan at the London Palladium, and Marg Horwell for the Picture of Doreen Gray at Theodore Haymarket.

[Micky Jo]

Do you know, I'm not really. And they're all beautiful, beautiful work. In all of the above. I don't know that I'm particular. This is one where I think just like a very worthy nominee will win because I think Guys and Dolls is the closest this category has to a juggernaut.

[Erin James]

I feel like drag costumes. And thinking back to Le Cage, I wonder if that was something that stuck with people the most.

[Micky Jo]

I don't know. Because I think what Le Cage did, Peter Pan did on a grander, more theatrical level. But I think people expect that from the Palladium Panto at this point.

[Erin James]

So I think it's had those nominations year after year now. It kind of feels a given that the Palladium Panto would get a nomination. Maybe not.

[Micky Jo]

Yeah. But I don't know that Lecage did anything in their drag costuming that Palladium panto wasn't doing 300%.

[Erin James]

Yeah.

[Micky Jo]

I do also really enjoy the costume design in Dorian Gray. I wonder if my perspective on that is being affected at all by how many of the costumes you only see in pre recorded footage.

[Erin James]

How much is worn on stage compared to how much is shown.

[Micky Jo]

Yeah. But then, like, the same work is still.

[Erin James]

It's still all part of that production.

[Micky Jo]

It's just. It's interesting how it's changing my mindset.

[Erin James]

I think it's interesting because when I think about Guys and Dolls in some elements, I'm like, oh, it all feels very typical of Guys and Dolls and past productions and movement. But then I think of the hotbox costumes and then I think actually, like.

[Micky Jo]

It was really cool and lovely gangster tailoring throughout.

[Erin James]

Yeah. So it's kind of one where I'm like, even though it's new costuming for guys and girls, it doesn't feel that far away from the world.

[Micky Jo]

Well, it also. This is Guys and Dolls taken in new aesthetic directions and the costuming had to reflect that. When you think of like the Havana Hot pants in the Havana gay Bar.

[Erin James]

Yeah.

[Micky Jo]

Hello. That's an Olivier Award right there. Three, two, one. Guys and Dolls still in agreement.

[Erin James]

See, I nearly went for lacage, but you kind of swayed me there.

[Micky Jo]

If I was going to deviate, I think it might be to Dorian Gray. I don't know if Peter Pan and La Cage are cancelling each other out. If I'm going in as a voter, I. I'm weighing those two around and around and they're kind of locked in this eternal spin cycle. And I'm going to end up going in one of the other two directions. That's just me. So the next category is the Cunard Best Revival of a play. It means of a play. But the Oliviers don't want to say that for baffling reasons. We have the Effect by Lucy Preble at the National Theatre. Macbeth by William Shakespeare at the Donmar Warehouse. Shirley Valentine by Willy Russell at the Duke of York's Theatre. And Vanya by Anton Chekhov adapted by Simon Stephens at the Duke of York's Theatre. So, full disclosure, we only saw one of these.

[Erin James]

Yes.

[Micky Jo]

Through only fault of our own. Like, there was no good reason we didn't see Vanya.

[Erin James]

I think this was a big issue with some of these is that we just weren't here when they opened or we were elsewhere at the time.

[Micky Jo]

Yeah. So we saw Shirley Valentine. That's the one that we did see. But then it's difficult because Sheridan Smith is also nominated for her fantastic performance in Shirley Valentine. And it's kind of. That is the show. I mean, you could say the same for Andrew Scott in Vanya, I suppose. So does that sort of minimize the two? It's interesting because I don't think any in this category got sensational reviews. Perhaps it was just a quieter year for play revivals. Almost all of these got mixed with critical response.

[Erin James]

I mean, I think a difference between Vanya and Shirley Valentine is Shirley Valentine stayed quite close to. Like it didn't in a necessary.

[Micky Jo]

That's what Shirley Valentine has always been.

[Erin James]

Whereas Vanya was a one person. Was Andrew Scott doing everybody in Vanya?

[Micky Jo]

I always think this is not best production. That happens to be a revival. This is best revival. So who revived the text and did something new with it? The best. So to that extent, though, I didn't see it. I think Vanya should win.

[Erin James]

And I think it's one of the shows of the year that I've heard mentioned the most.

[Micky Jo]

Doesn't mean I necessarily think it will. Although it got that National Theatre Live screening, so more people got the chance to see it. And Macbeth was at the Donmar, so.

[Erin James]

The effect went to America. But then I don't know if that was made that clear here, that it had that success to go off Broadway. Don't know.

[Micky Jo]

Well, I think we've talked each other into coming to the same conclusion again, but on three. One, two, three. Vanya. I think it's gonna be Vanya.

[Erin James]

So best musical Revival. Ooh, it is between Groundhog Day, Guys and Dolls, Hadestown and Sunset Boulevard.

[Micky Jo]

We could fall out over this one because, I mean, we've already had. We've spent basically the entire year talking about this category and how it might look. You think Groundhog Day belongs here?

[Erin James]

Yes.

[Micky Jo]

And what are your thoughts on Hadestown in this category?

[Erin James]

I think it's respecting the fact that it was at the National. Yeah, it's a different version. But then at the same time, it does echo that version. So I'm like, if it was eligible one time before, you can't then lie and say it wasn't eligible that time. If it was.

[Micky Jo]

I agree.

[Erin James]

If they hadn't made it eligible when it was at the national, then this could have been its first run.

[Micky Jo]

When the other two in this category are Guys and Dolls and Sunset Boulevard that are complete reinventions, it makes it a category of two halves where two of these shows are basically those same shows that they were the first time around and two are completely new. And it's also kind of moot because Hadestown and Groundhog Day aren't gonna win this.

[Erin James]

No. It's always been a race between Guys and Dolls and Sunset Boulevard. And looking at how the awards have gone up to this point, you're not.

[Micky Jo]

Ready to call it for Sunset Boulevard, are you?

[Erin James]

I don't think it is, because Sunset Boulevard has lost three times already to Guys and Dolls. And that's where I think Guys and Dolls is going to be at Sunset Boulevard. Because I think Sunset Boulevard could win in director and lead actress.

[Micky Jo]

Okay.

[Erin James]

Because even the what's On Stage award win to Guys and Dolls, and that was public voting.

[Micky Jo]

What's On Stage? Evening Standard Awards.

[Erin James]

Yeah. And the Critics Circle and the Critics Circle all went for Guys and Dolls over Sunset Boulevard, and they both were eligible. I'm gonna predict it's Guys and Dolls.

[Micky Jo]

And I, I, I will stay with Sunset Boulevard. I think it is juggernaut coming into this. I think it's the show that everyone talked about. And Guys and Dolls had a similar level of conversation, but not to the same extent. I haven't seen everyone, and Sunset Boulevard was a limited run, so this is more symptomatic of that perhaps. But I didn't see everyone saying, oh, now we must go see Guys and Dolls. Like, oh, I felt like everyone has to go and see Guys and Dolls because everyone's talking about it. And Sunset Boulevard had that. I also think among the industry, among producers, it hit a little bit harder. Guys and Dolls, perhaps with the public Guys and Dolls, perhaps with the critics even, but I still think Sunset Boulevard is going to take best revival of a musical. And Guys and Dolls did this incredible immersive thing with its staging. But in terms of what that show was and what it became with Sunset Boulevard, what a transformation. You said it. Now I've locked you.

[Erin James]

No, I still think it's Guys and.

[Micky Jo]

Dolls, and I think it's Sunset Boulevard. We have our first major disagreement. And in a big category, normally we only speak split on, like, the creative things.

[Erin James]

I just, I think everybody with Sunset Boulevard spoke about Nicole as a production as a whole. Everybody spoke about Guys and Dolls.

[Micky Jo]

You're convincing me now.

[Erin James]

And this is why I think so far, in every single other category, Guys and Dolls has won it because it's the production you talk about.

[Micky Jo]

Next category we have Outstanding Musical Contribution. So this is the weird category that is always a little bit different.

[Erin James]

I wish the wording was different.

[Micky Jo]

I mean, the wording changes annually.

[Erin James]

So because it's like I'm. It's really exciting.

[Micky Jo]

Put it out into the universe, say what you want it to be called, and next year maybe it will because.

[Erin James]

It'S really exciting like that. We're seeing musical supervisors and arrangers and all of this element and absolutely deserving of recognition and like for arrangements. But if you don't have a category for score, then this, then this becomes its mood.

[Micky Jo]

Yeah.

[Erin James]

And it kind of gets a reaction because you're like, no. Original score category.

[Micky Jo]

Yeah. And British musical theatre composers, lyricists are maligned enough, but the nominees are Tom Brady for musical supervision and arrangements and Charlie Rosen for orchestration for Guys and Dolls at the Bridge Theatre. Matt Brind for musical supervision, arrangements and orchestrations for Just for One Day at the Old Vic. Steve Sidwell for orchestrations and Joe Bunker for musical direction for Operation Mincemeat at the Fortune Theatre. And Alan Williams for musical supervision and musical direction for Sunset Boulevard at the Savoy.

[Erin James]

This was one I thought about.

[Micky Jo]

Uh huh.

[Erin James]

I think it should be just for one day.

[Micky Jo]

I think it should be just for.

[Erin James]

One day because that is the.

[Micky Jo]

I know, I agree with that should completely. For what this category actually is, which.

[Erin James]

Is the original score, the arrangements and everything about how they've made that music work theatrically, from harmonics to the band arrangement to making SOS dramatic. Actually watching it, I was like, they've done such a good job in making this really like deep and a bit foreboding. Whereas. Yeah, really that's not the vibes of the song as much.

[Micky Jo]

Yeah. And you've been loving that arrangement of My Generation.

[Erin James]

I just think they've done a really good job of like giving you played.

[Micky Jo]

A lot in my flat recently.

[Erin James]

I think they've done a really good job at make like making music that everybody knows and love flipping it to make it work for the musical.

[Micky Jo]

Yeah, I wish, I wish I agreed with you because it would be lovely to see an Olivier Awards where shows that don't have that many nominations can win in the deserving categories. But more often than not, the momentum of a bigger show just takes a lot of those categories on its way. We've seen this happen with oh yeah, Cursed Child in the past. We've seen this happen with a handful of other shows.

[Erin James]

Hamilton.

[Micky Jo]

Yeah. I am going to go Sunset Boulevard.

[Erin James]

And I'm gonna go Just for One Day.

[Micky Jo]

Okay.

[Erin James]

So for best actor in a supporting role in a musical, Jack Malone for Operation Mincemeat, Cedric Neal for Guys and Dolls, David Faxton for Sunset Boulevard and Jack Wolfe for Next to Normal.

[Micky Jo]

Don't make me choose. I can't choose. I don't wanna choose. Don't make me choose. Oh, it's like choosing between my children, most of whom are older than me.

[Erin James]

They all deserve this. Like all their performances, all four of them just could win this award. And thrilled with this category of Tender notes. Yeah.

[Micky Jo]

Literally, I will say that David Thaxton was my favorite part of Sunset Boulevard. And the nuance of his performance was like nothing else. But I think what it's actually going to be is a two horse race. And both of those horses are named Jack, but they spell it differently.

[Erin James]

Jack Malone's song as Hester is the moment is the moment from Mincemeat that sticks with people.

[Micky Jo]

It truly stops the show.

[Erin James]

And fully deserved would be deserving.

[Micky Jo]

Yeah.

[Erin James]

But I think I'm leaning towards Dratwolf.

[Micky Jo]

There's a lot of love for his performance and rightfully so.

[Erin James]

I'd be surprised if Next to Normal doesn't get anything at all for this award.

[Micky Jo]

It's really hard. I think it's very, very close. I spent the whole year thinking, oh, Jack Malone really could. Yeah, like it's so close. It feels so close to me.

[Erin James]

It does. It feels like a hair. Like literally like a hair.

[Micky Jo]

Can we have a tie? Can we have a tie? If there's any category, this is the one I want to tie.

[Erin James]

The thing is any of the year. I just said Cedric.

[Micky Jo]

Oh yeah.

[Erin James]

Because that role, like I'm remembering Clyde wrote, we could both be proven wrong. It's such a scene stealing role.

[Micky Jo]

Absolutely.

[Erin James]

Sit down, you're rocking the bow. Is the song. If you're talking about like if, if like with the Tony Awards we were talking about Alex Newell just for like independently owned. Just that song alone was Alex Newell's Tony. Like.

[Micky Jo]

But I'd argue about that. What Jack Malone does with this is definitely because I was thinking that's like that, that much of a show stopping moment that people talk about afterwards.

[Erin James]

It's interesting because you're putting those numbers against one another. Jet Wolfe, for me, it's like the nuance that he adds to Gabe and this like, like I say, malevolent force.

[Micky Jo]

Yeah, no, you'd be right. You'd be very right.

[Erin James]

Yeah.

[Micky Jo]

I'm gonna say Jack Malone. I'm gonna say I think Jack Malone will take it.

[Erin James]

Okay. I'm gonna stick with Jack Wolfe. I think.

[Micky Jo]

I don't know if I was getting into too much of like a Watson Stage Awards mindset. I don't know, you start to Think about it too much and you just lose all perspective on everything. I will jump up and down and cry regardless. Next up, we have Best actor in a supporting role. Again, Inner Play. We have Will Close for Dear England, Paul Hilton for An Enemy of the People, Giles Torrera for Clydes, Luke Thompson for A Little Life, and Zubin Vala for A Little Life. And again, only seen one because we didn't see A Little Life. We didn't see Clydes, we didn't see An Enemy of the People. I think Will Close will win for Dear England.

[Erin James]

I think it's between Will Close and Jules Torara.

[Micky Jo]

I mean, Luke Thompson won the Watson stage.

[Erin James]

Yes.

[Micky Jo]

And Zubinvala has won at the Oliviers before and we've heard great things about him in but so has Charles Torreira. So has Giles Torreira. That's one thing. The only one I've actually heard in conversation. People like, oh, my gosh, he was incredible in that. Was Zubinvala for A Little Life. That's the only one I've actually heard separately in conversation. I think Will Close, on the basis of my whole sweeping theory that it's. With the momentum of Dear England and do you know what else is. I always think if there's a category where it doesn't necessarily go to the most prominent, most decorated and celebrated names, it's supporting in a play specifically.

[Erin James]

And he was great in that role.

[Micky Jo]

He was really good in it. And it was.

[Erin James]

It was a comedic heart that was a Liverpool comedic heart that.

[Micky Jo]

But then with this very genuine vulnerability, but like a repressed vulnerability. Oh, my gosh.

[Erin James]

It was really nuanced.

[Micky Jo]

Yeah. So. So I'm gonna lock in. Will Close, Dear England, Best supporting actor in a play. Man of the match.

[Erin James]

I will as well.

[Micky Jo]

Most valued player.

[Erin James]

I will as well.

[Micky Jo]

Am I still in the right sport? Is this still football?

[Erin James]

Best actress in a supporting role in a play. Lorraine Ashbourne for Till the Stars Come Down, Priyanga Burford for An Enemy of the People, Hayden Gwynne for When Winston Went to War with the wireless, Gina McKee for dear England and Tanya Reynolds for and Mira. I forget there's so many people because there's five play categories get more people.

[Micky Jo]

So it takes a bit longer. And yet. Can we take a moment for all of the supporting actresses who did not make it into this category, AKA Half the Cast of the Hills of California and Tuppence Middleton from the Motive in the Queue.

[Erin James]

Yeah.

[Micky Jo]

Who remains my should win because she should have been nominated and she should win. I have a Prediction what might happen and would be very lovely if it did.

[Erin James]

This is what I think.

[Micky Jo]

A posthumous Olivier Award win for Hayden Gwynne, who has been nominated multiple times, five times in her career, who sadly passed away towards the end of 2023, but had never won.

[Erin James]

No. Has never won. Five nominations. Had never won. And I could see this being the. It's a win that's not just for the performance, but is like honoring the legacy of.

[Micky Jo]

That's my expectation.

[Erin James]

That is exactly what I was thinking before we started this. Was that. That category? There will be, like, a good reaction just to seeing her name.

[Micky Jo]

Next we have the Blue Eye Theatre Technology Award for best set design. Miriam Buether for set design and 59 productions for video design for Stranger Things. The first shadow, Bunny Christie for set design for Guys and Dolls. EZ Devlin for set design and Ash J. Woodward for video design for Dear England. Super Gilmour for set design and Nathan Amzi and Joe Ransom for video design for Sunset Boulevard. Now, the elephant in the room here is video design.

[Erin James]

Yes.

[Micky Jo]

The three out of four of these nominees are jointly nominated for set and video design elements. Which changes things.

[Erin James]

It does, because I feel like it then becomes you're not just thinking about, like, the set design and the physical elements, you're also thinking about everything that happens with a video design.

[Micky Jo]

We're gonna divide again. I can feel it.

[Erin James]

The show that I'm gonna say has video design in it.

[Micky Jo]

Oh, okay. I thought you were gonna go Guys and Dolls.

[Erin James]

No, because I think Guys and Dolls will get production to Oliver's set design.

[Micky Jo]

Okay.

[Erin James]

But I feel like that it's gonna go to Stranger Things. Oh, I don't. I think if we're talking in spectacle and we're thinking that Stranger Things will mop up numerous awards, I think Stranger Things will get set design because of everything that they do with set design, including the video design with the doubles and everything. But I think I kind of feel like there's a lot of tech that will go to Stranger Things, similar to how my neighbour Totoro went through all the technical side.

[Micky Jo]

Yeah.

[Erin James]

Like, if these were in separate categories and it was set designed for a musical and set designed for a play, I think it would be Sunset Boulevard and Stranger Things separately. I think with Guys and Dolls. The weird thing with set design is that Bunny Christie has done all of the immersive sets for every production of the Bridge. So so much of it, she's already kind of won for her creativity that she's done with that theatre.

[Micky Jo]

Yeah. You are very Good at persuading me away from my convictions.

[Erin James]

If it was just video design, I just said Sunset Boulevard, but, well, there.

[Micky Jo]

Is this stranger things to. And I don't know if I considered that it would get as many wins as you are predicting the. That it will. I am still leaning Sunset Boulevard because the video and how they use the video was this huge talking point. And the fact that that's included is really persuasive. But I do also wonder if people are going to roll their eyes or raise their eyebrows a little bit at the concept of Sunset Boulevard set design. Because the big thing was there's not really a set, it's the screen. You've got me confused now. I think I'm still going to say Sunset Boulevard. I just feel like it has that cabaret energy. I really do. I think Sunset Boulevard is that girl this year.

[Erin James]

I still think it's gonna be. You can say that.

[Micky Jo]

Have we ever disagreed on our predictions as much as we are today?

[Erin James]

I know.

[Micky Jo]

Wow. We started in such accordance. Make sure you're subscribed for this post Olivier Awards recap video because there are scores to settle at this point. Next we have the White Light award for Best lighting design. John Clarke for Dear England, John Clarke for Stranger Things, the first Shadow, Paulie Constable for Guys and Dolls, and Jack Knowles for Sunset Boulevard. Are we repeating what we thought in the last one?

[Erin James]

I don't know with this one, because I think that Sunset Boulevard relies so much on lighting design because it doesn't have much set.

[Micky Jo]

I'm saying. I'm saying Sunset Boulevard.

[Erin James]

I think with this one, I'd go for Sunset Boulevard because the lighting is the star.

[Micky Jo]

Yeah.

[Erin James]

Because there's, like, how they do so much with so. With such a bare stage.

[Micky Jo]

Yeah.

[Erin James]

Apart from that.

[Micky Jo]

The backlighting moments.

[Erin James]

Yeah. I felt.

[Micky Jo]

I feel like the red lighting moments.

[Erin James]

The star of that production was the lighting design, the video on the screen. But, like, the video wouldn't be anywhere near what it was without such good lighting design.

[Micky Jo]

Yeah. I'm also wondering if, had I seen this coming, I would have changed my answer to the set design one. I've said it now. It's too late. I've locked it in. But I'm saying, Jack Knowles, Sunset Boulevard, Best lighting designer win same. Have I put too many of my eggs in a Sunset Boulevard basket that.

[Erin James]

Spread out quite nicely in this one?

[Micky Jo]

I like Boulevardi as a word. Boulevardi versus Rooney. Boulevardi versus Rooney is all is the name of this year's Olivier Awards, and it's about whether Sunset Or Dear England is going to take more.

[Erin James]

Best Actress in a supporting role in a musical.

[Micky Jo]

Oh.

[Erin James]

It's between Grace Hodget Young for Sunset Boulevard, Zoe Roberts, Operation Mincemeat, Amy Trigg for the Little Big Things and Eleanor Worthington Cox for Next to Normal.

[Micky Jo]

This is an exciting category to me because I truly think this could go in any direction.

[Erin James]

Yes.

[Micky Jo]

This could absolutely fall anywhere. I don't think anyone has any more momentum than anyone else.

[Erin James]

Nope.

[Micky Jo]

This is going to be a real guess as to who might take it. If you're going to ask me should. Personally, who I would vote for. It might be Eleanor Worthington Cox, I think. But then the depth that she had compared with everyone else was far greater. Like Natalie in Next to Normal versus Zoe's track in Mincemeat, versus Betty in Suds at Boulevard, which I think is a truly thankless role that Grace did fantastic things with versus Agnes, who lovely in Little Big Things, but sort of just like provides this one function to the narrative. She has much more meat to work with. But who do we think will actually win?

[Erin James]

If you said really quickly, who do you think is going to win?

[Micky Jo]

You want to do a 3, 2, 1.

[Erin James]

Yeah.

[Micky Jo]

3, 2, 1. Amy Trigg.

[Erin James]

Because everybody talks about Amy Trigg. When that show opened, the. The name that everybody who saw it said straight after was Amy Trigg. And Amy Trigg. Olivier's.

[Micky Jo]

Yes.

[Erin James]

And she has this. And she. If we're talking about somebody that has a moment where the whole audience is just fully supporting this person, it's Amy Trigg.

[Micky Jo]

It's a great supporting turn.

[Erin James]

Yeah.

[Micky Jo]

And the only member of the Little Big Things cast to have been nominated at this year's Oliviers, so sort of is flying the flag for them. And so if anyone is wanting to vote for that show, then Amy becomes the ambassador of that. Of that affection for the Little Big Things. Locked in. Why do I do a tic? Locked. There you go. That's a. Was that my shoulder? Watch me go to the Oliviers in.

[Erin James]

A sling, because your shoulder or your elbow?

[Micky Jo]

Is that my bones?

[Erin James]

Something just went pop.

[Micky Jo]

I drink so much milk. This isn't fair. Next we have the Sir Peter Hall Award for Best Director. Stephen Daldry and Justin Martin for Stranger Things, the first shadow. Rupert Gold for Dear England, Jamie Lloyd for Sunset Boulevard and Sam Mendes for the Motive and the Cue. Again, we could talk about the directors surprisingly absent from this category because we've been talking a lot about Guys and Dolls and about all of its achievements, and chiefly among those, while the set. What you were saying about the set was like, it is similar to the other immersive sets at the Bridge. The special thing is how it's utilized. And that's the direction by Nicholas Heiner. And it's kind of astonishing to me that he wasn't nominated.

[Erin James]

For me, this is a two horse race and those.

[Micky Jo]

Those horses are Jamie Lloyd and Rupert Gold. Like I said, it's Boulevardi versus Rooney.

[Erin James]

I'm really split between who I actually think will win.

[Micky Jo]

I keep tossing it around in my head.

[Erin James]

I think in my head this is dying in my head I'm thinking, if Rupert is winning, that means that Dear England must be winning play. So I'd have to already be saying, I think Dear England's winning best play.

[Micky Jo]

But you didn't say Sunset Boulevard was going to win best revival.

[Erin James]

No, because I think people. With Sunset Boulevard, people have specifically been saying, Jamie Lloyd, Jamie Lloyd's direction.

[Micky Jo]

Do you think it separates?

[Erin James]

I think it separates. I think people talk about his direction and what he was doing.

[Micky Jo]

Yeah, it would be something of a coup if he did win because a.

[Erin James]

Musical beating animation, it's the only musical.

[Micky Jo]

In that category with, well, two plays and one comedy entertainment. In Stranger Things, the First Shadow, it's a play. But I mean, I do, you know, in any other category, in any other awards ceremony, I'd be like, obviously Jamie Lloyd's going to take it because there's. Because everyone's been talking about it because it's been Jamie Lloyd, Sons of Boulevard, all that. It's just because musicals are so maligned.

[Erin James]

I think this is. This is my. This is my.

[Micky Jo]

I have a hard time seeing a musical director winning over play directors, but I'm gonna stick my neck out and say, if ever there was a year it could happen. Jamie Lloyd, Sunset Boulevard. I think he will take it.

[Erin James]

I will join you.

[Micky Jo]

There we go.

[Erin James]

I will join you on that one. The D and B Audio Technic award for best sound design is between Paul Arditi for Stranger Things, the First Shadow, Dan Balfour and Tom Gibbons for Dear England, Adam Fisher for Sunset Boulevard and Gareth Fry for the Scottish play.

[Micky Jo]

You can say I believe in you. It's Macbeth, everybody. Do you know who I'm going to predict? Adam Fisher, Sunset Boulevard. I do think so, because. And again, just in terms of, like, demonstrable work, you had someone leave the building and sing in conjunction with a live orchestra, give you live vocals around the perimeter of the Savoy Theatre. Come back in. And it all worked nightly. That alone does it. In that moment, Olivia, like, engrave it there and then doesn't matter. That's it.

[Erin James]

Yeah, I agree.

[Micky Jo]

It's as Joanna Woodward said when in presenting that very same award at the Watson Stage Awards, she said sound design is so important because without sound design, Tom Francis would have just been a strange man singing to himself on the street.

[Erin James]

Yeah.

[Micky Jo]

I'm going with Adam Fisher for Sunset Boulevard.

[Erin James]

I agree. So Best actress in a play. Her nominees are Laura Donnelly for the Hills of California. Sofia Okonedo for Medea, Sarah Jessica Parker for Plaza Suite. Sheridan Smith for Shirley Valentine and Sarah Snook for the Picture of Dorian Gray.

[Micky Jo]

This is another tricky one because Sheridan Smith and Sarah Snook are both doing these Herculean feats.

[Erin James]

Yeah. Solo performances.

[Micky Jo]

Yeah. Sheridan Smith doing this whole two act. Shirley Valentine, heck of a long amount of solo playwork. And Sarah Snook doing all of these technical feats on stage while also doing.

[Erin James]

A one person show on stage, off stage. Replying to themselves using a facetune app.

[Micky Jo]

Facetuning a picture of themselves live and.

[Erin James]

Filming themselves because they literally were doing and filming this camera.

[Micky Jo]

I mean, it's hard. But then Laura Donnelly has a really showy role.

[Erin James]

Yeah, it was like classic.

[Micky Jo]

A gift of a role written by her husband, Jez Butterworth. I will say.

[Erin James]

And we didn't see Sarah Jessica Barker or Sofia Kineda.

[Micky Jo]

Didn't see either of those two. I'm tempted to say Laura Donnelly. I think it's just the more classic, like great role in an ensemble piece.

[Erin James]

I'm either there or I'm Sarah Snook.

[Micky Jo]

I think I just felt too removed from it because of all of the artifice that was going on. And Laura Donnelly. I mean it was just, it was just a sensational performance minus the bells and whistles.

[Erin James]

I think this is like in my head where it's like a should they what Will and I think should for me would be Laura Donnelly, but I think Will will be Sarah Snook.

[Micky Jo]

I think Laura Donnelly is my should and will. That's what I'm saying. That's what I'm going with.

[Erin James]

Yep.

[Micky Jo]

I'm going to stick with the Hills of California. Next up, best actor in a play. Joseph Fiennes for Dear England. Mark Gatiss. The motive and the cue. James Norton, A Little Life. Andrew Scott, Vanya or David Tennant for Macbeth.

[Erin James]

This is like a should will.

[Micky Jo]

And they're heavyweights. Heavyweights. But there are names aplenty here and names can't begin to come into it because they're all names because like I.

[Erin James]

Know personally Looking at them, I'd be like, oh my gaiters. It just feels like one of those performances that everybody's going to talk about for decades to come.

[Micky Jo]

That might be my. Should I think that just in terms of just like the subtle beauty and.

[Erin James]

Humanity of it and bring into life somebody that existed and how do you bring all of those mannerisms but don't make it for like a caricature of.

[Micky Jo]

And that's often good. Awards bait is actually we see it more often with like the music biopics.

[Erin James]

And it's a theatrical legend as well. Everybody in the theatrical industry was have some awareness of yes. And maybe links to etc. And to do that and it be acclaimed. I agree.

[Micky Jo]

I agree with all of the above.

[Erin James]

But I don't think, I don't think he'll win.

[Micky Jo]

Oh, because we think who will win. 3, 2, 1. Joseph Fiennes. Who are you?

[Erin James]

You completely said who I was not thinking. I'm stuck between it being James Norton or Andrew Scott.

[Micky Jo]

I think Joseph Fiennes. I think again it's a subtler performance but it's also. And it's not from the theatrical sphere, but it's still playing a real person and you know, having to portray those mannerisms and that personality of a well known figure. This being Gareth Southgate.

[Erin James]

If I've said that Vanya is going to get revival, I think James Norton will. I be very democratic, but actually it's conditional. But actually it's kind of where my brain's going is like one award is.

[Micky Jo]

Going to get allocated on the night and you're going to change everything else. You're like, well, that's what happens.

[Erin James]

It literally will happen in my brain. I'll be like, I. Oh. So they went for that. So this means that that one probably will go this way.

[Micky Jo]

Yeah, depends if they're voting with the same mindset you are. And they're like, well, I'll give this to this one to recognize this and I'll give this to this. Or if they're just like Vanya was great. So revival and Andrew Scott.

[Erin James]

It's very tricky because if we're looking at the other awards, Tenant Scott and Norton have all won. So I can't.

[Micky Jo]

It's not even like maybe I've made a foolish prediction.

[Erin James]

It's not even like I can look at one of those and go, oh, well that's what happened. And they've all won.

[Micky Jo]

I am beginning to feel that throughout this I've just been backing the big horses. I mean, so often That's. Have I become jaded in my years of Olivier Awards punditry? Is that what's happened here? I don't know. Hopefully they proved me wrong and a bunch of different productions win for different things. I just, you know, we don't often see that.

[Erin James]

So the Londoner Award for Best New.

[Micky Jo]

Play, as in the hotel.

[Erin James]

Yeah.

[Micky Jo]

Oh, love that.

[Erin James]

For them, it's between. Dear England by James Grant, the Hills Of California by Jez Butterworth, the Motive, in the Queue by Jack Thorne and Till the Stars Come down by Beth Steele.

[Micky Jo]

And it is going to be 3, 2, 1. Dear England. There we go. And I think that is correct.

[Erin James]

Yeah.

[Micky Jo]

Much as I personally, and I mean, I enjoyed all the ones I saw, I really liked the Hills Of California, the Motive and the cue. One of my favourite things I've seen on stage, but very applicable to my interests and obviously fairly like Navel Gazy from a theatrical perspective, because it's a play for theatre people, by theatre people, about theatre people, and we've only heard.

[Erin James]

Good things about Till the Stars Come Down.

[Micky Jo]

I only heard good things about it, but I think Dear England, rightfully so, getting the recognition for, again, moving the medium forwards.

[Erin James]

The amount of people that you had this interesting intersection where it was like football fans who would never go and see a play.

[Micky Jo]

Oh, yeah.

[Erin James]

Went to see it and connected with it and just felt everything. And then at the same time, you had a lot of theatrical types that do not like football, have no association with football or knowledge of it going in and then coming out, being like, oh, my gosh, how did a show about kicking, kicking footballs into a net move me so much?

[Micky Jo]

And then all took to social media to be like, just so you all know, I know nothing about football, but I loved this play. If this is, you know, salt, members voting and producers, this brought a lot of new people into the theater and that's. That's going to count for a lot.

[Erin James]

I feel like it feels it's an.

[Micky Jo]

Open goal for Dear England, shall we say? That was a football player. Yeah.

[Erin James]

Well done.

[Micky Jo]

Next up, the MasterCard Award for Best new Musical. The Little Big Things, with music by Nick Butcher, lyrics by Nick Butcher and Tom Ling, and a book by Joe White. Next to Normal with music by Tom Kitt and book and lyrics by Brian Yorkey. Operation Mincemeat with music, lyrics and book by David Cumming, Felix Hargan, Natasha Hodgson and Zoe Roberts. And A Strange Loop with music, lyrics and book by Michael R Jackson.

[Erin James]

The reason we like to make sure that everybody's named there, and I'm glad they put all the book writers there as well, is because they don't have categories for score or book.

[Micky Jo]

Yeah, we don't have best score. We don't have best book of a musical. It's all in best new musical.

[Erin James]

So they've all got nominated.

[Micky Jo]

But which is obviously not ideal because the best book and the best score aren't often found in the best new musical. And I think for this one specifically.

[Erin James]

As well, it's like kind of, does best musical mean best musical production or is it best new musical for writing? It's the same thing with best Me play.

[Micky Jo]

Yeah.

[Erin James]

You do kind of go, is this a production or is it about the text? Or is it the text and that.

[Micky Jo]

And if I'm being honest and separating from, like, my faves and the ones I really want to see on that stage, picking up a trophy, because we'll get to that. I do think that A Strange Loop ought to win here in terms of recognition of, again, moving musical theatre forward. I think A Strange Loop and the work Michael R. Jackson did on that.

[Erin James]

There'S a reason why it won the Pulitzer.

[Micky Jo]

Exactly. And Next to Normal also won the Pulitzer but didn't win the Tony. And I just. Yeah, I just think A Strange Loop has to be my should. It's a masterpiece. It is, I think, but I don't think it will. I think it's a race between Next to Normal and Operation Mincemeat.

[Erin James]

I've kind of felt like for most of the year, and I think even now, thinking about it, it just feels like it's Operation Mincemeats to Lose.

[Micky Jo]

I think it is Operation Mincemeats to lose. And we've been saying all year, do we Dare to Dream? And everything else has been opening. And so just for one day opened. We were like, is this the one that's going to change things? Or little big things was opening. We were like, is this the one that might take it away from Mincemeat? Because Mincemeat opened so long ago. When we talk about, especially with the Tonys shows wanting to open in that month before eligibility ends. That's happening right now in New York. There are like two dozen shows opening in the next three weeks. Operation Mincemeat began previews a year ago. Yeah, a year ago. And it's had to keep up that.

[Erin James]

Momentum, keep things happening, keep moments happening for people to be aware of it.

[Micky Jo]

I think it is going to be this little show that could. That started at the new diorama that went to Southwark Playhouse multiple times. That went to Rock Riverside Studios, that came from the fringe. And I think this is going to be the end of its success story. I really do. There we go. Well, we were in accordance for much of the beginning and then, you know, we parted in the middle. But, you know, like a beautiful love story, we came back together again. Okay, so I think we agreed on 14 and we disagreed on six. Yeah, those six will be the ones that determine who wins or loses on Sunday. It doesn't matter who wins the Olivia. This is the real competition you need to care about right here. Make sure you're subscribed because, I mean, we'll be filming it in the late hours of Sunday evening. It will be uploaded hopefully on Monday. But we're also getting on a plane to New York on Monday. So lots is going to be going on, lots will be happening. But there will be an Olivier Awards recap. I'll do a little bit of vlogging from the ceremony, but you can't film inside the Royal Albert hall, and I'm not like, on the green carpet or anything, so it's just to be like, nice vibey coverage from afar. But I will do my best to bring you some sense of what the Olivier Awards are like this year and, of course, what Aaron and I are wearing. And similarly to last year, probably the McDonald's that we'll be eating at, like, midnight afterwards. So you have all that to look forward to. In the meantime, I would love to know all of your predictions for all of the Olivier Awards winners. Let us know in the comments section down below. Do you agree with me? Do you agree with Aaron? I. Are you forging your own brave path? Comment down below with your thoughts and your predictions? Thank you so much for watching this video. We both hope that you have enjoyed and we hope that everyone is staying safe and that you have a Stagey Day. For 10 more seconds. I'm Mickey Jo Theatre. Oh, my God. Hey, thanks for watching. Have a Stagey Day. Subscribe.