Who will win at the OLIVIER Awards? | Predicting the 2025 West End theatre awards with Aeron James

Summary

Podcast Summary: "Who will win at the OLIVIER Awards? | Predicting the 2025 West End Theatre Awards with Aeron James"

Podcast Information:

• Title: MickeyJoTheatre
• Host/Author: MickeyJoTheatre (Mickey Jo) and Erin James
• Episode: Who will win at the OLIVIER Awards? | Predicting the 2025 West End Theatre Awards with Aeron James
• Release Date: March 31, 2025
• Description: Mickey-Jo and Erin James delve into their predictions for the 2025 Olivier Awards, analyzing nominations across various categories and offering insights into potential winners based on current trends and performances.

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Introduction

The episode kicks off with Mickey Jo and his fiancé, Erin James, setting the stage for their comprehensive predictions on the upcoming 2025 Olivier Awards. They emphasize the excitement and uncertainty inherent in award predictions, inviting listeners to engage with their views while acknowledging the possibility of being "completely wrong" ([00:14], Erin James).

Notable Quote:

• Mickey Jo ([00:17]): "We could be completely wrong."

Best New Musical

The hosts discuss the nominees for Best New Musical: The Curious Case of Benjamin Button, MJ the Musical, Natasha Pierre and the Great Comet of 1812, and Why Am I So Single?. They identify Natasha Pierre and the Great Comet of 1812 and The Curious Case of Benjamin Button as frontrunners, primarily because only these two shows remain open, giving them a lasting impact ([01:40], Erin James).

Notable Insights:

• Erin James ([02:35]): "I think both should win."
• Mickey Jo ([02:36]): "I agree with both."

Best New Play

The conversation shifts to Best New Play, with nominees including The Theory of Thirteen, Giant, Kyoto Shifters, and The Years. Mickey Jo and Erin James favor The Years due to its momentum and critical acclaim, although they express admiration for Kyoto Shifters' innovative structure ([02:32] - [04:10]).

Notable Quotes:

• Erin James ([02:32]): "I just have this feeling that I think it's got that little bit of an edge of people talking."
• Mickey Jo ([04:10]): "I would love to see a win for Kyoto."

Best Musical Revival

In the Best Musical Revival category, the nominees are Starlight Express, Oliver!, Fiddler on the Roof, and Hello, Dolly!. Both hosts agree that Fiddler on the Roof is a strong contender, given its widespread nominations and the quality of its revival. They also discuss the likely dominance of Oliver! and the focus on Hello, Dolly! as a powerhouse nominee ([04:52] - [06:07]).

Notable Quote:

• Mickey Jo ([05:00]): "This is the most contentious of these show categories."

Best Play Revival

For Best Play Revival, the nominees include The Importance of Being Earnest, Mackinaw, Oedipus, and Waiting for Godot. Both hosts predict Oedipus as the winner, citing its Broadway transfer and the buzz surrounding its production ([06:11] - [07:32]).

Notable Quotes:

• Erin James ([06:11]): "I would say that Oedipus will win."
• Mickey Jo ([07:32]): "Never bet against Sonja Friedman."

Best Choreographer

The Best Choreographer category features Matthew Bourne for Oliver!, Julia Cheng for Fiddler on the Roof, Hothes Schechter for Oedipus, and Christopher Wheeldon for MJ the Musical. Initially skeptical about MJ the Musical's chances, Mickey Jo is convinced by Erin's argument and they ultimately support Christopher Wheeldon for his respected choreography ([11:35] - [12:47]).

Notable Quote:

• Erin James ([12:17]): "I think Christopher Wheeldon's so respected."

Best Costume Design

Nominees for Best Costume Design are Hugh Durant for Robin Hood, Sashiko Nakahara for Spirited Away, Tom Scutt for Fiddler on the Roof, and Gabriella Slade for Starlight Express. Erin and Mickey Jo lean towards Gabriella Slade for Starlight Express, citing her prestigious background and memorable costumes ([14:41] - [16:10]).

Notable Quote:

• Erin James ([16:00]): "Gabriella Slade will win costume design."

Best Set Design

The set design contenders include John Bowser, Toby Olier, Daisy Beatty, and Satoshi Kuriyama for Spirited Away; Frankie Bradshaw for Ballet Shoes; Es Devlin for Coriolanus; and Tom Scutt for Fiddler on the Roof. Both hosts predict Tom Scutt for Fiddler on the Roof due to its striking and innovative set that enhances the play's themes ([17:37] - [18:21]).

Notable Quote:

• Mickey Jo ([18:00]): "It was really striking and it was really effective."

Best Choreography

Apologies, this seems to have been duplicated in previous sections. Proceeding to acting categories.

Best Director

The nominees for Best Director are Aline Arbo for The Years, Jordan Fine for Fiddler on the Roof, Nicholas Heitner for Giant, and Robert Icke for Oedipus. Mickey Jo and Erin James both support Helene Alba (assuming a typo in transcript referring to Aline Arbo) for her visionary direction in The Years, aligning with their Best New Play prediction ([10:19] - [11:13]).

Notable Quote:

• Erin James ([10:43]): "She was fantastic in the years dealing with some of the plays most challenging sections."

Best Sound Design

The nominees include Nick Kalidster for Fiddler on the Roof, Christopher Schutt for Oedipus, Thies Van Vuhl for The Years, and Koichi Yamamoto for Spirited Away. Both hosts advocate for The Years, appreciating its innovative use of sound to enhance the narrative ([20:24] - [21:21]).

Notable Quote:

• Erin James ([21:03]): "It utilizes sound the most in how what the cast members are doing."

Best Actor and Actress in Play

Best Actor in a Play: Nominees: Adrien Brody for The Fear of Thirteen, Billy Crudup for Harry Clark, Papa Eshidou for Death of England, Delroy John Lithgow for Giant, and Mark Strong for Oedipus. Despite concerns over Adrien Brody's public persona, both hosts back John Lithgow for his compelling performance in Giant ([30:33] - [33:08]).

Notable Quote:

• Mickey Jo ([32:03]): "John Lithgow should win."

Best Actress in a Play: Nominees: Heather Agipong for Shifters, Leslie Manville for Oedipus, Rosie Sheehy for Mackinaw, Mira Sayau for A Tupperware of Ashes, and Endear of Armor for Oedipus. The consensus leans towards Leslie Manville for her portrayal in Oedipus, recognized for her impactful and memorable performance ([29:16] - [30:14]).

Notable Quote:

• Erin James ([29:28]): "I think Leslie Manville's the person that people have been talking about."

Best Actor and Actress in Musical

Best Actor in a Musical: Nominees: John Daglish for The Curious Case of Benjamin Button, Adam Danheuser for Fiddler on the Roof, Miles Frost for MJ the Musical, Simon Lipkin for Oliver!, and Jamie Moscato for Natasha Pierre and the Great Comet of 1812. Both hosts predict John Daglish will triumph for his transformative performance without relying on prosthetics ([33:08] - [35:39]).

Notable Quote:

• Mickey Jo ([34:00]): "John Daglish is the front runner here."

Best Actress in a Musical: Nominees: Tamisa Dawnford May for Natasha Pierre and the Great Comet of 1812, Lauren Drew for Titanic, Claire Foster for The Curious Case of Benjamin Button, Lara Pulver for Fiddler on the Roof, and Imelda Staunton for Hello, Dolly!. Erin and Mickey Jo unanimously support Imelda Staunton for her iconic role in Hello, Dolly!, acknowledging the performer's exceptional ability to embody Dolly Levi ([35:53] - [37:32]).

Notable Quote:

• Erin James ([37:08]): "If you hit Dolly Levi and you do it well, it takes."

Conclusion

Mickey Jo and Erin James wrap up their predictions with a strong agreement on most categories, expressing excitement and anticipation for the actual outcomes at the Olivier Awards. They encourage listeners to share their own predictions and engage in discussions post-ceremony ([38:00] - [39:48]).

Notable Quote:

• Mickey Jo ([39:17]): "Who would you like to win an Olivier, who are you rooting for the most out of all of these categories?"

Final Thoughts

Throughout the episode, Mickey Jo and Erin James provide insightful analysis grounded in their knowledge of theatre and the performances of the past year. Their predictions are backed by observations of current trends, critical acclaim, and the lasting impact of the nominated performances and productions. This episode serves as a valuable guide for theatre enthusiasts eager to anticipate the outcomes of one of London's most prestigious theatre awards.

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Engage with the Hosts: Listeners are encouraged to subscribe to the MickeyJoTheatre YouTube channel and follow them on podcast platforms for ongoing theatre coverage, including features, news, interviews, and lifestyle content related to the theatre world.

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Note: All timestamps correspond to the provided transcript and may not reflect actual event timings.

Transcript

[Mickey Jo]

On Sunday 6th April, the 2025 Olivier Awards will celebrate the best of the last year of London theatre. And today, my stagey fiance, Erin James, and I, as theatre experts, are going to tell you exactly who is going to win, or at least who we.

[Erin James]

Think is going to win. But we could be completely wrong.

[Mickey Jo]

Very true. Oh, my God. Hey, welcome back to My Theatre YouTube channel. Or hello to you, if you're listening on podcast platforms. My name is Mickey Jo.

[Erin James]

And I'm Erin James.

[Mickey Jo]

And today we are going to be predicting the 2025 Olivier Awards.

[Erin James]

Yeah.

[Mickey Jo]

Previously here on social media, we have predicted the nominations which weren't too far off.

[Erin James]

They weren't too far off. I think this year it's been kind of easy to pin down. What are the shows of interest?

[Mickey Jo]

Yeah, yeah. There were a couple of surprises which I've talked about. Subsequently in another installment here on social media, there were a couple of snubs. I've talked about that as well. And today it is the big anticipated video. Now, knowing the nominations, we are going to predict the winners, but we're going to talk about not only who we think will win, but also also who we think should win. Of course, though, as always, these are just our subjective opinions, especially when it comes to who we think should win. So let us know in the comments section down below. Do you have a different opinion about who should win and who you think will win? Let us know your thoughts. And if you want to stay up to date with all of the theater coverage, especially as we head towards the Tony Awards after the Oliviers in New York, make sure you're subscribed right here on YouTube and or following me on podcast platforms. In the meantime, Aaron James, let's talk Oliviers.

[Erin James]

Let's go. Let's start with, I think, the biggest one that we always focus on, which is Best New Musical.

[Mickey Jo]

Usually it's the award that ends the night as well.

[Erin James]

Yeah. These are the four. It's the curious case of Benjamin Button, M.J. the Musical, Natasha Pierre and the Great Comet of 1812. And why am I so Single?

[Mickey Jo]

I think, respectfully, to all involved, this is a two horse race between Natasha Pierre and the great conduct of 1812, and the curious Case of Benjamin Button.

[Erin James]

Yes. And I feel like I often say, as well, you look at this and go, what's open? If a show is open and that Olivier Ward is going to make an impact for a show that will also take precedence with voters.

[Mickey Jo]

Yeah.

[Erin James]

And out of the four, only Benjamin Button and MJ are open.

[Mickey Jo]

Yeah.

[Erin James]

So that's the only. So there's the two that it's where kind of we've seen the focus on and then the two that have an impact of being open, which then leaves one which is in both. Which is why I think Venn diagram approach. Exactly.

[Mickey Jo]

Should win or will win?

[Erin James]

I think both.

[Mickey Jo]

I agree. I agree with both.

[Erin James]

I think both for me.

[Mickey Jo]

Let's then pivot and talk about Best.

[Erin James]

New Play, the Theory of thirteen, Giant, Kyoto Shifters and the Years.

[Mickey Jo]

I mean, all brilliant, but Kyoto, the Years and Giant, the more talked about. And also, again, as you said, in terms of what's open, what's having a life. Currently, Giant's West End transfer is upcoming and Kyoto in the Years are still playing right now. I think if I had to pick one of those, I would say what I think will win is probably going to be the Years. I feel like there's slightly more momentum behind it.

[Erin James]

I remember it was everybody's most anticipated transfer because so many people loved it at the Altmeda. I just have this feeling that I think it's got that little bit of an edge of people talking.

[Mickey Jo]

And it's the play that people have talked about with it as well. Whereas with Giant, people talked about the performances. The play is also brilliant with Giant, but people talked about performances and sort of itemized it a little more.

[Erin James]

And if you look at the nominations, Kyoto didn't get as many nominations, whereas the Years, they got director.

[Mickey Jo]

So, yeah, I think the Years will win. What do I say should win. I always like to think about what is pushing the medium forwards and what is doing bold, new, exciting things. From that perspective. I would love to see a win for Kyoto. I think I would be really happy. There's such an urgency and a necessity to it, even though, again, I suppose like the others, it is framing a historical chapter, but doing so in a very pointed way.

[Erin James]

What I found interesting was I was listening to a podcast recently about the years and they were saying how it's interesting because it doesn't follow a traditional play. Some people say, oh, it's not a play, but it is a play. And I'm like, that's an interesting angle to put of saying genre pushing. Yeah, this is structural pushing. This is changing what a play can be.

[Mickey Jo]

Sure.

[Erin James]

I think there is this underdog vibe from Shifters, which is a rom com. Being in Best New Play and not in Best New Comedy is interesting. Everybody loved it. I wouldn't be surprised if people put their votes to it. Maybe because they don't know what to vote for. Between the trio that are there.

[Mickey Jo]

Let's talk then about the possibly the most contentious of these show categories. Best Musical Revival.

[Erin James]

The Best Musical Revival nominees are Starlight Express, Oliver, Fiddler on the Roof, and hello, Dolly.

[Mickey Jo]

My perspective on what will win has shifted a little bit. How do you feel about this?

[Erin James]

I think if Fiddler on the Roof doesn't get it and they got that many nominations, it would seem bizarre.

[Mickey Jo]

It's. Statistically, you have to look at the amount of love that there was, and there is a difference between the people who nominate shows and the people who then vote for shows, but not when it comes to nomination shortlisting.

[Erin James]

Surely it has to win revival because that's the culmination of all of these things that they viewed as a do. I think it should win. I kind of feel like it more should go to Oliver.

[Mickey Jo]

I agree. I agree entirely. I think Fiddler will and I think Oliver should.

[Erin James]

Yeah, that's kind of where I go. I feel like I would find it bizarre if it didn't win and it got that many nominations because just statistically and just Bonnie, looking at the data, it would make sense if it didn't win.

[Mickey Jo]

But how surprising to be in March and having a conversation. I didn't think of this many months ago. We'd be having a conversation where Dolly doesn't even really.

[Erin James]

End of this discussion. No.

[Mickey Jo]

Yeah.

[Erin James]

Dolly's whole thing is focused on one award that is very likely to win.

[Mickey Jo]

Yeah. And listen, we'll get to it, but first we have to talk about play revivals.

[Erin James]

Yes, we have the Importance of Being Earnest, Mackinaw, Oedipus and Waiting for Godot. I am being totally honest here. And I saw 0 versus 0 of 4.

[Mickey Jo]

I saw only 1 out of 4.

[Erin James]

So I feel like I can only go by discussion and like my PR brain of looking at things. And from that perspective, I would say that Oedipus will win.

[Mickey Jo]

Yeah. Oedipus has already announced its Broadway transfer. It was really huge. It dominated conversation when it was open at the Wyndhams. It was sensational. Much as I really feel dubious about it being in best revival of a play because it's an entirely new script that's only really conceptually linked to the ancient Greek tragedy. Whereas something like Curious Case of. Not Curious Case, the Curious Incident of the Dog in the Night Time, and, you know, other new plays that are based on that are adaptations of books are, in fact, a lot less original in their material. I do think that it's still going to win. And from my Perspective deserves to win this as well. Admittedly, having not seen any of the.

[Erin James]

Other nominees, we have just predicted that Sonja Friedman is going to win Best Play and Best Revival.

[Mickey Jo]

Oh, yeah.

[Erin James]

And that is why I think Oedipus is in Revival.

[Mickey Jo]

I mean, very good point. Very good point. Never bet against Sonja Friedman is something that we have learned to turn on that stage when it comes to the Oliviers.

[Erin James]

I mean, it's also shifters.

[Mickey Jo]

Finally, then, in the world of show nominations, because we don't tend to really talk about affiliate theatre, especially in years when we haven't seen any of them.

[Erin James]

No, it feels kind of wrong to predict.

[Mickey Jo]

Or opera or dance or family. We are going to talk about the always sticky category of best entertainment or comedy play.

[Erin James]

Ballet Shoes, Inside Number Nine, Stage Fright, Spirited Away and Titanique.

[Mickey Jo]

I don't think Spirited Away is as obvious a frontrunner as Totoro was, and I think to suggest that would be a mistake.

[Erin James]

I don't think it's going to win. Ballet Shoes has announced that it's coming back at the end of the year.

[Mickey Jo]

Yep. Titanique's recently extended.

[Erin James]

Titanique's recently extended. And Inside Number Nine is supposed to be going on at all. So all three have reasoning to petition or to push. I could see Titanique getting it because. Because of it being this, like, outside of it, you remember.

[Mickey Jo]

Yeah.

[Erin James]

And that has these. I think what's handy for that show is it has these two performer nominations, which means it has more going for it than many entertainment categories do. I mean, Toto did really well, but because it was also in Create. It was also in performer categories and creative categories.

[Mickey Jo]

Yeah.

[Erin James]

So I'm not counting out Titan E as a potential winner.

[Mickey Jo]

Yeah. I think. I mean, Spirited Away also has its design nominations and Ballet Shoes has. For its music. Music as well. And possibly a design nomination in the set design for Bellwether.

[Erin James]

Yes, I think so.

[Mickey Jo]

I think I'm gonna have to take a little bit of a guess here. Again, only seen half of this category. I don't know, perhaps on the back of Totoro. Spirited Away feels that little bit less astounding because we've already seen animation thrillingly and theatrically brought to the stage. I will say I think Titanique should win.

[Erin James]

I agree.

[Mickey Jo]

It's doing something new, certainly for London audiences. It's doing something new. And what I think will win probably Inside Number Nine.

[Erin James]

I'm gonna go out there and I'm gonna give the win to Titanique.

[Mickey Jo]

Okay.

[Erin James]

There's a little. Little bit in my brain that's going. It's gonna go to ballet shoes.

[Mickey Jo]

That is the sound of someone hedging their bets every day.

[Erin James]

Yeah, but I've said Titan Ink twice then. So you have. I am rooting for Titanique.

[Mickey Jo]

You have. That is the first time we have disagreed on our predictions today. And after we attend the Olivier Awards, as we do every year, we will count up the predictions to see who wins. Am I on a winning streak or have we been alternating. There's normally only about one point in it.

[Erin James]

I don't know. There's a weird bit of me thinks you're on a winning streak. But then it's whether it was that or the Tonys as well.

[Mickey Jo]

Oh, sure. Let's segue into the world of creatives, beginning with directors.

[Erin James]

The nominees for best director are. Aline Arbo for the years, Jordan Fine for Fiddler on the Roof, Nicholas Heitner for Giant, and Robert Icke for Oedipus.

[Mickey Jo]

Brilliant work, really, all around.

[Erin James]

I feel like I can go boom, boom, done on this category.

[Mickey Jo]

Is your should and will the same? Yes, my should and will is also the same.

[Erin James]

I think Helene Alba is going to take it for the years and I.

[Mickey Jo]

Hope that she does. Yeah, yeah.

[Erin James]

I have a really strong feeling that she's going to win because it was her vision. The fact that the play is the thing that people are discussing fully and choices and a scene is being specifically.

[Mickey Jo]

Described, the direction strikes you in a way it doesn't with all of these, and we can have a conversation about whether it ought to or not. And it's sort of befitting of each piece the extent to which you feel that creative vision at play. But it's so well put together.

[Erin James]

I just felt like it's a creative. We acknowledge everything you've done on this show and then kind of like if we think it's gonna win best play, it will win best director. I don't see that being. It's not that often that director and play don't go as a duo. Sure, sure.

[Mickey Jo]

Solid, solid predictions. There we go. We think we see it for the years. Next up, how about choreography?

[Erin James]

So the nominees for best choreographer are. Matthew Bourne for Oliver, Julia Cheng for Fitter on the Roof, Hothes Schechter for Oedipus, and Christopher Wheeldon for MJ the Musical at the what's On Stage Awards. MJ won.

[Mickey Jo]

It did.

[Erin James]

I feel like MJ could take choreography.

[Mickey Jo]

I don't think it will. I think this is going to go to Julia Cheng. I think this is going to end up Being one of. I don't think Fiddler's going to sweep. I don't think Fiddler is going to take all of their nominations. I think this is a category where they might. I think we could see recognition in choreography here, which would be great if, like, big year for female creatives with mj.

[Erin James]

I think if there's a creative element that's spoken about, I mean, the thriller moment, these multiple moments, I don't think MJ is going to walk away empty handed. I have this. I just think because of the design elements and that. I think there will be this nod to a juggernaut and to a commercial show. And I think Christopher Wheeldon's so respected.

[Mickey Jo]

Do you also think MJ should win? I think I do. I think you've convinced me.

[Erin James]

Do you know what? Yes, I genuinely think it does because I think.

[Mickey Jo]

I think the dance language of how they build those numbers. Yeah.

[Erin James]

If we talk like, MJ probably has the most dynamic since Moulin Rouge, the big ensemble moments of dance. I mean, they have dancing from the lift. I think kind of Christopher Wooden's choreography is like memorable straight away.

[Mickey Jo]

Maybe it's a little ludicrous for me not to suggest that that will. You've kind of won me over, honestly, and I think you're probably right. But I'm gonna stick with what I said for the sake of a little bit of friendly competition. Let me see if I can actually get the name of this category correct. Is it still Outstanding Achievement in Music?

[Erin James]

No, it's Outstanding Musical Contribution.

[Mickey Jo]

Outstanding Musical Contribution. Obviously, completely different.

[Erin James]

So the nominations are Mark Aspinall for Fiddler on the Roof, Darren Clarke and Mark Aspinall for Curious Case of Benjamin Button.

[Mickey Jo]

Yes.

[Erin James]

Dave Malloy and Nicholas Skilbeck for Natasha Pierre and the great Comet of 1812. And as have Zohar and Gavin Sutherland for Ballet Shoes.

[Mickey Jo]

I think this is going to go the way of Best New Musical and I think it's going to go to the Curious Case of Benjamin Button.

[Erin James]

There's so much for it.

[Mickey Jo]

The musical identity of that show being what it is, Even though the performers are not nominated as musicians, which we have seen before for the likes of Come From Away and the Kids from School of Rock, I think that is going to curry a little favor, I think.

[Erin James]

So. The fact that the music is seen on stage and they'll have probably explained in this process how the arrangements and orchestrations change because the actors and the covers and the situations and how it's all done. It's the homegrown musical, a Lot of people have a lot of love for Darren Clark, as well as a composer. And the fact that you've got two of the composers of the musicals being nominated, it being like Darren Clarke and Dave Malloy, I think it will be one or the other that will receive the awkward.

[Mickey Jo]

I think Benjamin Button should win and will win.

[Erin James]

Yeah. Let's go to costume design.

[Mickey Jo]

Let's.

[Erin James]

So for costume design, we have Hugh Durant for Robin Hood, Sashiko Nakahara for Spirited Away, Tom Scutt for Fiddler on the Roof, and Gabriella Slade for Starlight Express.

[Mickey Jo]

This is tricky.

[Erin James]

I can't remember if puppetry is in.

[Mickey Jo]

No puppetry is included alongside set.

[Erin James]

So that makes it easier in some ways, I think, because the puppets can add a lot of weight.

[Mickey Jo]

Taking away the puppets and just focusing on costuming in Spirited Away, I think it has a little less heat. Still beautiful work, but a little less heat.

[Erin James]

Starlight has a lot of, like, elements. And, like, Cabrilla Slade's costumes are memorable. And this is her first time being nominated since Six went to Broadway and.

[Mickey Jo]

Had its moment, presumably.

[Erin James]

I believe so, Yeah. I feel like Gabrielle Illslay's position now in the uk, like, in the industry of creatives and stuff, has. Is a lot more like. Like, there's a lot more prestige that's viewed as Gabrielle Slade. And I can't remember if she got the Olivier 4 design before for six. So she might get a. If not, this is a career nomination because she got the Tony.

[Mickey Jo]

Yeah, but you know who else got the Tony is Tom Scott for Cabaret. And so now with his work.

[Erin James]

And he's a double nominee this year.

[Mickey Jo]

Yeah.

[Erin James]

Because also set design.

[Mickey Jo]

Yeah, yeah, yeah.

[Erin James]

So could they be doing a. A double set and costume?

[Mickey Jo]

Not that it works this way because obviously they each have their own competition, but if you were to say that Fiddler was more likely to win for its set or for its costumes, which would you say?

[Erin James]

Set.

[Mickey Jo]

And that is what I think as well.

[Erin James]

I kind of want to look now set and costume whilst I can, whilst I'm in this mindset, which is that Gabriella Slay will win costume design and Tom Scott will win set design. And that will be like, a decision that people might have made to honor both.

[Mickey Jo]

Who do you think should win costume design while we're still here?

[Erin James]

Gabriella Slade.

[Mickey Jo]

Okay, you think Gabriella Slade should win and will win? Yes, I'm gonna say should and will both. For Tom Scott for Fiddler on the Roof or, like, a surprise Spirited way. I really. I think this is the Hardest to predict category so far is costume design. And that surprises me that I'm saying.

[Erin James]

That I wonder where people have been. Like when we look at snubs for this year, one of the big ones was how Starlights lighting sound like how there wasn't judged by the chips. I wonder whether the chips being put in the costumes and all of that is part of her. Is part of views as part of her work in. In creating that that functionally could work in the costumes.

[Mickey Jo]

Sure. I just don't know if they're going to go into that much detail in.

[Erin James]

Their considerations, seeing as I've already said who I think is going to win. Let's go to set design. John Bowser, Toby Olier, Daisy Beatty and Satoshi Kuriyama for Spirited Away. Frankie Bradshaw for Ballet Shoes, Es Devlin for Coriolanus and Tom Scutt for Fiddler on the Roof.

[Mickey Jo]

I think I concur that Tom Scott will take this one for Fiddler on the Roof. And I feel a little more confident about this one. I sort of think should as well. I'm going to say in both instances.

[Erin James]

Like Spirited Away, the puppetry gorgeous like.

[Mickey Jo]

To say that that included the puppet.

[Erin James]

Oh, that's the thing.

[Mickey Jo]

It's hard because I don't think it's fair to give it a leg up just because it had puppets.

[Erin James]

And I don't know whether Spirited Away had as much of an impact as say Totoro did. Sure. I think something that is so striking about the Fiddler production was the set and the use of however bikes, the field and that use of levels of people going up and where the Fiddler was.

[Mickey Jo]

So the whole meaning of the whole thing and like it being this pulled up section of the earth, the way that that positioned them to feel like they were being thought of as the insects underneath a piece of like garden floor that you're pulling up and all of the imagery around that and it also invoking a lot of like early 20th century Russian artwork and like a lot of political imagery and like under the collapsing boot and like under this system holding up the higher classes. I think there's an awful lot in that and it was really striking and it was really effective. Yeah, I'm gonna throw my weight wholeheartedly behind Fiddler on the Roof for this one.

[Erin James]

So let's do lighting design.

[Mickey Jo]

Let's do it.

[Erin James]

Paulie Constable and Ben Jacobs for Oliver. Howard Hudson for Natasha PM the Great Comet of 1812, Howard Hudson for Starlight Express and Aideen Malone for Fiddler on the Roof.

[Mickey Jo]

The Fiddler nominations jointly setting the record for the most in Olivier's history along with Hamilton has so shifted my brain and my mindset on all of these categories. But should win for me thoroughly. Is Oliver. Is Paulie Constable for that. And also I. I know what you're about to say, which is that Paulie Constable, having just announced retirement and so is a salute to an illustrious theatrical career.

[Erin James]

I think Paulie Constable's going to win.

[Mickey Jo]

Yeah.

[Erin James]

I think one stunning.

[Mickey Jo]

It's gorgeous.

[Erin James]

There's so much love for Oliver, but also a. This is the final show by Paula Constable, I think. And the fact that because the Watson Stage Awards made a big moment of it with the Achievement award and everything. That will be. Most of the industry was there. So most of the people heard that. So then hearing that, then the nomination. I hope and kind of expect that people with that in their mind will vote.

[Mickey Jo]

Yeah.

[Erin James]

To celebrate both the work, which is incredible, but also the legacy.

[Mickey Jo]

So we agree entirely that it's deserving of the win. But Paulie Constable's work on Oliver and Ben Jacobs. And Ben Jacobs, but also that we dare to dream that it will.

[Erin James]

Yeah. So for best sound design, we have Nick Kalidster for Fiddler on the Roof, Christopher Schutt for Oedipus, Thies Van Vuhl for the Years, and Koichi Yamamoto for Spirited Away.

[Mickey Jo]

I don't know that any are emerging for me as the most obviously remarkable. So I'm wondering what gets carried by a prevailing tide here. If we do see Love for the Years, if we do see Fiddler on the Roof winning on a lot of its many nominations. I think it's between those.

[Erin James]

Yeah, I think it's between the two, I would say, like music and the use of their microphones on the stage and the fact that the whole cast play and do the things on the side for each segment of the years is probably one of the things that stuck with me the longest. With each.

[Mickey Jo]

Interesting. For so much of that sentence, it seemed like you could have been talking about either of them.

[Erin James]

I kind of have lent towards and leaning towards the years. Yeah.

[Mickey Jo]

Maybe I've done it a disservice. Maybe. Maybe it is overtly the most remarkable.

[Erin James]

I think it utilizes sound the most in. In how what the cast members are doing when they go to their instruments and. Yeah, I talked myself into it for years.

[Mickey Jo]

Okay. No, I will. I'm prepared to agree with you. The years. Are we saying both should win and will win?

[Erin James]

I think so.

[Mickey Jo]

I do as well. Which brings us to the exciting world of Actors and performances. I will let you decide where we're going to dive in here.

[Erin James]

Let's start with best actor in a supporting role in a play. We have Jorge Bosch for Kyoto, Tom Edden for Waiting for Godot, Elliot Levy for Giant, and Ben Whishaw for Blueitz.

[Mickey Jo]

I think Elliot Levy probably will and who I think should, having seen neither, sadly, Tom Edden nor Ben Whishaw. I think, I mean, probably Elliot Levy, having really enjoyed Jorge in Kyoto, whether there is more love for Kyoto among the voters and he sort of carries that for the company. Being the only nominated.

[Erin James]

Yeah. Being the only nominated performance. Yeah.

[Mickey Jo]

I think I'm probably prepared to say that Elliot Levy, who I think is always brilliant on stage, should and will win for Giant.

[Erin James]

I have only seen one of said four performers, so.

[Mickey Jo]

Which was Jorge?

[Erin James]

Yeah, and I have a lot of Jorge and would love to see him win. But like Elliot Levy has won prior at the Olivier's. He's kind of one of those people that I go, if he's in the show and he's eligible for a show, he will at least get a nomination for a show, if not win said role. And I think Giant, if it might not be the strongest for like winning Best Play, I think is going to.

[Mickey Jo]

Rack up a lot of performances.

[Erin James]

I think in performances, it's kind of going to be like a win, win, win situation. So I think Elliot will win.

[Mickey Jo]

Yeah. Are we next then going to supporting actresses in a play?

[Erin James]

Yes, we are. Okay, so for best actress in the supporting role, we have Sharon D. Clark for the Importance of Being Earnest, Rom Le Gray for Giant and for the years separately.

[Mickey Jo]

Yes.

[Erin James]

And Gina McKee for the years.

[Mickey Jo]

The elephant in the room here obviously is the dual nominations for Romola ghrai, making up 50% of this category's nominations. You've seen her performance in the years. I've seen her performance in the years and in Giant. And I think it's fair to say pretty clearly that I think she should win for Giant and will win for Giant. She was also fantastic in the years dealing with some of that plays most challenging sections and material and themes.

[Erin James]

If people don't all go one way, similarly, you could get a split. And with the years also being a split, if people love Gina McKee, Sharon could byproduct of that being really hard for people to pick end up winning.

[Mickey Jo]

There is a road that could take us there. I agree. For me, when I saw Romilla in the years, I was reminded of how great she was in Giant.

[Erin James]

Yeah.

[Mickey Jo]

Because had I think she's gonna win.

[Erin James]

I think it would be crazy if she didn't win for that massive a year for performance.

[Mickey Jo]

I'm saying she should win for Giant and she will win for Giant.

[Erin James]

I will say the same. Even though I've only seen her over years.

[Mickey Jo]

You're very kindly taking my word for it and I appreciate that.

[Erin James]

Let's flip over to musicals.

[Mickey Jo]

Let's do it.

[Erin James]

So we're doing first best actress in a supporting role in a musical. Okay, so we have Liv Andruzier for Fiddle on the Roof.

[Mickey Jo]

Yes.

[Erin James]

Amy Di Bottle of Mayo for the Devil Wears Prada, Beverly Klein for Fiddler on the Roof. And Mamuna Maman for Natasha P. And the Great Comet of 1812.

[Mickey Jo]

This is both a difficult category and a really lovely one because I think I'd be delighted to see wins go to anyone. Any of these. Oh, should is going to be very hard to say here. You know, I know I have a should because I think to be in a commercial show, to be in the Devil Wears Prada and. And be giving that great a performance and get that awards recognition, I think is a feat. And she is such a joyously scene stealing part of that show. It's the performance that we spoke by the interval about an Olivier nomination. And so I think Amy DiBartolomeo, I'm gonna say should win.

[Erin James]

I agree. For Devil Wears Prada, I think Amy, I felt like it's a moment and it's a moment that everybody took from it. Regardless of like how anybody felt about that show with the writing or the material. Everybody said like Amy to Bartolomeo's performance.

[Mickey Jo]

Yeah.

[Erin James]

And if you are the person that's been spoken about so much from a show and making so much out of these moments, I mean, we've seen Olivier Awards go to people with just one song. That takes a moment. She has moments throughout that whole thing.

[Mickey Jo]

She does.

[Erin James]

She does where it goes to Will. I think it's going to be Maymuna.

[Mickey Jo]

And I'd be. I've been such a fan of hers for so many years.

[Erin James]

This is her second nomination as well.

[Mickey Jo]

She's someone who it's inevitable she becomes an Olivier award winner because the work that she does that she's been doing on stage has been so nuanced and so brilliant. And so I just think her perspective as an artist and as a performer is so interesting.

[Erin James]

And Sonya alone, as a moment that was kind of felt like the moment of that musical, but everything just became so still and focused in on her and her performance. She Wasn't moving. She was just singing and emoting.

[Mickey Jo]

Interesting, because this is a category really divided between very subtle sort of undersung performances versus flashier ones where Amy and Liv had a lot more obvious material and Maimouna and Beverly less so. I would have tremendous respect for a Maimouna way for people recognizing that performance, which again really does deserve it. So, yeah, that was difficult, but I think we made our way through it.

[Erin James]

Yeah. So best actor in a supporting role in a musical.

[Mickey Jo]

That's the one.

[Erin James]

We have Andy diamond for hello Dolly, Raphael Papo for Fiddler on the Roof, Leighton Williams for Titanique and Tom Xander for Mean Girls.

[Mickey Jo]

I think two horse race.

[Erin James]

I think it's a free horse.

[Mickey Jo]

Who is your third? You think Andy Nyman is the third horse?

[Erin James]

I think so. But I think that people know that he's coming back in the next season with the Producers.

[Mickey Jo]

I don't think Andy Nyman was even my favourite. I enjoy andieman very much and him in Fiddler in that revival years ago as Tevye was stunning. I think he's not even my favorite supporting actor in hello Dolly because I thought Harry Heppel should have been nominated, as I've said multiple times. But I think this is a two horse race between Tom Zander and Layton.

[Erin James]

And I think Shinwood is Tom Xander.

[Mickey Jo]

They're both genuine show stopping performances and that's what I really love is that they have been. I agree.

[Erin James]

Both of them do an incredible job and they both in their respective shows fully do stop the show.

[Mickey Jo]

Yeah. Leighton is not the only supporting actor in Titanique. I had that conversation about though. And I don't know that his is the performance I was the most euphoric about after seeing it. On which basis I think Tom, who has always been clearly and far away the highlight among a really brilliant cast in Mean Girls. I think I will say that Tom Zander should win, but I think Leighton Williams will win. Leighton's been the MC in Cabaret. Leighton flies the flag for musical theatre.

[Erin James]

It's a big career, mate.

[Mickey Jo]

Big night of musicals. Leighton is someone who can go on TV and advocate for talk about musical theatre. And does I think that feel like Olivier Award winner? It feels very inevitable. Tom Zander should. And Leighton Williams will.

[Erin James]

Okay, okay, let's go to best actress in a play.

[Mickey Jo]

Okay, Best actress in a play.

[Erin James]

We have Heather Agipong for Shifters, Leslie Manville for Oedipus, Rosie Sheehy for Mackinaw, Mira Sayau for A Tupperware of Ashes and Endear of Armor for Oedipus based.

[Mickey Jo]

On everything, based on reviews, based on word of mouth, etc. I do think that this is pretty clear that Bill should and will win.

[Erin James]

And now we know the Broadway transfer has been announced and that she's going in just all the way.

[Mickey Jo]

The two of them are both great. They are both really great. But their conversation, the first I heard it was, give that woman an Olivier. Like the talk was about her first. And Lesley Manville, already an Olivier award winner. I think she's gonna get another one.

[Erin James]

Yeah. Nope. From having seen none of said nominees in these pre productions, I think Leslie Manville's the person that people have been talking about. I just think it would take a lot to go against the fact that Oedipus sold out, the fact that everybody was talking about it.

[Mickey Jo]

And if that seemed really easy picking that one, you wait for the next category, which is impossibly hard.

[Erin James]

Best actor in a Play. Adrien Brody for the Fear of Thirteen. Billy Crudup for Harry Clark, Papa Eshidou for Death of England, Delroy. John Lithgow for Giant, and Mark Strong for Oedipus.

[Mickey Jo]

You need only look at the quality of the snubbed performers in this category, from this category to realize what a strong year this was for leading actors. In place all five of these. And this gets said a lot, but I really mean it in this instance. All five of these should win. And that's only. But I've seen four out of five. That's only based on terrific things that I heard about Adrien Brody's performance because Giant opened and everyone was saying, oh, John is going to win the Olivier. And then people started saying, oh, but Adrien Brody in the fear of 13, has he damaged his standing a little bit with that Oscars moment? With the backlash to his obnoxious Oscar speech?

[Erin James]

Probably. The timings probably do not help. And people may be not wanting him to get on the stage because they don't know what he's gonna say.

[Mickey Jo]

I mean, they only ever televised the highlights of the Olivier Awards anyway, so, you know, that's not really. That's not ITV's problem. But for those of us who will be in attendance at the ceremony, I'd eventually like to leave.

[Erin James]

Yeah, I could see it going to Drunlithgow because Join's about to come back.

[Mickey Jo]

I think Jon will win. It's a compellingly chilling performance. It's really, really unsettling. But Mark Strong, also so great in Oedipus, but I think he has been as great recently on the London Stage and for Lithgow.

[Erin James]

I also think if we're saying that the two supporting nominations are going to go to Giant, it'd be very weird for them not to do it. For Trio.

[Mickey Jo]

Sure. Okay. I'm prepared to say he will win for should win. This is so hard. It's so hard because Puppet Sudhu.

[Erin James]

I'm opting out of saying anything for should because I only saw Billy Crudup.

[Mickey Jo]

So Billy Crudup and Puppet Sud were both doing one person performances, which managed to be impressive by virtue of how much they have to do and portraying all of these different characters. But both were really remarkable for Billy in terms of the characterization and for Papa in terms of the rapport with the audience and how damn charismatic that was. This is a really remarkable category. But there was something about those final moments from John Lithgow. If I were voting, I would talk myself out of the one person performances. I will eventually settle on. John Lithgow should win, but I. I think they are all really, really strong.

[Erin James]

And now we get to what I think are the hardest categories. Let's start with best actor in a musical.

[Mickey Jo]

I think this is quite easy, so bring it on.

[Erin James]

John Daglish for the Curious Case of Benjamin Button. Adam Danheuser for Fiddler on the Roof. Miles Frost for MJ the Musical. Simon Lipkin for Oliver and Jamie Moscato for Natasha Pierre and the great Comet of 1812.

[Mickey Jo]

John Daglish is the front runner here and I think the competition is from Simon Lipkin. And I think you may feel a little bit differently perhaps about like Adam Danheiser.

[Erin James]

Adam Danheiser was the person that I went specifically was like, oh, that is a very good Tevye.

[Mickey Jo]

I agree. I agree.

[Erin James]

And Tevye is a very hard role. It's such a specific type of way you have to be to make Tevye work.

[Mickey Jo]

Yeah. Andy Nyman did not win for playing Tevye.

[Erin James]

Yeah.

[Mickey Jo]

In the most recent previous revival. I think Jamie Moscato sadly doesn't stand a chance here because he's not empowered to be a leading man in this category.

[Erin James]

I think people have probably been surprised that he's in leading and I think.

[Mickey Jo]

If he was in supporting, we might be able to have had more of a conversation about liability.

[Erin James]

I agree that it feels like John's for frontrunner, but Simon Lipkin, it's a career moment. Cause comparatively, John already has an Olivier.

[Mickey Jo]

He does.

[Erin James]

But that performance, like Benjamin Burton, that performance is like for me is just incredible.

[Mickey Jo]

Should win for playing Benjamin Burton. What he does in convincing you that he is all of these different ages, without prosthetics, without makeup, is just spellbinding.

[Erin James]

Yes.

[Mickey Jo]

And I think he will win as well.

[Erin James]

I agree. I think the acting performances in Benjamin Burton are undeniable.

[Mickey Jo]

And we have a Tony Award winner in this category with more Miles Frost. There was a lot of noise about cancelled performances and how many different actors had to be brought in while he was in the show. If I don't know, within the industry, that may have impacted his brand a little bit. Because with these things, if we're being a little bit cynical about it, it is not just who gave the most lovely performance on the stage. It is to do with branding. It's to do with everything else and how people exist in the industry.

[Erin James]

I think I'm willing should with John.

[Mickey Jo]

Okay.

[Erin James]

But like a little bit of my heart is like, I hope, particularly because there are a lot of feelings about that character.

[Mickey Jo]

Yes.

[Erin James]

And the fact that Simon, when hearing him talk about it and bringing his culture and the specifics that they went through, that he went through as an actor to ensure that he was comfortable playing the role, bringing his identity to the role.

[Mickey Jo]

I'd be delighted if Simon won. I also think Simon is just now arriving into what will be the most exciting and best of an already brilliant, brilliant career that he's had. But, yes, that is how I think the cards will fall for this one.

[Erin James]

And then the final category, Best Actress in a Musical. So we have Tamisa Dawnford May for Natasha Pierre and the Great Comet of 1812, Lauren Drew for Titan Ink, Claire Foster for the Curious Case of Benjamin Button, Lara Pulver for Hiddler on the Roof, and Imelda Staunton for hello, Dolly. I feel like both of us are going to say that Imelda Staunton will win this category.

[Mickey Jo]

Yeah.

[Erin James]

And we both will say that we want Claire Foster for me as a should for me. I agree.

[Mickey Jo]

I'm willing to have a conversation about any of the others, really, as great options for who should win this category. I mean, I think Tamista is such an exciting rising star. I get Claire just as much as John. The work they do in Benjamin Button is magical. And I wish it didn't feel like so much of a foregone conclusion that Imelda was going to win in Dolly. But I think my frustration around that has made me forget how great she was as Dolly. She was really, really great. I did enjoy that performance. It was layered. It's not necessarily the exact flavor of a Dolly Levi. That is my preference. And you can go and check out my review to find out a little bit more what I mean about that. But it was nonetheless a remark, a.

[Erin James]

Magnificent turn, and it's like Dolly. If you can hold that stage as Dolly Levi, it's.

[Mickey Jo]

Oh, it takes. It takes a lot to beat a.

[Erin James]

Dolly when talking about Tevye. Like, it's exactly the same to be said about a Dolly. Yeah, a Dolly. If you hit Dolly Levi and you do it well.

[Mickey Jo]

Yeah.

[Erin James]

That material and that character can't be done.

[Mickey Jo]

Everyone else in this category is an underdog.

[Erin James]

Every single person.

[Mickey Jo]

They're sort of all underdog roles. Really?

[Erin James]

Yeah. Because like, Lauren Drew does an incredible job at the improv and being able to hold that show because as a Celine, you are the lead.

[Mickey Jo]

But I think even Marla Mindel, who co created that show and originally played that role and won awards for it, Off Broadway, would laugh hysterically at the notion of Celine and Titanique winning an award over Dolly Levi. Like it would Dolly Leva. I would as well. And it would be thrilling and hilarious. But I don't see it coming.

[Erin James]

No. It's from a second that hello Dolly took its first bow in the West End. It was kind of a full grown conclusion. Imelda Staunton. And also, this show has been years in the making. This show was meant to happen a long time ago, back in 2020. This discussion of Imelda in hello Dolly has been the talk of time.

[Mickey Jo]

It has indeed. It has indeed. Well, after however many categories, that brings us to an end for our predictions with really much agreement. Much agreement between us. This may be the least we've ever disagreed on. Olivier Ward's predictions. That will either mean that we are united in victory or we both get to be wrong together.

[Erin James]

Which is very sweet.

[Mickey Jo]

Yeah. I'm very excited to find out which of those things it's gonna be. We are. At the time you're seeing this or hearing this, we will already be out of the country in New York, seeing what are likely to become many of this year's Tony Awards nominees. Yep. Over on Broadway, which is something we'll be talking about a little bit down the line. As always, make sure you're following. Make sure you're subscribed here so you don't miss that. But we will be getting back just in time for the Oliviers. Stay tuned for the little vlog of what we get up to at the Oliviers. But in the meantime, we want to know what you think.

[Erin James]

Yes.

[Mickey Jo]

Comment down below with your thoughts. Who would you like to win and Olivier, who are you rooting for the most out of all of these categories? And feel free to type out all of your predictions of who you think should win. And then maybe we can go back to the comments section of this video and see if anyone beats us.

[Erin James]

Yeah, after.

[Mickey Jo]

After the ceremony. In the meantime, thank you so much for listening to our thoughts. I have been Mickey Jo. He has been Aaron James. You can find us both all over social media and we hope that everyone is staying safe and that you have a stagey day.

[Erin James]

Bye.

[Mickey Jo]

For 10 more seconds, I'm Mickey Jo Theatre. Oh, my God. Hey, thanks for watching. Have a stagey day. Subscribe.