{"id":9779,"date":"2019-04-05T19:15:56","date_gmt":"2019-04-05T19:15:56","guid":{"rendered":"https:\/\/laughfrodisiac.com\/\/?p=9779"},"modified":"2019-04-30T22:03:00","modified_gmt":"2019-04-30T22:03:00","slug":"its-olivier-awards-weekend-predictions-thoughts-rants-jazz-hands","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/04\/05\/its-olivier-awards-weekend-predictions-thoughts-rants-jazz-hands\/","title":{"rendered":"It’s Olivier Awards Weekend! Predictions, Thoughts, Rants, Jazz Hands"},"content":{"rendered":"\n

Just kidding there are no jazz hands in here, unless you just imagine me doing them but then how would I be typing? The Olivier Awards, the most bonkers awards show in the world (yes even crazier than the Golden Globes<\/a>, if you can believe it) are this Sunday, April 7, and even though I have rage bubbling inside me, RAGE, about all aspects of the Oliviers (not least of all the fact that this is the one award show I can watch on TV in the UK?? no Tonys, no Oscars, but this? (and they don’t even let the TV audience see the whole thing OR see it live! They make a supercut and air it after the fact BRITS GET YOUR SHIT TOGETHER STAY IN THE EU AND DO AWARD SHOWS BETTER)) (also the Mastercard sponsorship visibility is excessive and obnoxious), they are still an award show honoring musical theatre, I mean, you’re doing my two favorite things guys I’m still EXCITED even though I’m ANGRY, okay? It’s like Amy Adams’ anger in “Enchanted” when she is excited about being angry. “Oh! I’m angry! ha ha! I’m angry!” You know? You don’t know! <\/p>\n\n\n\n

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Why am I such a nonfan of the Olivier Awards? Why am I experiencing some serious agita and going through my stash of Rennie all week (nb: that’s British for Tums)? How on earth could anyone in their right mind say they are crazier than the Golden Globes? Because they are, Mitch. One peeve with the Oliviers is that they loves, LOVES, them some group nominations when they aren’t really appropriate. Group nominations are okay when it’s children rotating in the same part: the four Matildas, the three Billies Elliot. They are not the right move when voters simply can’t or SHANT choose between cast members that are all doing a good job. Guys, I don’t know if you know this, but they’re all supposed to do a good job, that’s literally their job. And your one job, you insane voters, is to CHOOSE. MAKE A G-D CHOICE! Oh it’s too hard for your pale British sensibilities? IT’S SUPPOSED TO BE HARD! THAT MEANS PEOPLE ARE DOING GOOD WORK IN YOUR THEATRES! In recent years, Olivier voters have literally nominated ENTIRE CASTS into ONE slot instead of choosing among them. They’ve done so this year with the three lead actors in The Lehman Trilogy – all playing different roles, this is not a child-rotating sitch – and with all six of Henry VIII’s wives in the musical Six, all put into one supporting actress slot. Not only is that not fair to the other competitors (who wants to compete against an entire cast?), it’s the same as giving a participation trophy. They’d all deserve a nomination in their own right, of course. These are all incredible performers and I’d have trouble deciding who to nominate among them. But that’s the point of an awards show, to choose the best of the best. lol like that’s what voters ever do. <\/p>\n\n\n\n

My other biggest gripe with the Oliviers is my same problem with most award shows: they’re hella wrong all the time and I can’t punch them in the face about it. Oh also the aforementioned refusal to air the telecast live on BBC, choosing instead to show a ‘highlights’ reel hours later. First of all, how dare you.<\/p>\n\n\n\n

The indisputable biggest problem of this particular year, hoo boy, is that we’re just going to pretend that Hadestown<\/a>, the best musical of the year, the best musical on Broadway this season likely to win the Tony, and one of the best musicals in years period, wasn’t eligible for the Oliviers, because if we recognize that it was eligible and the voters just completely overlooked it, I might explode. Honestly get some new voters; they are obviously incompetent. Okay so we are all in agreement that Hadestown wasn’t eligible because that’s the only way we can get through this, right, because otherwise they would have swept every category? Right, good. Let’s do this infuriating nonsense! <\/p>\n\n\n\n

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This one isn’t even a question; it’s The Inheritance by a mile. Or by more than 7 hours of amazingness, as this play is an epic in every sense of the word but not least because it’s a two-parter of almost four hours each part. And I loved all of it! The exquisite Part 1 <\/a>on its own would still be the best new play of this year and probably most years, but together with Part 2<\/a>, The Inheritance is one of the most important, impressive, emotionally taxing shows ever. I can’t wait for it to go to Broadway and get even more acclaim. The only other new play I’d love to be in this category is the great Home, I’m Darling<\/a>, which, because it’s funny, is nominated in the separate Best New Comedy category, which is another reason why I hate the Oliviers. I mean I’m glad it has a better chance to win in that one but still, comedies are plays too, guys. So classist. 
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THIS SOME BULLSHIT, HEAR ME? Poor Kyle Soller, gave the best performance by a longshot but will lose to either Ian McKellen (because it’s Ian McKellen and doing King Lear at that, a pairing that’s like the theatre version of Ricky Gervais telling Kate Winslet on ‘Extras’ how in order to win an Oscar she should do a Holocaust role (which she did because she did)), or to the triumvirate that shouldn’t be of Adam Godley, Ben Miles, and Simon Russell Beale all nominated in one slot. All five men are doing excellent work (and should be the five nominees total ok you get it) but Kyle’s performance was the most human, touching, and with over 7 hours of material, difficult. Shouldn’t that give him the edge? I wish. <\/p>\n\n\n\n

Oh and one more reason to hate the Oliviers this year a bit extra: Kyle is the only actor from The Inheritance nominated, out of a cast of all incredible performances. I’m not going to write separately about supporting actor in a play because I’m too furious, but how Andrew Burnap wasn’t nominated for his Toby Darling when I would have bet the world on his win is beyond me, let alone no Walter? No JBenj Hickey? What a mess. 
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I haven’t seen Summer and Smoke yet, which is a shame because I’ve heard that Patsy Ferran is the one to beat. I did see all the other nominees, though! Gillian Anderson should not be nominated for the pile of rotting garbage that was All About Eve<\/a>. The other three though are all worthy competitors. Eileen Atkins was heartbreaking and vibrant in The Height of the Storm<\/a>, Sophie Okonedo was crayballs and fire emoji power in Antony and Cleopatra<\/a>, and Katherine Parkinson would have my vote for her wonderful starring role in Home, I’m Darling<\/a>. Love her! Excited to see what happens here. <\/p>\n\n\n\n

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This one’s hard for me, a fight between my head and my heart. Caroline, or Change <\/a>was not my cup of tea; in fact, I was quite disappointed in the story and score, though I can admit this production is doing a good job of presenting those subpar elements. I know, we all know, that the much-beloved, much-raved about, much-exalted gender-swapped and groundbreaking revival of Company is going to win and possibly sweep. But The King And I<\/a> is better. The Broadway transfer lost a little of its magic as it crossed the pond, but it’s still a solid production of a great show. The Company revival<\/a>, on the other hand, revealed all the weaknesses of that show. I get that it will (and should win) because it’s an important revisioning of an old property, but honestly I just did not enjoy it. And I saw it twice<\/a>, convinced it was my fault. It wasn’t. It’s a very impressive show visually, but there’s no heart in that story, no matter what gender Bobby is. The more I think about what message it was trying to convey this time around, the more I want to throw up my hands and sigh petulantly. <\/p>\n\n\n\n

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But because Company is such an otherwise well received and yes important show this year, with yes groundbreaking changes, Marianne Elliot will probably also win for direction. Oh this is ANOTHER reason I hate the Oliviers – they combine all directors, of plays and musicals, into one category. What a way to show how little you value their work! Ashley’s direction was the one part I liked of Come From Away, and I understand why he won the Tony, and I would be okay with him winning here (if that was the only thing CFA won, of course. The only one it deserves). Although I would be voting for Daldry’s impeccable work on The Inheritance, I admit that Elliot’s win would be deserved. Her vision of a new Company is notable, even if I don’t like the finished product. <\/p>\n\n\n\n

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How forking STACKED is this category! I’d be okay with any one of these actresses winning. Well that’s not true; I’d be okay with Kelli (since she won’t win a Tony this year) or Adrienne (working harder than anyone ever has worked up on that stage) winning, yet I realize that it’s more likely for Rosalie or Sharon to win. I was so ready to be awed by the latter two, and while they were good, the flaws of their respective shows did them no justice in my eyes. I’m pretty sure it’s Rosalie’s award, but I’d be happier for my queen Kelli or the incredible Adrienne to win. <\/p>\n\n\n\n

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Whereas Best Actress in a musical is the tightest race, Best Actor in a Musical is the weakest. None of these stand out to me. I love Ken Watanabe’s King but I’d be shocked if he won. And out of all the many nominations Fun Home deserved, I’m beyond shocked that the one acting nod it received was for the weakest performance in the show. (Zubin was good, but it was the weakest. I’m shocked that Middle Allison wasn’t nominated.) This race will surprise me, I’m sure, but I think it’ll go to Suddenly Seymour. <\/p>\n\n\n\n

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Faaaack, I take back what I said about the strongest race being Best Actress in a musical. It’s definitely Best Supporting Actress. All of these are pretty worthy performances, even though one of them should have five fewer people in there. Oof. Okay, let’s start at the top. Patti LuPone is going to win<\/a>, because everyone loves Patti. I love Patti too, but I think her Joanne is her least inspired performance to date. It felt like pandering for cheap laughs to her devoted audience that would cheer for her even if she slapped their grandmothers. Ruthie, my god I love Ruthie and would love this win for her, but she didn’t actually perform on the show’s<\/a> official opening night (she had an alternate), so some bozos are salty that she even got nominated, which stinks, because she is so lovely in this role. Rachel Tucker gets to perform the one great song in Come From Away<\/a> and she does incredible things with it, but she’s one of a superbly hard-working ensemble that all play numerous characters, and they don’t really get the chance to make an impression as any of the characters, too busy running around and changing hats. And then we have six actresses from Six <\/a>sharing the last nomination, which by now you know how ridiculous I find that. Yes, they were all great in a spectacular show, but it’s not that hard to pick the best of them. Why can’t voters vote for their favorite and see what happens? I could have helped them narrow the field to the very best: it’s Katherine Howard, played by Aimee Atkinson. She has the best song and forking kills it beyond belief. She is spectacular and deserved to get an nomination in her own right. <\/p>\n\n\n\n

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This is the only category that’s a lock: It’s Jonathan Bailey in Company<\/a>, the first man to play Jamie and sing about how he’s Not Getting Married Today. He was the main reason I was almost happy to see the show again, with a performance that’s the definition of award-worthy. He’s hilarious, riveting, magnetic, and did I say hilarious? I hope he performs on the telecast. The best part of the show. <\/p>\n\n\n\n

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All the other critics and audiences are loving Come From Away<\/a>, and even though I don’t think it’s actually great, the show as a whole is moving and that tricks people into thinking all its parts are of great quality. I get that, but there’s no excuse for thinking the music is the best of this bunch. That honor belongs to Fun Home<\/a>, who should win for its elegant, sophisticated, deeply felt score about a real family and all the intimate thoughts and memories that come with that. If Fun Home can’t win, the honor should go to Six<\/a>, for some of the catchiest, most riotously fun and clever music to come out of British musical theatre. I’ll be pissed if Come From Away wins for its mediocre score. The other two nominees are plays!! No surer sign of a dip in musical theatre quality than when plays are nominated for score. (I mean unless they are absolutely incredible play scores but I don’t even remember the music from The Inheritance.)<\/p>\n\n\n\n

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All the momentum and good will (however misplaced I feel it is) belongs to Come From Away<\/a>, no matter how wrong I hope I am. Maybe Fun Home<\/a> would have had a better chance if it didn’t end all the way back in September, but regardless of when it played, it deserved to win. I’m sad that it won’t. I’d be happy with Six <\/a>winning, even though it is not a fully-fledged book musical and more of a fun rock concert. Everyone enjoys Tina but, like most jukebox musicals, it has a weak book. I will be surprised if CFA doesn’t win, but I will be happy. <\/p>\n\n\n\n

What kinds of crap do you think will go down on Sunday? Will the voters ever live down their shame for ignoring Hadestown<\/a>? Will someone with no ties to NYC talk about 9\/11? Will Patti LuPone talk so long that they try to play her off and she tells them to can it? My guesses are no, yes, and hell yes. <\/p>\n","protected":false},"excerpt":{"rendered":"

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