2012 Olivier Awards nominations announced

It's a good year for Roald Dahl and comedy in the UK's most prestigious theatre awards

share this article

Ten nominations for 'Matilda the Musical', including one shared by its four lead actresses

In how many categories is it possible for a show to be nominated for this year's Olivier Awards? Answer: 10. The producers of Matilda the Musical will be smiling from ear to ear after the nominations for next month’s awards were revealed, with the RSC’s Roald Dahl adaptation nominated in all 10. Tim Minchin is in the running for best score, and the four young actresses who share the lead are also nominated. In various categories Matilda will be up against Ghost the Musical at the Piccadilly Theatre and the National Theatre’s London Road, which have five and four nominations respectively.

As for the non-musical nominations, it’s clearly a year for laughter, with both the staged Ealing Comedy The Ladykillers at the Gielgud Theatre and the National’s One Man, Two Guvnors, now installed at the Theatre Royal Haymarket, both gaining five nominations. Other intrigue includes the joint nomination, in the Best Actor category, of Benedict Cumberbatch and Jonny Lee Miller. If they win, will they swap the award each night the way they swapped the roles of Frankenstein and his monster?

This year’s ceremony will be held at the Royal Opera House on Sunday 15 April, where the hosts will be Michael Ball and Imelda Staunton, stars of Chichester Festival Theatre’s Sweeney Todd, now at the Adelphi Theatre. It will also be shown live on BBC television via the Red Button.

 

BEST NEW PLAY
COLLABORATORS at the Cottesloe
JUMPY at the Jerwood Theatre Downstairs at the Royal Court
THE LADYKILLERS at the Gielgud
ONE MAN, TWO GUVNORS at the Lyttelton

BEST REVIVAL
ANNA CHRISTIE at the Donmar Warehouse
FLARE PATH at the Theatre Royal, Haymarket
MUCH ADO ABOUT NOTHING at the Wyndham’s
NOISES OFF at the Old Vic

BEST ENTERTAINMENT AND FAMILY
DERREN BROWN – SVENGALI at the Shaftesbury
MIDNIGHT TANGO at the Aldwych
POTTED POTTER at the Garrick
THE TIGER WHO CAME TO TEA at the Vaudeville

BEST ACTRESS
CELIA IMRIE for Noises Off at the Old Vic
LESLEY MANVILLE for Grief at the Cottesloe
KRISTIN SCOTT THOMAS for Betrayal at the Harold Pinter
MARCIA WARREN for The Ladykillers at the Gielgud
RUTH WILSON for Anna Christie at the Donmar Warehouse

BEST ACTOR
JAMES CORDEN for One Man, Two Guvnors at the Lyttelton
BENEDICT CUMBERBATCH AND JONNY LEE MILLER for Frankenstein at the Olivier
DAVID HAIG for The Madness of George III at the Apollo
DOUGLAS HODGE for Inadmissable Evidence at the Donmar Warehouse
JUDE LAW for Anna Christie at the Donmar Warehouse

BEST PERFORMANCE IN A SUPPORTING ROLE
MARK ADDY for Collaborators at the Cottesloe
OLIVER CHRIS for One Man, Two Guvnors at the Lyttelton
JOHNNY FLYNN for Jerusalem at the Apollo
BRYONY HANNAH for The Children’s Hour at the Harold Pinter
SHERIDAN SMITH for Flare Path at the Theatre Royal, Haymarket

Musical and backstage nominations overleaf


BEST ACTRESS IN A MUSICAL
KATE FLEETWOOD for London Road at the Cottesloe
SARAH LANCASHIRE for Betty Blue Eyes at the Novello
THE MATILDAS for Matilda The Musical at the Cambridge
SCARLETT STRALLEN for Singin’ In The Rain at the Palace

BEST ACTOR IN A MUSICAL
BERTIE CARVEL for Matilda The Musical at the Cambridge
NIGEL LINDSAY for Shrek The Musical at the Theatre Royal, Drury Lane
REECE SHEARSMITH for Betty Blue Eyes at the Novello
PAULO SZOT for South Pacific at the Barbican

BEST PERFORMANCE IN A SUPPORTING ROLE IN A MUSICAL
SHARON D CLARKE for Ghost The Musical at the Piccadilly
SOPHIE-LOUISE DANN for Lend Me A Tenor The Musical at the Gielgud
NIGEL HARMAN for Shrek The Musical at the Theatre Royal, Drury Lane
PAUL KAYE for Matilda The Musical at the Cambridge
KATHERINE KINGSLEY for Singin’ In The Rain at the Palace

BEST NEW MUSICAL
BETTY BLUE EYES at the Novello
GHOST THE MUSICAL at the Piccadilly
LONDON ROAD at the Cottesloe
MATILDA THE MUSICAL at the Cambridge
SHREK THE MUSICAL at the Theatre Royal, Drury Lane

BEST MUSICAL REVIVAL
CRAZY FOR YOU at the Regent’s Park Open Air Theatre
SINGIN’ IN THE RAIN at the Palace
SOUTH PACIFIC at the Barbican
THE WIZARD OF OZ at the London Palladium

BEST DIRECTOR
SEAN FOLEY for The Ladykillers at the Gielgud
NICHOLAS HYTNER for One Man, Two Guvnors at the Lyttelton
RUFUS NORRIS for London Road at the Cottesloe
MATTHEW WARCHUS for Matilda The Musical at the Cambridge

BEST THEATRE CHOREOGRAPHER
PETER DARLING for Matilda The Musical at the Cambridge
JAVIER DE FRUTOS for London Road at the Cottesloe
STEPHEN MEAR for Crazy For You at the Regent’s Park Open Air Theatre
ANDREW WRIGHT for Singin’ In The Rain at the Palace

BEST LIGHTING DESIGN
ANNA CHRISTIE designed by Howard Harrison at the Donmar Warehouse
FRANKENSTEIN designed by Bruno Poet at the Olivier
GHOST THE MUSICAL designed by Hugh Vanstone at the Piccadilly
MATILDA THE MUSICAL designed by Hugh Vanstone at the Cambridge

BEST SET DESIGN
GHOST THE MUSICAL designed by Rob Howell at the Piccadilly
THE LADYKILLERS designed by Michael Taylor at the Gielgud
MATILDA THE MUSICAL designed Rob Howell at the Cambridge
ONE MAN, TWO GUVNORS designed by Mark Thompson at the Lyttelton

BEST COSTUME DESIGN
CRAZY FOR YOU designed by Peter McKintosh at the Regent’s Park Open Air Theatre
MATILDA THE MUSICAL designed by Rob Howell at the Cambridge
SHREK THE MUSICAL designed by Tim Hatley at the Theatre Royal, Drury Lane
SOUTH PACIFIC designed by Catherine Zuber at the Barbican

BEST SOUND DESIGN
GHOST THE MUSICAL designed by Bobby Aitken at the Piccadilly
FRANKENSTEIN designed by Underworld and Ed Clarke at the Olivier
THE LADYKILLERS designed by Ben and Max Ringham at the Gielgud
MATILDA THE MUSICAL designed by Simon Baker at the Cambridge

OUTSTANDING ACHIEVEMENT IN AN AFFILIATE THEATRE
The Royal Exchange Theatre, Manchester for MOGADISHU at the Lyric Hammersmith
Theatre Royal, Stratford East in association with the Barbican and Traverse Theatre for ROADKILL
The Donmar Warehouse for SALT, ROOT AND ROE at the Trafalgar Studios 2
The Royal Court for THE VILLAGE BIKE at the Jerwood Theatre Upstairs

Opera and dance nominations overleaf



BEST NEW OPERA PRODUCTION
English National Opera’s CASTOR AND POLLUX at the London Coliseum
English National Opera’s A MIDSUMMER NIGHT’S DREAM at the London Coliseum
English National Opera’s THE PASSENGER at the London Coliseum
ROH2’s CLEMENCY (in association with Scottish Opera) at the Linbury Studio, Royal Opera House, Covent Garden

OUTSTANDING ACHIEVEMENT IN OPERA
ENO for the breadth and diversity of its artistic programme
AMANDA HOLDEN for her translation of CASTOR AND POLLUX at the London Coliseum
RICHARD JONES for his direction of ANNA NICOLE and IL TRITTICO at the Royal Opera House, Covent Garden and THE TALES OF HOFFMANN at the London Coliseum
MARK-ANTHONY TURNAGE for his composition of ANNA NICOLE at the Royal Opera House, Covent Garden and TWICE THROUGH THE HEART at Sadler’s Wells.

OUTSTANDING ACHIEVEMENT IN DANCE
THE DESIGN TEAM for their work on the Royal Ballet’s ALICES ADVENTURES IN WONDERLAND at the Royal Opera House.
EDWARD WATSON for his performance in THE METAMORPHOSIS at the Linbury Studio at the Royal Opera House
SYLVIE GUILLEM for her performance in her production of 6000 MILES AWAY at Sadler’s Wells
TOMMY FRANZEN for his performance in ZooNation’s SOME LIKE IT HIP HOP at the Peacock

BEST NEW DANCE PRODUCTION
DESH by Akram Khan Company at Sadler’s Wells, choreographed by Akram Khan
GARDENIA by Les Ballets C de la B at Sadler’s Wells, directed by Alain Platel and Frank van Laecke
THE METAMORPHOSIS by ROH2 at the Linbury Studio, choreographed by Arthur Pita
SOME LIKE IT HIP HOP by ZooNation at the Peacock, choreographed by Kate Prince, Tommy Franzen and Carrie-Anne Ingrouille

rating

0

explore topics

share this article

Support the future of arts journalism

Subscribe to theartsdesk.com

Thanks so much for choosing genuinely independent arts journalism theartsdesk’s mission has never been more important – in an age of relentless algorithmic recommendation, sponsored content and unreliable AI, the expertise and discernment of individual critics deeply embedded in their specialist areas is absolutely vital.

If you want more of that in your life, why not subscribe now?

If you do this before the 31st August, you’ll be able to keep at this “founders rate” for life: your subs will never increase! You can choose to subscribe annually for just £40 simply click here
or monthly for £5 per month simply click here.

Not ready to subscribe?

If you want to support with a little extra or aren’t ready to subscribe just yet, there’s also the option to give direct to our crowdfunder to support our imminent redesign and exciting expansion with new features and collaborations Simply contribute here: https://gofund.me/c3f6033d.

However you choose to be involved, you can proudly say that you are picking the right side in the battle for truth and humanity in the modern information landscape. And we will be very glad to have you on board!

more theatre

Lots of innovative ideas, but we need to hear the line readings clearly
Eurovision star Sam Ryder is made for the title role, while Drew McOnie’s choreography makes us feel the delirium
Chloë Moss’s new drama is a nerve-fraying example of telephonic tension
Carrie Cracknell’s splendid revival of Stoppard’s masterwork transfers with its magic intact
Transatlantic tensions are diffused through alcohol, sex, and the etiquette of hot dogs
New play about domestic abuse adopts a radical form that works - up to a point
Adrian Lester’s spiky, swaggering hero is the apex predator in this linguistic ecosystem
American playwright Rajiv Joseph’s account of Serbian political assassins really rocks
Michael Longhurst's intelligent directing wrings fresh laughs from a familiar setup
Small-scale film becomes major emotional experience as a stage musical
Martin Crimp’s sparkling latest revisits Molière and gives the play a gender twist