2018 Olivier Awards — Page 3
#52
Posted: 4/8/18 at 8:05pm
BroadwayConcierge said: "It's not "lol" or "tradition," it's how theatre seasons work in London and New York...
If you want to make up your own Gizmo Awards, go for it.But in the real world, when a new, full-fledged production opens in the West End or on Broadway, that's "new" by definition. Same thing happened here whenGroundhog Dayopened in 2017 a year after it did in London. AndMatilda. And the current revival ofAngels in America.
I've heard raves forJamieas well, butHamiltonwas just as equal a player in this Olivier season, and it won. Sorry you're mad about it."
I don’t want to make up my own awards but I just don’t believe the current system is equitable.
I think people are blinded by the poplulist view rather than being fair and analytical.
Hamilton doesn’t need a nomination or win it has its own momentum. It’s just a big x ticking exercise.
Yet for ETAJ it could really make a difference to the life of this show.
Josie Walker’s number alone deserved a win. I don’t think a monther son dynamic has ever been captured so effectively.
Mans this little musical that started life out in a regional subsidised theatre made it to the West End.
I think this year highlighted it more than others because of the sheer power of Hamilton. No one was going to win.
I think it’s reasonable to suggest that the Tony’s or Oliviers have a Best New Musical Category for the originating production.
I know reasonable never works when people are rabid about something that’s popular.
I’m sorry if I want to support new writing and not multi-millionaires who really couldn’t give a ****.
#53
Posted: 4/8/18 at 8:08pm
kp said: "Gizmo6 said: "He was terrible and played a stereotype of a gay man which was offensive and poorly acted. He didn’t deserve it."
Just as tonight you seem to be stereotypically playing the part of a deranged troll.
"
Just because I don’t hold the populist view and follow the pack doesn’t make me a troll or deranged. Why do posters here always attack someone’s mental health. It’s in such poor taste and reveals more about the poster thN anyone with a disability.
#54
Posted: 4/8/18 at 8:15pm
Gizmo
So you're saying that if a show transfers it shouldn't be allowed to win best musical even though in London (or on Broadway) it's never been seen before? By that logic, shows such as Phantom and Cats both wrongfully won the Tony for best musical for their respective transfers. Or, if you want to get more recent, neither The History Boys or War Horse should have won their respective best play awards too, right?
It's pretty simple to figure out. If a show has come to Broadway as a transfer from London, then, it's new. It is a new Broadway play/musical because the show never set foot in the US prior to it being on Broadway. Same thing when a Broadway show goes to London. Kinda shocked that you could't figure that one out.
#55
Posted: 4/8/18 at 8:16pm
Okay, you've crossed over the line from offering an interesting different perspective to being just whiny and annoying.
#56
Posted: 4/8/18 at 8:17pm
Gizmo6 - I am sorry you have a disability. One of the definitions of deranged is irrational and that is how some of your posts are coming across.
#57
Posted: 4/8/18 at 8:25pm
If I were to fix anything about the Olivier Awards, it's their idiotic Outstanding Achievement in Music category, where composers of original scores are pitted against the musicians of those shows. Writing music and playing music are two totally different disciplines. Today, Lin-Manuel Miranda won for writing the score to ''Hamilton,'' but one of his fellow nominees was the orchestra at ''Follies.'' Last year, the three children's bands at ''School of Rock'' won this award over Henry Krieger's music to ''Dreamgirls.'' That's insane. Have 2 different categories instead: Composers should compete with fellow composers; musicians vs. musicians.
Updated On: 4/8/18 at 08:25 PM
#58
Posted: 4/8/18 at 8:40pm
Agreed, Wayman. Lin and Alex Lacamoire's joint win today is technically "for orchestrating and composing" Hamilton. Those are two very different things, so why not make actual categories for each...?
#59
Posted: 4/8/18 at 9:15pm
The Oliviers should follow the lead of the Tonys, and have separate categories for Best Score and Best Orchestrations.
Plus, the Oliviers need 2 categories for Director: one for plays, and one for musicals. Especially given how different the challenges are for each, and how many shows there are in London.
Updated On: 4/8/18 at 09:15 PM
#60
Posted: 4/8/18 at 9:44pm
Gizmo6 said: "BroadwayConcierge said: "It's not "lol" or "tradition," it's how theatre seasons work in London and New York...
If you want to make up your own Gizmo Awards, go for it.But in the real world, when a new, full-fledged production opens in the West End or on Broadway, that's "new" by definition. Same thing happened here whenGroundhog Dayopened in 2017 a year after it did in London. AndMatilda. And the current revival ofAngels in America.
I've heard raves forJamieas well, butHamiltonwas just as equal a player in this Olivier season, and it won. Sorry you're mad about it."
I don’t want to make up my own awards but I just don’t believe the current system is equitable.
I think people are blinded by the poplulist view rather than being fair and analytical.
Hamilton doesn’t need a nomination or win it has its own momentum. It’s just a big x ticking exercise.
Yet for ETAJ it could really make a difference to the life of this show.
Josie Walker’s number alone deserved a win. I don’t think a monther son dynamic has ever been captured so effectively.
Mans this little musical that started life out in a regional subsidised theatre made it to the West End.
I think this year highlighted it more than others because of the sheer power of Hamilton. No one was going to win.
I think it’s reasonable to suggest that the Tony’s or Oliviers have a Best NewMusical Category for the originating production.
I know reasonable never works when people are rabid about something that’s popular.
I’m sorry if I want to support new writing and not multi-millionaires who really couldn’t give a ****."
Far be it from me to defend LMM or Hamilton, but Hamilton IS new writing. It’s not a revival, jukebox musical, or an adaptation of a popular film.
Your logic seems rather flawed, and you are conveniently ignoring the fact that has been pointed out to you numerous times: that the Tonys operate the same way.
I get being upset that a juggernaut show beats a smaller show. I felt the same way after Billy Elliot defeated the far-superior next to normal. However, I never denied that Billy Elliot had the right to compete in the category.
#61
Posted: 4/8/18 at 10:11pm
Delighted by the 2 acting wins for The Girl from the North Country! Two stunning performances from Sheila Atim and Shirley Henderson!
#62
Posted: 4/8/18 at 11:41pm
This isn't even about having a separate category for a straight transfer of a production as is from New York to London and vice versa. This is just about a stan of ETAJ being angry that it lost to Hamilton as that poster using arguments that they think sounds good (David v. Goliath/populist v. individual/etc.) to simply vent their anger at Hamilton beating ETAJ. Anybody who keeps talking about being an individual and having a mind of their own is just a self-important pompous person who doesn't realize they aren't as special or smart as they think they are.
Updated On: 4/8/18 at 11:41 PM
#63
Posted: 4/8/18 at 11:42pm
When is the purpose of any awards show to be equitable? It's to grant acknowledgement for the voters perception of excellence.
It's certainly not the-best-show-you're-not-buying-tickets-for award.
What you're missing is that I don't think too many here would have cared had something else won, few of us have seen much of what London has to offer in a single season.
In fact, yours is one the few posts even mention quality. So stop accusing us of being sheep.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Updated On: 4/9/18 at 11:42 PM
#64
Posted: 4/8/18 at 11:52pm
Ignoring the crazy of this thread, can we talk about the HAMILTON performance?
It's likely the British actors and their American accents, but the performance, the rapping especially, sounded terrible. Little sense of rhythm and character, over-enunciated and proper, I kept cringing. First time I've ever thought the writing sounded like Pretend Theatre Rap. All that said, I'm sure it's only apparent to an American ear and they deserved every award, like they did here.
Also, thrilled for ANGELS wins and even more excited for FERRYMAN coming in.
#65
Posted: 4/8/18 at 11:56pm
https://www.facebook.com/OlivierAwards/videos/1783472081715308/UzpfSTYyNTcxMzU5MToxMDE1NjEyODA4NTIwMzU5Mg/
Here is the entire looooooong Oliviers - although to be fair, there is an interminable interval that was supposed to be only 25 minutes long. I don't know how those emojis got in here!
Musical numbers are from: opening, Hamilton ("Alexander Hamilton"
at around 26:00, Young Frankenstein ("Puttin' On the Ritz" ; at around 47:00, Follies ("I'm Still Here" ; at around 1:12, 42d Street ("42d Street)" ; at around 2:04, Everyone's Talking About Jamie ("And You Don't Even Know It" ; at around 2:25, The Girl From The North Country ("Tight Connection to My Heart" ; at around 2:44, the In Memoriam (featuring Chita Rivera); and around 3:28, a closing tribute to Joseph and The Amazing Technicolor Dreamcoat.
Updated On: 4/9/18 at 11:56 PM
#66
Posted: 4/9/18 at 12:31am
BJR said: "Ignoring the crazy of this thread, can we talk about the HAMILTON performance?
It's likely the British actors and their American accents, but the performance, the rapping especially, sounded terrible. Little sense of rhythm and character, over-enunciated and proper, I kept cringing. First time I've ever thought the writing sounded like Pretend Theatre Rap. All that said, I'm sure it's only apparent to an American ear and they deserved every award, like they did here.
Also, thrilled for ANGELS wins and even more excited for FERRYMAN coming in."
I disagree with you about Hamilton's performance. I'm an American and I thought their accents were fine. Giles (who plays Burr) has a slight lisp so maybe that might have made it strange to hear but I didn't think it was terrible. I've seen Hamilton in the West End (and the Public, on Broadway, and in Chicago) and they're a great cast. Probably Rachelle does the most over-enunciation but that's more of her Filipino roots than being part of the West End cast.
#67
Posted: 4/9/18 at 4:28am
BJR said: "Ignoring the crazy of this thread, can we talk about the HAMILTON performance?
It's likely the British actors and their American accents, but the performance, the rapping especially, sounded terrible. Little sense of rhythm and character, over-enunciated and proper, I kept cringing. First time I've ever thought the writing sounded like Pretend Theatre Rap. All that said, I'm sure it's only apparent to an American ear and they deserved every award, like they did here.
Also, thrilled for ANGELS wins and even more excited for FERRYMAN coming in.
"
Any rumors as to who will be cast as leads in The Ferryman?
#68
Posted: 4/9/18 at 6:48am
'Little sense of rhythm and character, over-enunciated and proper, I kept cringing. First time I've ever thought the writing sounded like Pretend Theatre Rap.'
I thought so too.
#69
Posted: 4/9/18 at 7:36am
JBroadway said: "I didn't get to see Network, but based on what I heard, I have an extremely hard time believing he was more deserving than both Andrew Garfield and Andrew Scott, both of whom delivered beyond brilliant performances."
It almost feels like instead of trying to decide between the two, they all picked a 3rd person. Having seen all nominated performances, Garfield and Scott stood out of the field. Nothing against Bryan Cranston because I enjoyed his performance and he was incredibly friendly at stage door but he was not mind-blowing in Network. The other two were in their respective roles.
#70
Posted: 4/9/18 at 7:50am
'Little sense of rhythm and character, over-enunciated and proper, I kept cringing. First time I've ever thought the writing sounded like Pretend Theatre Rap.'
I thought so too
Ditto
Stephanatic
#71
Posted: 4/9/18 at 9:16am
Having just watched the Olivier Awards clip of Hamilton that was horrendous compared to the Tony performance. It just doesn't doesn't sit with English actors/accents, seemed Camp.
#72
Posted: 4/9/18 at 9:31am
Also I'm not a 'stan' but it's obvious some haven't a clue about Jamie or how the West End works compared to Broadway. Jamie was a small regional musical that got a short run in the West End and gained traction. This happens a lot in the UK, where we are more concerned with artistry than money, very small regional productions with zero money will make it onto the West End Stage, these aren't out of town tryouts with millions like Moulin Rouge or Frozen.
These are small shows that connect with audiences. I don't believe shows like this should have to go up against big budget replica productions with millions behind them.
Let Hamilton win Best Musical or Best Production. but let there be a category for productions like Jamie or next year Strictly Ballroom.
#73
Posted: 4/9/18 at 9:44am
Gizmo6 said: "Also I'm not a 'stan' but it's obvious some haven't a clue about Jamie or how the West End works compared to Broadway. Jamie was a small regional musical that got a short run in the West End and gained traction. This happens a lot in the UK, where we are more concerned with artistry than money, very small regional productions with zero money will make it onto the West End Stage, these aren't out of town tryouts withmillions like Moulin Rouge or Frozen.
These are small shows that connect with audiences. I don't believe shows like this should have to go up against big budget replica productions with millions behind them.
Let Hamilton win Best Musical or Best Production. but let there be a category for productions like Jamie or next year Strictly Ballroom."
....please tell me you’re just trolling
#74
Posted: 4/9/18 at 9:50am
And just what would you CALL that award? Best New Musical Sort of?
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
#75
Posted: 4/9/18 at 10:33am
@ggersten, thank you for posting that, so I didn't have to search for it. I would love to hear Giles Terera's version of The Room Where it Happens.
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