I need to start with an overriding principle: all awards for artistic achievement are inherently flawed. They always represent a compromise and therefore can’t express the joy of personal experience. They are also needed in hundred different practical ways, no point bemoaning their sheer existence or the agenda a specific award represents. The Oliviers focus on mainstream productions, complaining they ignore obscure edgier offerings is pointless. What struck me with the 2014 Oliviers nominations though was how the list was underwhelming, even by the standards of the commercial mainstream agenda.
Let’s count the ways: Continue reading
Hattie Morahan and Pip Carter in The Dark Earth and the Light Sky. Photo Alastair Muir
Awards, especially the announcement of the nominees, follow a familiar pattern: anticipation and excitement followed by incredulity. It’s a well known fact that, despite being irresistible and so much fun, awards always get it wrong. Having said that, this year’s Olivier nominations got almost everything right: there is little I would object to, at least not with any conviction. Tomorrow’s award ceremony would be unique in that respect, I can route for almost everybody.
But inevitably, with the quality of London theatre, many productions missed out. Following the rule of the Kermodes (no one nominated for an Olivier is eligible), here are my awards for the past theatrical year. With an additional category or two. Because they are my awards and I can do what I like.
Best Actor: Pip Carter is an actor of minimalistic explosiveness, often doing very little and usually stealing every scene he is in. Taking the lead in Nick Dear’s The Dark Earth and The Light Sky, he brought poet Ed Thomas to life in a performance of reticent vivid pulsating desperation. He made it look easy, too easy in fact, hence the absence of award recognition. Runner Up: I had to think long and hard about this one and John Heffernan missed by a whisker: three plays (She Stoops to Conquer, Love and Information and The Physicists), an impressive range and a light touch that brings depth and humanity to all his roles mark him out as an exceptional talent. Edward II at the National next. After that, the sky is the limit. Continue reading