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Post by Deleted on Apr 5, 2016 7:15:32 GMT
Missed most of the following last night but just to add-I think Mallardo is right above that theatre is doing better in diversity and tv/film are (in some cases, from most casual observation) trying. Starting points yes but still a way to go. I think my main issue was the idea that 'minorities should stay a minority' nobody is asking for disproportionate representation on stage/screen etc just fair representation in terms of getting the job (front and backstage) and the stories being told.
Anyway just catching up, ending that rant now my end.
So Ruthie Henshall eh? haven't caught up with the broadcast yet but I find her less and less appealing and more and more irritating as the years go by...clearly I've reached my Henshall tolerance level....
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Post by Deleted on Apr 5, 2016 9:37:53 GMT
Anyone else pick up on how awful Denise Gough's eye make-up was on the night? It looks like she has two black eyes, it was just awful!
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Post by theatremiss on Apr 5, 2016 11:45:50 GMT
Anyone else pick up on how awful Denise Gough's eye make-up was on the night? It looks like she has two black eyes, it was just awful! She was sat across the aisle from me and I thought she looked ill. Her dress was backless and you could count her ribs. I wonder though if this may be due to her role. I haven't seen the play but gather her character is a drink/drug addict, so perhaps the gaunt look is what is needed
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Post by Deleted on Apr 5, 2016 11:46:54 GMT
Anyone else pick up on how awful Denise Gough's eye make-up was on the night? It looks like she has two black eyes, it was just awful! She was sat across the aisle from me and I thought she looked ill. Her dress was backless and you could count her ribs. I wonder though if this may be due to her role. I haven't seen the play but gather her character is a drink/drug addict, so perhaps the gaunt look is what is needed I can understand that with the body for the role etc... but she could at least do her eye make-up nice haha!
Sometimes subtle is best!
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Post by Deleted on Apr 5, 2016 12:41:25 GMT
Possibly because her dress was relatively plain/unfussy (all the more beautiful for that, I thought), they decided to go dramatic with her make-up...
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Post by catqc on Apr 5, 2016 12:42:17 GMT
Is the full show on catch up anywhere, does anyone know?
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Post by theatremadness on Apr 5, 2016 13:05:32 GMT
Is the full show on catch up anywhere, does anyone know? The "full" broadcast (still wasn't the actual, full ceremony as broadcast on magic radio but includes all awards and performances in full) should be on ITV player for the next 30 days, it was broadcast on ITV3 last night at 11pm and lasted for just under 3 hours, so look for that one as opposed to the 1 hour 45 minute highlights shown on the main ITV channel on Sunday evening. Not sure whether it's available outside the UK however and I don't think the live stream for outside the UK is on YouTube anymore.
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Post by Nicholas on Apr 5, 2016 15:33:20 GMT
That was a perfect example of how not to televise an awards ceremony. “Say, we’ve got to cut one of these, which do you think will attract more viewers – the famous, sexy, talented and popular star/writer of Sherlock giving an endearing speech, of Cindy Lauper duetting with Michael Ball? I can think of no better way to celebrate the best in British theatre than giving a ten minute plug to an American singer’s new country album.”. Given that plays were given five minutes of airtime I think that deserved the ‘mainstream audience’ of 23:00 on a Sunday night – four filmed scenes for plays, two of which are still on! How hard is that? Ignoring the fact that televising it so long after the fact and so late on a Sunday will make for terrible viewing figures anyway, the show itself was so bland, so poorly constructed and so badly shown anyone up at that time will have watched Sex Box instead.
That said, that was also a perfect example of how not to programme an awards ceremony. Whoever wrote Michael Ball’s script should be taken out back and shot, and bless Ball for knowing how bad it was from five minutes in but still persevering but blimey his intrusions into the songs he sang felt completely first-year-at-drama-school-look-at-me-look-at-me. Whoever wrote the autocue for the presenters, assuming it was someone else, ought to be taken out and shot as well – I always find the hyperbole of the Oscars grating, but these people deserve a little more than “Here are the nominees”, surely? Performances were all over the place – most of the musical numbers worked well and televisually (and any opportunity to see Staunton), but there was something very, very Alan Partridge about the “Best Musical Numbers of the last 40 year” (“Attend the tale of Sweeney Todd, then try a little priest” – REALLY? Plus Michael Feinstein looks like someone who’s skinned Barry Manilow’s face and pulled it too tightly over their own), Jack Savoretti’s performance could have been nice but was just a bad song (they should have taken snippets of the Rickman When Love Speaks project, possibly his sonnet or possibly just clips of him and Roger Rees and Geraldine McEwen reading, and had a music or musical star or someone like 2014’s Young Musician play underneath, that would have been far more moving and far more fitting the occasion) and every single one of those final actresses should regret what they did for love.
Can’t begrudge any of the winners, except maybe Hangmen as I didn’t love it as much as you lot whereas both Farinelli and PPT were really extraordinary and beautiful pieces of work. Particularly lovely to see Staunton, of course, and I think Gatiss has become one of our best stage actors while no-one was looking so it’s great to see him rewarded (two years after he should have been for Coriolanus). I thought the nominations this year were all over the place (David Suchet and the terrible Tom Sturridge over Streatfield and Flynn, the ‘Comedy’ category a patronising afterthought utterly discredited by the victory of a comedy in the Best Play category, Cumberbatch nominated over Heffernan, just off the top of my head...) but at least deserving winners floated to the top from a very bad assembly otherwise.
Plus, I think Dominic Dromgoole deserved the honorary award that Hytner and Starr got for leaving the successful NT and Spacey got for leaving the successful Old Vic – Dromgoole’s worked wonders for that theatre and for attracting new audiences to theatre, and to not get anything, presumably because he’s not famous or they couldn’t be arsed, is a real testimony to how terrible these awards were this year.
IF it’s going to be somewhere as glitzy as the ROH or RAH, it needs hyperbole, it needs genuine star power (specifically theatrical star power like, say, THIS YEAR’S SUPPORTING ACTOR OSCAR WINNER or esoteric choices like that) and it needs a sense of glitz throughout, and if it wants to be a fun night out for stagey types it ought to be a basement boozy supper. There was this attempt to be glitzy that felt wholly like tokenistic trying to be the Tonys (who do this much better, mostly because there’s a much better script to someone like Neil Patrick Harris’ hosting) and then this embarrassment at praising people too much. I think there’s this paradox in how the Brits do award shows (the Baftas struggle with this too) in that we want to stand up next to the glitz and glamour of the Tonys or the Oscars, but we want to preserve that British false modesty and underplaying of success, so we rent out the Opera House and bring in Dames and Knights and celebs to read an autocue knowingly underplaying the ceremony with crap like “I’m presenting this award to an actor” or just “And the nominees are...”. The ONLY thing to Oliviers do well is alphabetising the In Memoriam.
But actually I think there’s a genuinely insidious problem to the way these awards are constructed. When someone like Shirley Bassey comes on, it feels like the people behind the biggest theatre awards in the country don’t have any faith in theatre; likewise someone like Vanessa Redgrave who hasn’t been on stage in a couple of years and where no mention is made of appearing on stage again, she’s there purely because she’s famous. Last year, the script very wisely kept referencing the shows the presenters were about to be in, but this year (as with most years in these godforsaken bastard awards) it feels like the stars are being wheeled on stage to take our attention away from the grubby non-celebs off-stage (which is particularly egregious in a year when people like Bradley Cooper, Nicole Kidman, Cumberbatch, Matthew Perry for goodness’ sake are in London and on stage!). So, the impression the show gives isn’t that theatre is a glorious place of artistry or even a chance to see famous people up close; it’s that theatre’s not half as interesting as Cyndi Lauper and Michael Ball. The people behind the biggest theatre awards in the country turn away from the country to praise celebrities, pop music, and anything but theatre. It’s pathetic, it truly is.
But other than that, a good night! And congratulations to Sir Ken and Glenda Jackson for their wins next year.
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Post by n1david on Apr 5, 2016 15:48:02 GMT
Hmm. I finish my current job on Thursday and was planning on indulging myself with the full ITV3 broadcast on Friday.
Maybe I won't bother.
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Post by Phantom of London on Apr 5, 2016 21:38:41 GMT
Does anyone know why best musical wasn't awarded in 2002?
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Post by Hamilton Addict on Apr 5, 2016 21:56:16 GMT
Does anyone know why best musical wasn't awarded in 2002? Just had a look on Wikipedia, it seems that was an odd year as they presented 'Best Play' and 'Best Musical Revival', but no 'Best Revival of a Play' or 'Best Musical'. The Olivier's just seem to make up the rules as they go along.
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Post by theatre-turtle on Apr 5, 2016 22:17:44 GMT
Does anyone have a clip of the gypsy performance?
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Post by Oleanna on Apr 5, 2016 23:53:34 GMT
Does anyone know why best musical wasn't awarded in 2002? Just had a look on Wikipedia, it seems that was an odd year as they presented 'Best Play' and 'Best Musical Revival', but no 'Best Revival of a Play' or 'Best Musical'. The Olivier's just seem to make up the rules as they go along. I think the only shows which would have been eligible would have been Peggy Sue Got MarriedMy One and OnlyThe Secret Garden Unsure which season the latter two fell under due to their opening close to the cut off date. Don't forge also that due to 9/11, many productions closed earlier than expected or were cancelled around that time, so perhaps it was considered that there were not enough eligible shows of suitable quality!
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Post by Phantom of London on Apr 6, 2016 6:43:41 GMT
Thanks for that, I agree the SOLT seem to be as consistent as quicksand.
So it would suggest that, the Olivier committee deemed that year (2002), the 3 musicals were unworthy of winning best musical, which is preposterous as the award should go to the best musical regardless. it is poor show that a award wasn't made and just make the Olivier even more laughable and proves the committee is up themselves.
Other bizarre decisions: Cancelling the Olivier Awards in 1989 because of the death of Lawrence Olivier. Bestowing an award on the whole cast of Kat and Kings. some strange winners in the past for best musical, such as Honk, Kat and the Kings and Once Upon the Island.
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Post by d'James on Apr 6, 2016 8:39:31 GMT
Do people call it SLOT?? I noticed the Kinky Boots team thank 'slot' or is that something else?
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Post by The Matthew on Apr 6, 2016 9:46:17 GMT
Olny wehn tehy cna't tpye. (My apologies to anyone using a screen reader.)
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Post by Michael on Apr 6, 2016 10:16:56 GMT
Olny wehn tehy cna't tpye. You're fluent in Welsh?
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Post by rumbledoll on Apr 6, 2016 11:23:00 GMT
Can't believe they edited some bits for ITV due to censorship...
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Post by d'James on Apr 6, 2016 11:51:38 GMT
Olny wehn tehy cna't tpye. (My apologies to anyone using a screen reader.) No but my point was, that's what the Kinky Boots people actually said and I wondered if they were talking about SOLT or something else..
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Post by n1david on Apr 6, 2016 11:51:54 GMT
Censorship? Or just for time? What have you heard was censored?
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Post by Cardinal Pirelli on Apr 6, 2016 12:12:22 GMT
Thanks for that, I agree the SOLT seem to be as consistent as quicksand. So it would suggest that, the Olivier committee deemed that year (2002), the 3 musicals were unworthy of winning best musical, which is preposterous as the award should go to the best musical regardless. it is poor show that a award wasn't made and just make the Olivier even more laughable and proves the committee is up themselves. Other bizarre decisions: Cancelling the Olivier Awards in 1989 because of the death of Lawrence Olivier. Bestowing an award on the whole cast of Kat and Kings. some strange winners in the past for best musical, such as Honk, Kat and the Kings and Once Upon the Island. The whole cast of Kat & the Kings were brilliant, what didn't you like about it? Honk was a strange one but Once Upon This Island was a great show.
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Post by rumbledoll on Apr 6, 2016 14:15:20 GMT
Censorship? Or just for time? What have you heard was censored? The phrase "Uncastrated manly countertenors" in Iestyn Davies's speech introducing Farinelli (I personally don't see anything worth editing out either for time or censorship - I thought it was a fab joke!)) I haven't seen the ITV version, this came from the man himself but - can anyone confirm please?
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Post by n1david on Apr 6, 2016 14:45:46 GMT
Censorship? Or just for time? What have you heard was censored? The phrase "Uncastrated manly countertenors" in Iestyn Davies's speech introducing Farinelli (I personally don't see anything worth editing out either for time or censorship - I thought it was a fab joke!)) I haven't seen the ITV version, this came from the man himself but - can anyone confirm please? It wasn't in the intro shown in the full-length broadcast but it didn't look like any cuts had been made (single shot) - maybe he meant that he was told beforehand he wasn't allowed to use it.
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Post by peelee on Apr 6, 2016 15:00:09 GMT
The awards show broadcast on TV on Sunday night was weakly compered and much of it rather flat. I don't think that an even bigger venue, at the Royal Albert Hall next year, is what has been missing so far.
Years ago, the South Bank Show awards were set in a fairly low-capacity venue, yet the relative intimacy of it all made it more of an event. Or did it need to be better lit than it was last Sunday? Whatever, it requires more thought and self-criticism before next year's awards night comes along.
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Post by rumbledoll on Apr 6, 2016 18:25:07 GMT
The phrase "Uncastrated manly countertenors" in Iestyn Davies's speech introducing Farinelli (I personally don't see anything worth editing out either for time or censorship - I thought it was a fab joke!)) I haven't seen the ITV version, this came from the man himself but - can anyone confirm please? It wasn't in the intro shown in the full-length broadcast but it didn't look like any cuts had been made (single shot) - maybe he meant that he was told beforehand he wasn't allowed to use it.
But he did use it! (I was watching YouTube version avail internationally). Here is the link to the bit as I've heard it:
www.facebook.com/118572414826818/videos/vb.118572414826818/1305426816141366/?type=2&theater
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Post by peggs on Apr 6, 2016 20:36:19 GMT
Is the full length one available on itv player, I can only find the shorter one.
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Post by Hamilton Addict on Apr 6, 2016 20:48:13 GMT
Was so surprised at the win of David Bedella, I did not like his performance one bit! His acting was mediocre, his singing was poor and he was just irritating. Am I just missing something? Did I catch him on an off-night? I really thought Joe Aaron Ried, from In the Heights, was so much better than Bedella and would've deserved the award more.
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Post by loureviews on Apr 6, 2016 20:52:15 GMT
Michael Ball was a terrible compere. I was cringing throughout.
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Post by d'James on Apr 6, 2016 21:18:40 GMT
Was so surprised at the win of David Bedella, I did not like his performance one bit! His acting was mediocre, his singing was poor and he was just irritating. Am I just missing something? Did I catch him on an off-night? I really thought Joe Aaron Ried, from In the Heights, was so much better than Bedella and would've deserved the award more. You must've done. While I am completely confused as to why he was nominated, David Bedella was singing and acting fine when I saw him.
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Post by mallardo on Apr 6, 2016 21:24:36 GMT
David Bedella was far superior to his Broadway counterpart, I can assure you. I've seen some comments on American boards wondering how THIS role could produce an award winning performance. Bedella found something in it no one else has found.
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