Michael Bond’s beloved marmalade-loving bear celebrated a significant triumph at the Olivier Awards on Sunday, with “Paddington: The Musical” sweeping seven awards, including the coveted title of Best New Musical. The glamorous event took place at the Royal Albert Hall in London, where the charming bear in his duffle coat made a memorable impression.
The award for Best Actor in a Musical was awarded to the talented duo behind Paddington: James Hameed, who lends his voice and operates the puppet, and Arti Shah, who brings the character to life in costume. The production’s antagonists, Tom Edden, portraying the meddlesome Mr. Curry, and Victoria Hamilton-Barritt as Millicent Clyde, who has sinister intentions for Paddington, received the accolades for Best Supporting Actor and Best Supporting Actress in a Musical, respectively. Luke Sheppard was honored as Best Director, while the show also received awards for Costume Design by Gabriella Slade and Tahra Zafar, as well as Set Design by Tom Pye and Ash J Woodward.
The ceremony, hosted by actor and comedian Nick Mohammed, was filled with humor, including a light-hearted moment when he enlisted nominee Tom Hiddleston to assist with his cue cards. Performances from various stars added to the evening’s entertainment, including Rachel Zegler, who took home the award for Best Actress in a Musical for her role in “Evita.” Zegler, known for her breathtaking balcony performance at the London Palladium, expressed gratitude to director Jamie Lloyd for creating an inclusive theatrical experience and acknowledged the warm reception from London audiences.
Best Theatre Choreographer honors went to Fabian Aloise for “Evita,” while Elaine Paige, the original Eva Perón in the 1978 production of the same musical, received a Special Award for her outstanding stage career, presented by composer Andrew Lloyd Webber. Paige described the recognition as a surreal experience and credited her father for instilling a resilient spirit that sustained her throughout her remarkable journey in the theater world.
Several awards were presented to productions focused on themes of justice. Rosamund Pike won Best Actress for her compelling portrayal of a karaoke-loving crown court judge in “Inter Alia,” a role she reprised after its initial run at the National Theatre. Pike expressed that returning to the stage after 14 years felt like a significant risk and thanked her fellow nominees for their inspiring performances.
In the category for Best New Play, “Inter Alia” faced competition from James Graham’s “Punch,” which recounts a true story of a fatal one-punch incident. Julie Hesmondhalgh was awarded Best Actress in a Supporting Role for her work as Joan Scourfield, a mother seeking restorative justice after her son was killed. Graham acknowledged the profound journey of healing shared by him, Dunne, and Scourfield during their time on stage. Hesmondhalgh emphasized the play’s hopeful message amid a climate of division and violence.
Ivo van Hove’s rendition of Arthur Miller’s “All My Sons” garnered the award for Best Revival, presented by Helen Mirren and Ian McKellen, who humorously noted his struggle with the Autocue. The production also earned Best Supporting Actor honors for Paapa Essiedu, who highlighted the vital role of youth theatres and advocated for funding to support access programs for aspiring actors and audiences.
In a surprising turn of events, Bryan Cranston from “All My Sons” lost the Best Actor award to Jack Holden for his performance in “Kenrex,” a drama he co-wrote and in which he played all the roles. Holden encouraged audiences to explore new talent in theater, while “Kenrex” also received recognition for Giles Thomas’s sound design. Although the Oliviers primarily celebrate London productions, both “Kenrex” and “Punch” were noted as successes from regional theater.
Despite six nominations, the transfer of the Broadway hit “Stereophonic” did not secure any awards. In contrast, the comedic play “Oh, Mary!” claimed the title of Best New Entertainment or Comedy Play. The award for Best Family Show went to Nick Ahad’s adaptation of Onjali Q Raúf’s novel, “The Boy at the Back of the Class,” staged at the Rose Theatre.
Chris Fenwick and Sean Hayes were recognized for their contributions to “Good Night, Oscar,” with Fenwick receiving accolades for musical supervision and arrangements, while Hayes was honored for his live piano performance of “Rhapsody in Blue.” The award for Best New Production in an Affiliate Theatre was given to “The Glass Menagerie,” which marked the final production at the Yard in Hackney Wick before its relocation. The Best New Dance Production award went to “Into the Hairy.”
