fosterIAN awards 2010

 WinnerRunner-upOther nominees
Best Actress in a PlayMichelle Terry, TribesNancy Carroll, After the DanceZoë Wanamaker, All My Sons
Helen McCrory, The Late Middle Classes
Miranda Raison, Anne Boleyn
Sophie Thompson, Clybourne Park
Best Actor in a PlayJohn Heffernan, Love Love LoveBenedict Cumberbatch, After the DanceJacob Casselden, Tribes
David Suchet, All My Sons
Roger Allam, Henry IV Part I + II
Andrew Scott, Design for Living
Best Supporting Actress in a PlayRachael Stirling, A Midsummer Night’s Dream (Rose, Kingston)Jemima Rooper, All My SonsJessica Raine, Earthquakes in London
Sylvestra Le Touzel, Les Parents Terribles
Clare Higgins, Hamlet (NT)
Madeleine Potter, Broken Glass
Best Supporting Actor in a PlayRobin Soans, Palace of the EndNigel Lindsay, Broken GlassAdrian Scarborough, After the Dance
Eddie Redmayne, Red
Stephen Campbell Moore, All My Sons
William Gaunt, Henry IV Part I + II
Best Actress in a MusicalTracie Bennett, End of the RainbowEmma Williams, Love StoryCora Bissett, Midsummer
Sheridan Smith, Legally Blonde
Katie Moore, Salad Days
Kirsty Hoiles, Spend! Spend! Spend!
Best Actor in a MusicalSam Harrison, Salad DaysJon-Paul Hevey, Once Upon a Time at the AdelphiJohn Owen-Jones, Les Misérables
Alan Richardson, Iolanthe
Matthew Pidgeon, Midsummer
Dean Charles Chapman, Billy Elliot
Best Supporting Actress in a MusicalHannah Waddingham, Into the WoodsJodie Jacobs, State FairKaren Mann, Spend! Spend! Spend!
Siobhan McCarthy, The Drowsy Chaperone
Jill Halfpenny, Legally Blonde
Twinnie Lee Moore, Flashdance
Best Supporting Actor in a MusicalMichael Xavier, Into the WoodsMatthew James Willis, IolantheTom Parsons, Avenue Q
Michael Howe, The Drowsy Chaperone
Liam Tamne, Departure Lounge
Earl Carpenter, Les Misérables

2010 Best Actress in a Play & in a Musical

Best Actress in a Play

Michelle Terry, Tribes
Michelle Terry and Nancy Carroll have swapped between these two places so many times since I started this decision-making but ultimately Terry edged by virtue of her performances elsewhere this year. Bringing an intelligently thought-through depth to a paper-thin character in London Assurance and flexing the acting muscles in Caryl Churchill’s Light Shining in Buckinghamshire were both great turns, but it was in Nina Raine’s Tribes that she just blew me away with a richly nuanced and deeply emotional interpretation of her character and revealing herself to be a beautifully natural signer (not as easy as it sounds). The poise with which she tolerated the madness of the dinner table at her boyfriend’s table and the grace with which she defended her choices and explained the frustrations of someone going deaf and all that they lose just broke my heart with its simple elegance and touched me very deeply. Not sure what Terry’s next move is, but I’ll be sure to keep you posted.

Honourable Mention – 
Nancy Carroll, After the Dance
As mentioned, this was my most closely contested category this year between these two, but Carroll’s performance in After the Dance really was a thing of wonder. The way in which she sketched Joan’s journey through the complex feelings for husband David was simply heartbreaking and the depth of emotion she evoked with her back to the audience at the end of Act II was just sensational.

Zoë Wanamaker, All My Sons
Helen McCrory, The Late Middle Classes
Miranda Raison, Anne Boleyn
Sophie Thompson, Clybourne Park

7-10

Daniela Denby-Ashe, Love Love Love; Lucy Cohu, Broken Glass; Linda Bassett, The Road To Mecca; Kim Cattrall, Private Lives/Antony & Cleopatra


Best Actress in a Musical

Tracie Bennett, End of the Rainbow
Quite simply one of the most jaw-dropping experiences on stage for quite some time. Bennett doesn’t so much perform the role of Judy Garland as inhabit her in End of the Rainbow, unafraid to show the depths of her addiction and the tragic effect it had on her stage act, as well as the stellar performances that brought her such renown. Bennett plays both the acting and singing scenes with such conviction that the weaknesses in the play are just overcome by the force of her performance. And what better ending than a practically unanimous and instantaneous standing ovation which was received with such humility that one just wanted to go up there and hug her. Just outstanding, and still playing at the Trafalgar Studios so make a trip if you haven’t planned one already.

Honourable Mention: Emma Williams, Love Story

Never having had the pleasure of seeing Emma Williams perform on stage, I can’t think of a better introduction than the gorgeous Love Story in which she captures hearts as the ballsy no-nonsense heroine Jenny whose untimely end brings forth both tears and well deserved standing ovations. She has such a lovely voice that is so well suited to Howard Goodall’s music that from the moment I left the Duchess theatre I have been eagerly anticipating the cast recording. You can still catch Williams in Love Story now.

Cora Bissett, Midsummer [a play with songs]
Sheridan Smith, Legally Blonde The Musical
Katie Moore, Salad Days
Kirsty Hoiles, Spend! Spend! Spend!

7-10

Cassidy Janson, Avenue Q; Rebecca Hutchinson, Once Upon A Time at the Adelphi; Lisa Baird, Just So; Victoria Hamilton-Barritt, Flashdance The Musical

2011 What’s On Stage Award nominations

THE SPOTLIGHT BEST ACTRESS IN A PLAY
Zoe Wanamaker – All My Sons at the Apollo 
Helen McCrory – The Late Middle Classes at the Donmar Warehouse 
Jenny Jules – Ruined at the Almeida
Kim Cattrall – Private Lives at the Vaudeville 
Nancy Carroll – After the Dance at the National, Lyttelton 
Tracie Bennett – End of the Rainbow at Trafalgar Studios 

THE SPOTLIGHT BEST ACTOR IN A PLAY
David Suchet – All My Sons at the Apollo 
Benedict Cumberbatch – After the Dance at the National, Lyttelton 
Matthew Macfadyen – Private Lives at the Vaudeville 
Rory Kinnear – Hamlet at the National, Olivier & Measure for Measure at the Almeida
Simon Russell Beale – Deathtrap at the Noel Coward & London Assurance at the National, Olivier 
Toby Stephens – The Real Thing at the Old Vic  Continue reading “2011 What’s On Stage Award nominations”

Review: The Late Middle Classes, Donmar Warehouse

“We live in secret almost all the time”

I love Helen McCrory. Like really love her. I have an endless list of actresses whom I really like, but McCrory sits pretty on top of the heap, having found a place in my heart through a select number of roles in film, tv and onstage, almost all of which are indelibly etched on my mind, such is the power of her acting. So when she was announced as leading the Donmar Warehouse’s production of Simon Gray’s The Late Middle Classes, I giddily booked my tickets for this, the second preview. Written in 1999, the play actually opened in Watford but did not make the anticipated transfer into London, being bizarrely usurped by a shortlived play called Boyband so this marks the first time it has been seen in the capital.

Set in the 1950s, it follows a middle-class family, bored Celia, work-obsessed Charles and their son Holliday who is discovering about life through his music lessons with the neighbourly Mr Brownlow. It is actually told in flashback by the adult Holliday recollecting his childhood after an impromptu visit to his old music tutor and the challenges posed by the post-war environment in the UK. It is felt much more strongly by his parents whose privileged position in the class structure has been lost in the face of continuing rations and an almost pyrrhic sense of victory which has not resulted in any improvement in their lives. Continue reading “Review: The Late Middle Classes, Donmar Warehouse”

Review: Rosmersholm, Almeida

Rosmersholm is one of Ibsen’s lesser performed plays and is presented at the Almeida Theatre in a new version here by Mike Poulton. It is also notable for marking the return to the stage of the wonderful Helen McCrory, an Islington local, and one of my favourite actresses.

Rosmer, a former pastor, is oppressed by a whole series of factors: his conservative ancestry, guilt over his wife’s suicide and loss of religious faith. But, aided by his companion, Rebecca West, he believes he can set out on a new path of missionary idealism. This, however, turns out to be a fantasy as he is not strong in his new path, society turns against him and his new democratic ideals, his closeness to West makes them become a subject of scandal, and as Rebecca has her own demons too, sets them on a path where the weight of the past threatens everything.

Continue reading “Review: Rosmersholm, Almeida”

Review: As You Like It, Wyndhams

William Shakespeare’s As You Like It has been given quite the makeover here at the Wyndhams Theatre in a new production. The action has been relocated to 1940s France which makes for a great visual aesthetic with the appropriate costumery and scenery (I loved the Parisian café), and a strong Gallic flavour to the music that permeates this entire production, with newly composed ballads by Tim Sutton livened by some onstage accordion action from Lisa-Lee Leslie.

A large ensemble play, it broadly speaks of redemption and resolution after conflict and suffering and is stuffed full of squabbling brothers, dukes, cross-dressing women, lovesick men and quadruple weddings in the Forest of Arden, falling under the pastoral comedy genre but with hints of darkness in there too which suit this post-WWII setting. But David Lan’s production has focused mainly on the burgeoning relationship between Rosalind and Orlando, desperate to be together but forced apart by her banishment from court. Continue reading “Review: As You Like It, Wyndhams”