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Olivier awards: nominated actors rate their competition Olivier awards: actors review their fellow nominees
(35 minutes later)
Lesley Manville, nominated for best actress for GhostsLesley Manville, nominated for best actress for Ghosts
On Judi Dench: I spent the last six months on stage in Ghosts, so I haven't seen as many of the nominated plays as I'd have liked. But I loved Judi Dench in Peter and Alice, as I love her in everything she does. I found myself thinking about the time I worked with her in 1989, in a production of The Cherry Orchard at the Aldwych. It was, I think, pretty much the first play Sam Mendes had directed; he was about 24. Judi was playing Madame Ranevskaya, and I was her daughter, Varya.On Judi Dench: I spent the last six months on stage in Ghosts, so I haven't seen as many of the nominated plays as I'd have liked. But I loved Judi Dench in Peter and Alice, as I love her in everything she does. I found myself thinking about the time I worked with her in 1989, in a production of The Cherry Orchard at the Aldwych. It was, I think, pretty much the first play Sam Mendes had directed; he was about 24. Judi was playing Madame Ranevskaya, and I was her daughter, Varya.
I was very struck by watching Judi rehearse. She'd find a moment in the play, and I'd sit there thinking, "Well, that's amazing. Surely that will now be set in stone." But it never was. Every time we rehearsed, she would dig and delve and perform that moment another way. She was constantly in the moment, in a very natural and uncalculated way. I think that's her great gift: that boldness, that confidence in what she can do. She's won a lot of prizes, and you can understand why. She never plays it safe.I was very struck by watching Judi rehearse. She'd find a moment in the play, and I'd sit there thinking, "Well, that's amazing. Surely that will now be set in stone." But it never was. Every time we rehearsed, she would dig and delve and perform that moment another way. She was constantly in the moment, in a very natural and uncalculated way. I think that's her great gift: that boldness, that confidence in what she can do. She's won a lot of prizes, and you can understand why. She never plays it safe.
On Jack Lowden: Nobody ever believes Jack is 23 – not just because of the weight of his performance in Ghosts, which is extraordinary, but also because of the kind of person he is. I've worked with many young people, and for me he is the most exceptional. A lot of boys of his age walk around thinking they are it; usually they're not. But Jack is without ego. He has a fiercely attuned intelligence, and he's uncannily savvy about the profession.On Jack Lowden: Nobody ever believes Jack is 23 – not just because of the weight of his performance in Ghosts, which is extraordinary, but also because of the kind of person he is. I've worked with many young people, and for me he is the most exceptional. A lot of boys of his age walk around thinking they are it; usually they're not. But Jack is without ego. He has a fiercely attuned intelligence, and he's uncannily savvy about the profession.
Never in 170 performances of Ghosts did Jack ever fail to deliver. During rehearsals, he wasn't intimidated by the amount of theatre I'd done, or by the 50-plus-years of experience of [the play's director] Richard Eyre. He just threw himself into it. He played my son, and we discovered so many great moments together. There's a scene where Jack's character is desperately getting his mother to end his life for him. One day, in rehearsal, Jack suddenly ran across to me, picked me up and threw me on the chaise longue. And that was it – we'd cracked the scene.Never in 170 performances of Ghosts did Jack ever fail to deliver. During rehearsals, he wasn't intimidated by the amount of theatre I'd done, or by the 50-plus-years of experience of [the play's director] Richard Eyre. He just threw himself into it. He played my son, and we discovered so many great moments together. There's a scene where Jack's character is desperately getting his mother to end his life for him. One day, in rehearsal, Jack suddenly ran across to me, picked me up and threw me on the chaise longue. And that was it – we'd cracked the scene.
Jenna Russell, nominated for best actress in a musical for Merrily We Roll AlongJenna Russell, nominated for best actress in a musical for Merrily We Roll Along
On Chimerica: For me, this is the best play on the list. I adored it on so many levels. I've met the writer, Lucy Kirkwood, a couple of times. She comes across as a quiet, studied person – almost shy – but the ideas she has cooking in her head just blew my mind. The play's scope was extraordinary, and it did that brilliant thing, which is so hard to do, of telling a really important story while being devastatingly funny. I loved the music and the clever set changes. It felt like theatre for a new generation: fast-moving and in your face, but with these little two-hander scenes in which you could feel the tension rising.On Chimerica: For me, this is the best play on the list. I adored it on so many levels. I've met the writer, Lucy Kirkwood, a couple of times. She comes across as a quiet, studied person – almost shy – but the ideas she has cooking in her head just blew my mind. The play's scope was extraordinary, and it did that brilliant thing, which is so hard to do, of telling a really important story while being devastatingly funny. I loved the music and the clever set changes. It felt like theatre for a new generation: fast-moving and in your face, but with these little two-hander scenes in which you could feel the tension rising.
I felt proud, as a woman, to see that most of the creative team were women, doing something really bold and strong. I look forward to seeing what they all get up to next.I felt proud, as a woman, to see that most of the creative team were women, doing something really bold and strong. I look forward to seeing what they all get up to next.
On Gavin Creel and Jared Gertner: I shied away from seeing The Book of Mormon. I didn't quite know what to expect. But I knew Jared – we'd met a few times in New York through a mutual friend – and I knew of Gavin, so I went along. I found it both hilarious and strangely moving. Gavin, especially, managed to pull out such a shiny performance, but underneath it was this sad, lonely individual, beating his drum about the religion he truly believes in.On Gavin Creel and Jared Gertner: I shied away from seeing The Book of Mormon. I didn't quite know what to expect. But I knew Jared – we'd met a few times in New York through a mutual friend – and I knew of Gavin, so I went along. I found it both hilarious and strangely moving. Gavin, especially, managed to pull out such a shiny performance, but underneath it was this sad, lonely individual, beating his drum about the religion he truly believes in.
I keep saying to people: "Go and see Mormon before those American boys leave." They've brought over the Broadway style so beautifully. That shine is something we Brits can never quite get. It's a shame, in a way, that they've been nominated against each other. I wish they could both win. But they'll have a ball on Sunday, whatever happens. We're all meeting up before the ceremony: me, my mum and all the Mormon crowd, over at one of their houses. We'll have to split up when we get the Royal Opera House and go off to our separate camps, but I'll be thinking of these boys and wishing them luck.I keep saying to people: "Go and see Mormon before those American boys leave." They've brought over the Broadway style so beautifully. That shine is something we Brits can never quite get. It's a shame, in a way, that they've been nominated against each other. I wish they could both win. But they'll have a ball on Sunday, whatever happens. We're all meeting up before the ceremony: me, my mum and all the Mormon crowd, over at one of their houses. We'll have to split up when we get the Royal Opera House and go off to our separate camps, but I'll be thinking of these boys and wishing them luck.
Anna Chancellor, nominated for best actress for Private LivesAnna Chancellor, nominated for best actress for Private Lives
On Jenna Russell: My money's on Jenna to win in her category. I went to see Merrily We Roll Along because I'm friends with Mark Umbers, her co-star, and I loved it. Maria [Friedman, the show's director] did such a good job, and Jenna's performance was outstanding. I adored her flatfooted, shambolic character. By the end of the play, I felt like I really knew her.On Jenna Russell: My money's on Jenna to win in her category. I went to see Merrily We Roll Along because I'm friends with Mark Umbers, her co-star, and I loved it. Maria [Friedman, the show's director] did such a good job, and Jenna's performance was outstanding. I adored her flatfooted, shambolic character. By the end of the play, I felt like I really knew her.
On Judi Dench: Judi has this beautiful effortlessness about her. I thought I might go and see her in Peter and Alice and think, "Oh, I'm so familiar with her; I know what she's got to give." And yet I was bowled over by her all over again. What makes her so brilliant is that you think you know who Judi is – she's always so definitely herself – but there's another quality about her that is always surprising, and that springs from the character and the play. She deserves, in short, to be Judi Dench.On Judi Dench: Judi has this beautiful effortlessness about her. I thought I might go and see her in Peter and Alice and think, "Oh, I'm so familiar with her; I know what she's got to give." And yet I was bowled over by her all over again. What makes her so brilliant is that you think you know who Judi is – she's always so definitely herself – but there's another quality about her that is always surprising, and that springs from the character and the play. She deserves, in short, to be Judi Dench.
On Lesley Manville: I found Lesley unbelievably moving in Ghosts. She was very accurate in her thought processes. That's the thing I most look out for in a performance, I suppose. There was nothing fake about her, no false notes. She was just very true: technically brilliant, and yet not singing the technique.On Lesley Manville: I found Lesley unbelievably moving in Ghosts. She was very accurate in her thought processes. That's the thing I most look out for in a performance, I suppose. There was nothing fake about her, no false notes. She was just very true: technically brilliant, and yet not singing the technique.
On Rory Kinnear: It was thrilling to see Rory's cold-eyed Iago standing at the front of the stage, addressing a thousand people with that cool confidence. He managed to put across Iago as the kind of guy you'd meet in the pub, someone it would be easy to underestimate.On Rory Kinnear: It was thrilling to see Rory's cold-eyed Iago standing at the front of the stage, addressing a thousand people with that cool confidence. He managed to put across Iago as the kind of guy you'd meet in the pub, someone it would be easy to underestimate.
I'd never seen Othello before. I don't go to the theatre that often – I've actually never even seen a performance of Hamlet. But I'd seen Rory before, directed by Phyllida Lloyd in Mary Stuart. He has something that a lot of actors try for: a manliness coupled with a feminine form of expression. He's highly intelligent – not all great actors are. And he's dedicated to the play – it's not all about him. That is always a great thing to watch.I'd never seen Othello before. I don't go to the theatre that often – I've actually never even seen a performance of Hamlet. But I'd seen Rory before, directed by Phyllida Lloyd in Mary Stuart. He has something that a lot of actors try for: a manliness coupled with a feminine form of expression. He's highly intelligent – not all great actors are. And he's dedicated to the play – it's not all about him. That is always a great thing to watch.
Nigel Planer, nominated for best supporting performance in a musical for Charlie and the Chocolate FactoryNigel Planer, nominated for best supporting performance in a musical for Charlie and the Chocolate Factory
On Josefina Gabrielle: I worked with Josefina, who is nominated for Merrily We Roll Along, in the original production of Chicago. She's a phenomenon – beautiful, elegant, funny, and can do backbends and God knows what. She's what's known as a quadruple threat: she can act, sing, dance and is also very nice. What with Josefina and the other two performers I'm up against, I reckon I'm very far from a shoe in.On Josefina Gabrielle: I worked with Josefina, who is nominated for Merrily We Roll Along, in the original production of Chicago. She's a phenomenon – beautiful, elegant, funny, and can do backbends and God knows what. She's what's known as a quadruple threat: she can act, sing, dance and is also very nice. What with Josefina and the other two performers I'm up against, I reckon I'm very far from a shoe in.
On Wicked: The success of Wicked is really down to Winnie Holzman, who wrote the book. I played the Wizard for the show's first two years in London [from 2006], and I've been back to see it since. The second half is a bit long, but otherwise it's near-perfect storytelling. That's much more important with a musical than you might think. You can have a lot of crash and thunder, but if you're not careful, it can end up looking like a bad pop music video, with people getting overemotional about things you don't care about.On Wicked: The success of Wicked is really down to Winnie Holzman, who wrote the book. I played the Wizard for the show's first two years in London [from 2006], and I've been back to see it since. The second half is a bit long, but otherwise it's near-perfect storytelling. That's much more important with a musical than you might think. You can have a lot of crash and thunder, but if you're not careful, it can end up looking like a bad pop music video, with people getting overemotional about things you don't care about.
On Henry Goodman: Henry, nominated for Arturo Ui, is an almost unbearably high-energy actor. He's off the scale, really. I've been in a couple shows with him, Chicago and Feelgood, the Alistair Beaton play about Tony Blair's speechwriters that pre-dated The Thick of It. In each case, we evolved a sort of double act: Henry was the aggressive, pushy person driving the scene, and I was the one lagging behind, picking up all the laughs.On Henry Goodman: Henry, nominated for Arturo Ui, is an almost unbearably high-energy actor. He's off the scale, really. I've been in a couple shows with him, Chicago and Feelgood, the Alistair Beaton play about Tony Blair's speechwriters that pre-dated The Thick of It. In each case, we evolved a sort of double act: Henry was the aggressive, pushy person driving the scene, and I was the one lagging behind, picking up all the laughs.
He's over-cranked, and that's quite fun. It also takes an incredible courage. Sometimes he can make a leap decision to do something a certain way, give it 170%, and it's the wrong way. But all power to him. You really need actors like that to drive the engine.He's over-cranked, and that's quite fun. It also takes an incredible courage. Sometimes he can make a leap decision to do something a certain way, give it 170%, and it's the wrong way. But all power to him. You really need actors like that to drive the engine.
Hayley Atwell, nominated for best actress for The PrideHayley Atwell, nominated for best actress for The Pride
On Jenna Russell: I've been a massive fan of Jenna's since I saw her play Dot in Sunday in the Park with George [in 2007]. She won an Olivier for that. For me, she stands out as one of the greatest musical theatre stars we have. She delivers her performances with such subtlety and truth and humour – and she is someone who makes musical theatre, which I don't do myself, very relatable and accessible. I met her recently. She said she'd sing for me one day. That would be an amazing treat.On Jenna Russell: I've been a massive fan of Jenna's since I saw her play Dot in Sunday in the Park with George [in 2007]. She won an Olivier for that. For me, she stands out as one of the greatest musical theatre stars we have. She delivers her performances with such subtlety and truth and humour – and she is someone who makes musical theatre, which I don't do myself, very relatable and accessible. I met her recently. She said she'd sing for me one day. That would be an amazing treat.
On Judi Dench: One particularly heart-wrenching scene from Peter and Alice has lingered in my mind. It's where Judi's character discovers that her son has died. She gave a very simple gesture, by the side of the stage, that was just heartbreaking. It was a short moment, but it was pure and very clear. I love that about her. There's nothing remotely indulgent or self-satisfying about her work.On Judi Dench: One particularly heart-wrenching scene from Peter and Alice has lingered in my mind. It's where Judi's character discovers that her son has died. She gave a very simple gesture, by the side of the stage, that was just heartbreaking. It was a short moment, but it was pure and very clear. I love that about her. There's nothing remotely indulgent or self-satisfying about her work.
Judi has an incredible clarity to her thoughts: she makes her lines her own because you can tell that she's really thinking and feeling them. She has this piercing quality that hits the audience right through the heart and the mind. And she has a growing skill, too. It's very exciting, as an actor, to think that you can just continue to get better and better.Judi has an incredible clarity to her thoughts: she makes her lines her own because you can tell that she's really thinking and feeling them. She has this piercing quality that hits the audience right through the heart and the mind. And she has a growing skill, too. It's very exciting, as an actor, to think that you can just continue to get better and better.
After I saw Peter and Alice, Judi and I went for lobster thermidor at J Sheekey. I hadn't really spent time with her before, and I was amazed at how she came off the stage with such energy. We enjoyed a glass of champagne together and had a good giggle about backstage shenanigans.After I saw Peter and Alice, Judi and I went for lobster thermidor at J Sheekey. I hadn't really spent time with her before, and I was amazed at how she came off the stage with such energy. We enjoyed a glass of champagne together and had a good giggle about backstage shenanigans.
• The Olivier awards take place on Sunday 13 April at London's Royal Opera House. ITV1 will screen highlights of the ceremony at 10.15pm on Sunday.• The Olivier awards take place on Sunday 13 April at London's Royal Opera House. ITV1 will screen highlights of the ceremony at 10.15pm on Sunday.