The 2013 Civil Awards – The Winners

The Civil Awards

So the judges have ill-met by moonlight, the runes read, the die cast and the Oracle consulted. Bribes have been counted, tallied and sent to the accountants to be stored in one of Civilian Theatre’s numerous tax havens in the British Virgin Islands. And so, without further ado, here are the winners in the inaugural Civilian Theatre Awards: The Civil Awards

Best Actor – Male

  • James McAvoy – Macbeth (Macbeth)
  • David Tennant – Richard II (Richard II)
  • Serge Maggiani – Berenger (Rhinoceros)
  • Henry Goodman – Arturo Ui (The Resistible Rise of Arturo Ui)
  • Rory Kinnear – Iago (Othello)

In the most hotly-contested category of the year we see the usual array of brilliant Shakespeare performances. The difficulty in choosing between them is that they take such different routes into interpreting the Bard for a modern audience. James McAvoy may not be the greatest Shakespearian but he put body as well as soul into a hugely physical performance in the intimate Trafalgar Studios. His was a magnetic Macbeth that may have offended the purists but did make this GSCE-favourite come alive.

There is a notable contrast in David Tennant’s Richard II; Tennant’s quick-silver tongue has made him the most fluid verse speaker of his generation and he reveled in Richard’s fascination with words and language, showing flashes of interpretative genius to draw out the subtleties from the text’s formidable complexity. The final Shakespere on the list was Rory Kinnear’s Iago. Civilian Theatre felt that he edged out Adrian Lester in the Othello double-hander; his Iago was brought into the present as a credible presence in the modern world, immediately recognisable to those watching.

Henry Goodman’s wonderful Arturo Ui was a marvel, blending an ability to move seamlessly between slapstick and seriousness, and proving once again of the fertile life of plays outside London. But the winner comes from even further afield and demonstrating that language is no barrier to great performance. Playing the everyman is often seen as one of the hardest roles to recreate on stage, and Bérenger is presented as the archetypal everyman. Maggiani beautifully captures Bérenger in all his contrarian frailty and gives to the audience a momentary insight into what it is to be truly human on stage. It is a performance that achieves a rare transcendent universalism and makes Maggiani a worthy winner.

And the Winner is… Serge Maggiani as Bérenger in Rhinoceros (Barbican)

Best Actor – Female

  • Phoebe Waller-Bridge – Marion / Fleabag (Mydidae / Fleabag)
  • Harriet Walter – Brutus (Julius Caesar)
  • Hannah Waddingham – Kate (Kiss Me, Kate)
  • Neve McIntosh – Claire (The Events)
  • Ruth Wilson – Monologue (The El Train)

The year started off with fireworks as critics, for no obvious reason, got flustered by the idea of all-female Julius Caesar; however Harriet Walter proved why gender should not be a barrier by giving us an utterly spell-binding Brutus. It showed that given the chance a great actor (male or female) can find a depth and subtlety to Shakespeare’s leading roles, which are full of rich texture and fascinating new interpretations.

Phoebe Waller-Bridge finds herself nominated twice over, with both Mydidae and Fleabag superbly showcasing her skills. Both challenging parts that required both emotionally and physical intimacy, Waller-Bridge proved herself as an actor unafraid of taking risks and a star to watch rise over 2014. It is rare for a musical to generate a nomination but Hannah Waddingham (Kiss Me, Kate) combined a wonderfully vocal performance with solid acting and superb comic timing that lifted the whole production, whilst effortlessly stealing the show from those around her.

Neve McIntosh’s Claire in The Events was the threat that held this powerful work together. It was the sort of performance that was laced with a quiet grief, an understated emotional core that supported rather than threatening to overwhelm the whole. It was the kind of performances that are rarely noticed because by playing small you allow the play itself to take centre stage, and that is a rare enough skill in an actor.

Ruth Wilson’s performances in The El Train came just in time for nomination and proved once again that few British actors do American better. She has developed the rare skill of stillness that cannot help but draw the audience to her. Wilson’s performance in The El Train was an acting masterclass in the art of the monologue and in building a full realised character out of the smallest of scraps.

And the Winner is… Harriet Walter as Brutus in Julius Caesar (Donmar Warehouse)

Best Supporting Actor

  • Kyle Soller – Gaveston (Edward II)
  • Vanessa Kirby – Isabella (Edward II)
  • Jonathan Slinger – Parolles (All’s Well That Ends Well)
  • Ben Whishaw – Baby (Mojo)
  • William Gaunt – Dogsborough (The Resistible Rise of Arturo Ui)

After the tremendous disappointment of Peter and Alice it was a relief to see, in Mojo, what an electrifying actor Ben Whishaw can be. His presence onstage ramped up the wattage by some degrees and he once again undercut his somewhat fey persona with a dangerous malevolence. Jonathan Slinger’s Parolles in the RSC’s All’s Well That Ends Well continues his fine run of form for the Company. Growing in presence and with a Hamlet under his belt, Slinger is continuing his rapid rise through ranks.

Two supporting nominations for the uneven but often entertaining Edward II at the National; Kyle Soller is a clear rising star and has become a go-to for beefing up a supporting presence over the last couple of years but it was Vanessa Kirby’s Isabella who takes even more praise. Gaveston is a clear supporting role but Kirby carved out a weighty role for a part that could have sat far more in the background. Her role as one of Lear’s daughter in the upcoming Sam Mendes’ production should be one to watch.

However the award must go to the old guard and William Gaunt’s fabulous Dogsborough in Arturo Ui. It’s not easy play Brecht – Gaunt must represent the entire failure of the German establishment seen through Hindenburg as refracted the role of a southern gentleman. Gaunt gives the role a tragic grandeur – of a man who betrays his principles and realises far too late how far he has been outflanked.

And the Winner is… William Gaunt as Dogsborough in The Resistible Rise of Arturo Ui (Duchess Theatre)

Best Director

  • Susan Stroman – The Scottsboro Boys
  • Katie Mitchell – Fraulein Julie
  • Jamie Lloyd – Macbeth
  • Declan Donnellan – Ubu Roi
  • Gregory Doran – Richard II

All the directors on the list deserve acclaim for rich and involving productions. It is no surprise that only one failed to make it to Civilian Theatre’s Top 10 shows of 2013 (and even then Doran’s Richard II only missed out by the most slender of margins).

Each brings something different to the table but in the end the prize must go to the formal inventiveness of Katie Mitchell’s Fraulein Julie. There are many British companies pushing boundaries but Mitchell does more than this. She seems less concerned with the question of what theatre is and instead is wholly focused on how to deliver greatest truth to the audience. Her blurring of traditional mediums reached its greatest coherence to date in Fraulein Julie; a grueling but stunning reinvention of the Strindberg classic.

And the Winner is… Katie Mitchell for Fraulein Julie (Barbican Theatre)

Theatre / Theatre Company of the Year

  • Young Vic
  • Barbican Centre
  • Trafalgar Transformed
  • Harold Pinter Theatre

The Harold Pinter Theatre is a surprise entrant on the list but it has shown impressive diversity for a West End theatre; Old Times, Mojo and Merrily We Roll Along all proving to be canny acquisitions and audience hits. The Barbican and the Young Vic continued their traditionally strong programming with a mixture of plays to suit every taste at prices that remain, just about, on the affordable end of the spectrum. However the prize goes to the Trafalgar Studios for their audacious Trafalgar Transformed season and for giving Jamie Lloyd free-run of their main space. It was a move that could have potentially backfired spectacularly but The Hothouse, Macbeth and The Pride proved that there is life for serious drama in a more commercial setting.

And the Winner is… Trafalgar Transformed

Surprise of the Year

  • The Scottsboro Boys
  • The Events
  • Hamlet de los Andes

Three very different plays united in their complete unexpectedness. Between them they made three of the top four places in Civilian Theatre’s Top 10. It proved once again that you just need to scratch the surface to find innovative, powerful and challenging theatre. In the end Hamlet de los Andes edges it purely because nothing about it seemed promising. The Events had the weight of David Greig and The Scottsboro Boys had Kander & Ebb; Hamlet de los Andes was an unknown– in the UK – Bolivian company that had the audacity to rip apart Hamlet for their own ends. The result was brilliant.

And the Winner is… Hamlet de los Andes

Best thing to happen in theatre in 2013

  • The amount of £10 seats for the Michael Grandage season
  • Rupert Goold appointed as the next artistic director of the Almeida
  • The opening of The Shed

Even despite the disappointing season that was offered, Michael Grandage must be applauded for the amount of affordable tickets – and not all in rubbish seats – that were on sale for his plays. If the Stalls seats are going to be extravagantly priced then at least it was used to subsidise others. The Shed looks exciting but the prize goes to Rupert Goold taking the reins at the Almeida. Our most innovative director in charge of his own theatre, and one that blends public and commercial sensibilities at that; it should be an interesting few years and this move positions Goold perfectly for something even high-profile the next time the roundabout turns.

And the Winner is… Rupert Goold at the Almeida

Biggest disappointment of the year

  • Not going to see Chimerica
  • The general flat direction and conservative productions in the Michael Grandage season
  • The fact that The Book of Mormon won Tony awards and The Scottsboro Boys didn’t

Well on a personal level it was being too lazy to see Chimerica. Clearly one of the plays of the year and it was through indolence alone that it was missed by Civilian Theatre. However the out and out winner is the Michael Grandage season. Having bought into the hype, and into the tickets, it produced disappointment after disappointment. Peter and Alice was dross on every level, The Cripple of Inishmaan did scrape over average and then an immediate downturn into a boring baby boomer A Midsummer Night’s Drum before a dull as ditchwater Henry V rounded things off.

Worse thing to happen in theatre in 2013

  • The growing trend to not allow people to book seats so that there is only one left on its own
  • The continuing upward creep of top-end theatre ticket prices
  • The cull of theatre critics across the mainstream press

Any of the three above are more than worthy of winning the prize. However a late entrant steals the show for being both terrible, and for being so unexpectedly terrible. Mark Rylance. James Earl Jones. Vanessa Redgrave. Shakespeare. The Old Vic. Nothing in those words suggests anything other than a production of the highest calibre and undoubted interest from audience and critics alike. However the unmitigated disaster that was Much Ado About Nothing led all that saw it to attempt to blank the experience from their mind. It was a catastrophe of the like that is rarely seen on the London stage and although it gives no pleasure to do so, it must be awarded the prize of: worse thing to happen in theatre in 2013.

Writer vs Director vs Actor in Edward’s epic battle

Much of the critical reaction to the National’s production of Marlow’s Edward II has been withering, and for generally mild-mannered reviewers, bordering on the vitriolic. Leading the charge is, inevitably, Quentin Letts in The Daily Mail who suggests the ‘the only thing murdered in Joe Hill-Gibbins’s puerile, inept production is the play itself’ (ouch) and is followed, perhaps rather too stridently, by Tim Walker in The Telegraph who found ‘In almost 10 years of reviewingedward ii and gaveston: not your everyday production theatre, I doubt I have been confronted with a bigger load of indigestible old tosh’ and couldn’t help but the boot into the subsidised sector while he was at it; ‘the kind of production that simply could not happen in the commercial West End.’

Many people would doubtless agree with Mr Walker’s final sentence but the despair being aimed less at the National and more with eyes turned pointedly north of the river at the risk-averse nature of the private sector behemoths; happy to suck up the most profitable of the tried and tested subsidised productions before reverting back to a steady rotation between Noel Coward, Alan Ayckbourn and A.N Musical complete with X-Factor star.

If the overt agenda setting of Mr Walker’s column can be ignored– and the reference to‘comrades’ at the National rather says it all – it makes an important point in reminding us that the licence to put on a production this lavish ultimately comes from the public purse.

Joe Hill-Gibbin’s is a talented director who had great success at the Young Vic but his career trajectory is taking a worrying turn towards the excessive. A bright start led to a stint at the Young Vic where he created a stunning yet simpleEdwardII and Isabel revival of Martin McDonagh’s brilliant Beauty Queen of Leenane and directed the only Tennessee Williams production I have ever managed to enjoy (The Glass Menagerie).

He scored an unexpectedly huge hit with the fun but rather too hyper-kinetic The Changeling, which showed a suffusion of talent but equally there were times where a restraining hand might have been called for. It is troubling that on the grandest stage of all Hill-Gibbin’s has not only failed to adjust his style but that the flaws, rather than being flattened in the vast space of Olivier, have only been magnified.

Whilst we must allow artistic companies the freedom to make mistakes, watching Hill-Gibbin’s exuberant production reminded me of the wisdom of Bob Balaban’s protective mother in A Mighty Wind justifying the use of a Shetland pony to play polo on the grounds that ‘if he has to fall, he shouldn’t fall from so very high’.

<<Continue to full review>>

Furious speculation and petulant snubs

The Evening Standards are almost upon us, so it is time to cast eyes over the shortlist. Harrumph over those missing from the list and make pointlessly futile predictions over who might be coming out on top. As usual we see the usual suspects vying for position.

This year the National leads the way with nine nominations, squeezing out the Royal Court with eight. Most disappointed must be the Donmar with just two nominations and a complete shut-out in both Best Actress and Best Actor catagories despite a number of barnstorming performances from Derek Jacobi, Jude Law and Ruth Wilson.

As usual the commercial sector is poorly represented and even in the musicals category they are squeezed by a National and a RSC production in London Road and Matilda respectively. However it is possible to see the faintest glimmer around the edges as Theatre Royal Haymarket managed to sneak a nomination for Sheridan Smith in Flare Path and a number of other nominations that never quite made it off the longlist. While it is far too early to say, it could be the start of a private theatre that plans to lead with serious, if understandably traditional and crowd-pleasing, drama.

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Best Actor

Bertie Carvel Matilda RSC Stratford and Cambridge Theatre
Benedict Cumberbatch Frankenstein National’s Olivier
Charles Edwards Much Ado About Nothing Shakespeare’s Globe
Jonny Lee Miller Frankenstein National’s Olivier

Well the most interesting thing about this year’s Best Actor category is the double-header of Benedict Cumberbatch and Jonny Lee Miller being nominated for Frankenstein. It would have been cruel to have nominated one without the other but the question is whether they will pull votes away from each other and allow a sneaky victory for either Bertie Carvel or Charles Edwards to slip through in the ensuing mayhem. Either way looking at the shortlist it feels that it may have been a slightly weak year for male leads – with certainly no standout performance to stand alongside Rory Kinnear’s Hamlet of last year and the England-sized shadow of Mark Rylance in Jerusalem.

There are some notable omissions from the shortlist and James Corden in particular should perhaps feel most put-out by the lack of inclusion. He received universally rave reviews for One Man, Two Guvnors and the play had a host of 5* reviews and earned a nomination in its own right for Best Play. No space either for the Hollywood A-list of Spacey, Fiennes and Law; with Law perhaps producing the most transformative performance of them all in Anna Christie and re-establishing his right to be called a credible actor.

Will Win

Benedict Cumberbatch – Frankenstein (successfully holding off the split vote)

Should Win

Benedict Cumberbatch – Frankenstein

Should Have Been Nominated

James Corden – One Man, Two Guvnors / Jude Law – Anna Christie

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Natasha Richardson award for Best Actress

Sheridan Smith Flare Path Theatre Royal Haymarket
Samantha Spiro Chicken Soup With Barley Royal Court
Kristin Scott Thomas Betrayal Comedy Theatre

The formidable Kristin Scott Thomas looms large over the Best Actress category; bringing a stately grandeur and the imperious air of a known winner to proceedings. A handsome, well-acted Pinter play has awards written all over it but it hasn’t caught the eye in any of the other catagories so it is possible that it doesn’t quite have the legs to deliver the prize to Kristin.

It is entirely possible that the mass of goodwill that Sheridan Smith generated in Legally Blonde may transfer over to her first major lead in a straight play. And we are in a Rattigan centenary year as well. So as the stars seem to align for one double S, it appears the other, Samantha Spiro may be leaving empty handed despite an immensely powerful performance in Chicken Soup with Barley.

In a double blow for Anna Christie and the Donmar, Ruth Wilson joined Jude Law in failing to make it off the shortlist. Looking at the plays, we have a Rattigan, a Wesker, a Pinter and no room for any Americans. Perhaps as uncertainty swirls all around there has been a reward for those choosing Britain’s great 20th century playwrights to reflect on the modern psychology of the nation.

Will Win

Sheridan Smith – Flare Path

Should Win

Samantha Spiro – Chicken Soup with Barley

Should Have Been Nominated

Ruth Wilson – Anna Christie

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Best Play

The Heretic Richard Bean Royal Court
One Man, Two Guvnors Richard Bean National’s Lyttelton
Becky Shaw Gina Gionfriddo Almedia
Tribes Nina Raine Royal Court

Following my previous point about American plays, I suspect that we can count Becky Shaw out of the running. Undoubtably a strong play, I feel its previous history running off-Broadway may count against it in the final reckoning. Richard Bean can count himself unlucky to be nominated twice for Best Play but failed to even make it to the shortlist for Best Director. If people vote for the man rather than the play, we may see both The Heretic and One Many, Two Guvnors miss out on a split vote.

If this logic means Tribe picks up the award then justice may well have been done, as it would be just reward for a young writer’s elegant handling of the contentious topic of disability. Whilst not containing the full liberating freedom of A Day in the Death of Joe Egg, it manages to free the topic from its normal parameters in order to confront the traditional Royal Court audience with a painful dose of reality. After last year’s win for the hugely successful Clydebourne Park, it appears the Royal Court may have found a rich vein of form in forcing its liberal supporters to reassess their underlying beliefs and prejudices.

Will Win

One Man, Two Guvnors – Richard Bean

Should Win

Tribes – Nina  Raine

Should Have Been Nominated

Wittenberg – David Davalos

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Ned Sherrin Award For Best Musical

Betty Blue Eyes
London Road
Matilda the musical

Not having seen any of these makes it difficult to comment. However it is hard to see past Matilda the musical sweeping all before it. Rapturous reviews at Stratford for the acting and singing, alongside Tim Minchin’s inspired lyricism; possibly one of the few individuals who would be able to capture Roald Dahl’s imagination. London Road is undoubtably a powerful piece of work but was it so good that you can convince voters to go for such a dour work in traditionally sunny category? Betty Blue Eyes? Reasonably reviews but will  people vote for something that is closing early? I think not.

Will Win

Matilda the musical

Should Win

Matilda the musical

Should Have Been Nominated

Nothing really stands out in what feels like a particularly weak year for musicals despite what the Evening Standard may say on the matter.

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Best Director

Rob Ashford Anna Christie Donmar
Dominic Cooke Chicken Soup with Barley Royal Court
Edward Hall Richard III & The Comedy of Errors Propeller At Hampstead
Mike Leigh Grief National’s Cotteslow

As much as I would love to see Edward Hall pick up a reward for the virtuoso vision that drives Propeller and their all-male Shakespeare productions, it feels like a very big ask for a company that doesn’t have the catchy celebrity names and longstanding reputations of the Donmar and the Royal Court. I think Mike Leigh can be ruled out as well, as loved as he may be this does not feel like a Mike Leigh year and Grief passed me by with little more than a whisper.

Coming down to Rob Ashford and Dominic Cooke we have two plays that highlight the differences in writing on either side of the Atlantic. O’Neill vs Wesker is a mouth-watering proposition. It is shaped up to be an extremely close run race that I supect will be decided by the fact that we appear to be in a period of re-evaluating Wesker,  Chicken Soup… at the Donmar and the The Kitchen at the Nationa. This extra name recognition and a seeming favouring of British playwrights should be enough to swing the judges towards Dominic Cooke.

A lot of big names have missed out. There is no space for Sam Mendes or Danny Boyle for their interepretations of Richard III and Frankenstein. It’s a shame to see Declan Donnellan has not made the cut for The Tempest, although Russian language plays are always going to be a tough sell.

Will Win

Dominic Cooke – Chicken South with Barley

Should Win

Edward Hall – Richard III & The Comedy of Errors

Should Have Been Nominated

Declan Donnellan – The Tempest

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Best Design

Bunny Christie Men Should Weep National’s Lyttelton
Lizzie Clachan Wastwater Royal Court
Adam Cork Sound designer of Anna Christie and King Lear Donmar
Mark Tildesley Frankenstein National’s Olivier

Not much to say on this other than if Mark Tildesley doesn’t win for Frankenstein then I shall eat my hat. The Olivier is a famously difficult to space to work with and while Danny Boyle’s production may have had its problems, the design was not one of them. Visually stunning and a replica steam train on stage; whatever beats it must be out of this world.

Will Win

Mark Tildesley – Frankenstein

Should Win

Mark Tildesley – Frankenstein

Should Have Been Nominated

Jon Bausor –  Lord of the Flies

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Charles Wintour Award For Most Promising Playwright

E.V. Crowe Kin Royal Court
Vivienne Franzmann Mogadishu Lyric Hammersmith
Penelope Skinner The Village Bike Royal Court

Not having seen any of these its hard to comment. However based purely on word of mouth I suspect that Vivienne Franzmann is out in front for Mogadishu. A deserving win could be on the cards for the Lyric Hammersmith that has championed new writing but has often been overlooked in favour of the reputation of the Royal Court.

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Milton Shulman Award For Outstanding Newcomer

Phoebe Fox For her performances In As You Like It (Rose, Kingston) and The Acid Test (Royal Court) and There Is A War (National’s Paintframe)
Malachi Kirby For his performance In Mogadishu (Lyric Hammersmith)
Kyle Soller For his performances In The Glass Menagerie (Young Vic), Government Inspector (Young Vic) and The Faith Machine (Royal Court)
David Wilson Barnes For his performance In Becky Shaw (Almeida)

In one of the more interesting developments across the nominations, we saw husband, Kyle Soller, up against his wife, Phoebe Fox, in the battle for Outstanding Newcomer. Out of the two my money is on Kyle Soller, if in part for an outstanding performance as Khlestakov in the Young Vic’s version of The Government Inspector and an extremely strong follow-up in The Glass Menagarie.

I feel Malachi Kirby will struggle to match this with just Mogasdishu behind him and there will be no justice in the world  if David Wilson Barnes walks off with the award – as any quick glance at his C.V suggests ‘newcomer’ maybe laying it on a bit thick.