The Civil Awards – Winners

Competition has been fierce. Tears, wine and blood have been spilt. Not necessarily in that order. All that remains, with votes cast, arguments played out, and money in brown paper bags tallied and accounted for, is to dust off the golden envelopes and announce the hotly anticipated (umm, by who? – ed) results.

If you are under the suspicion that these awards don’t have any real meaning and are just another internet blog’s attempts to round off the year in a show of unnecessary and undeserved self-importance then, well, you would be right.

However I rest happy knowing these are the views of someone who has seen, and written, a lot about theatre in 2014. And that has a meaning above and beyond those offered by a certain awards ceremony funded by a bearded Russian billionaire whose questionable wealth accumulation tactics enabled them to buy an entire newspaper for seemingly the sole purpose of indulging twin fantasies of being a cultural impresario and being photographed with an arm around attractive celebrities.

So mea culpa over, follow the link to check out the winners.

Find out who won here

The Civil Shortlist – 2014

Well the plays have been revisited, the little grey cells put back into action and the oracle consulted. In short and without further ado, Civilian Theatre is proud to present the runners and riders in the second annual shortlist for The Civil Awards. [Cue much fanfare, fireworks and underhand, dirty trick campaigns]. Bribes, whilst having little effect on the outcome, will still be gratefully received.

It has been ferociously competitive in some categories and this year it is female performers who have far out performed their male counterparts. The honourable mentions list is arguably be a top 5 in itself.

In the end – having combined Best Support Actor into being for both men and women – it was impossible to reduce it to just five. So six have been shortlisted in another high calibre selection.

Another new category is Best Musical, which reflects the fact that below the surface and away from the big theatres, musical theatre is still doing some pretty interesting stuff. Last year’s Civilian Theatre Play of the Year ‘The Scottsboro Boys’ has transferred to the West End and it feels the form deserves its own categories.

Winners will be announced in the run-up to Christmas.

Best Actor – Female

Honourable Mentions:

Harriet Walter (Henry IV), Helen McCrory (Medea), Lisa Dwan (Not I, Footfalls & Rockaby), Phoebe Waller-Bridge (The One) and Anita Hegh (The Wild Duck).     


Best Actor – Male

Honourable Mentions:

Andrew Scott (Birdland), Andrew Twaites (The Libertine Has Left The Building) and Simon Russell Beale (King Lear)


Best Supporting Actor (Male/Female)


Best Director


Best Musical

 

Mimetic Festival Launch Night

One of the bonuses of being a blogger is the occasional freebie. For the more successful / perky / young dynamos of the modern day vlogging world this may be tickets to the VMAs or a sample from the new Topshop-designer collection. For those of us whose age, as like a tree, can be ascertained by counting the lines carved into our forehead, are already well prepared for hip, scarily precocious twenty-something marketing --RWD13-Where-the-White-Stops-023execs to at best acknowledge our existence with the occasional eye roll, dramatic sigh and mandatory thirty seconds of feigned interest.

Which is why it was a pleasurable surprise to wander down Leak Street (home to some of London’s best graffiti) and into the Vaults; home for the next two weeks to Mimetic Festival 2014. Invited to the launch party and plied (well at least offered) something fizzy in a glass is generally a good way of getting me onside. However they really pushed my buttons by offering a cabaret bar (impressively thrown up in just over 24 hours) that could have spirited out of an art deco museum (or at least out of Poirot’s apartment).

Marion-Deprez-web1-150x150Mimetic Festival is “a celebration of the very best emerging devised, physical and visual theatre, puppetry and cabaret”. Like all the best festivals it is growing year on year, and this time it can claim to be offering up 120 shows from over 50 different countries. If slightly alternative theatre is your thing then Mimetic Festival is somewhere you ought to be over the next two weeks.

Showcased for our entertainment were snippets from the fortnight, and it really did demonstrate the range of acts vying for our attention. From the knowing beautiful clowning of Marion Deprez to the intriguing Greatest Liar in all the World there is something for everyone (even those who think that only way to improve Kate Bush’s Wuthering Heights video would be to recreate it using a highly sexualised puppet).

Civilian Theatre will be reviewing a number of Mimetic Festival productions over the next year and is one of a number of Mimetic Festival Awards Partners. We will be tweeting and posting to the blog throughout, and you can find all of the latest reviews at:  https://civiliantheatre.com/mimetic-festival/

 

Mimetic Festival runs from 17 – 29 November 2014 at the Vaults, Leake Street, SE1 7NN.

For more information about Mimetic Festival: http://www.mimeticfest.com/

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.

The Civil Shortlist

The Contenders

Well the plays have been revisited, the little grey cells put back into action and the oracle consulted. In short and without further ado, Civilian Theatre is proud to present the runners and riders in the inaugural shortlist for The Civil Awards. [Cue much fanfare, fireworks and underhand, dirty trick campaigns].

Bribes, whilst having little effect on the outcome, will still be gratefully received. Your comments and opinions are also welcomed.

Winners will revealed next week following a countdown of the Top 10 plays of 2013.

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)

Best Actor – Female

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)

Best Director

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

Theatre / Theatre Company of the Year

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

Surprise of the Year

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

Biggest disappointment of the year

  • Not going to see Chimerica
  • The general flat direction and conservative productions in the Michael Grandage season
  • Ben Whishaw and Judi Dench in Peter and Alice 

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