Jodie Comer caught the “stage bug.” She triumphed in her first appearance in Big faceShe is eagerly looking for a next production in the years ahead.
“I will definitely do more theatre,” says de kill Eve And free man Star told Deadline at the Olivier Awards after-party at the Natural History Museum in Kensington, London, just a stone’s throw from the Royal Albert Hall where the stars of the theater world gathered for a good time earlier on Sunday night. deserved pat on the back.
The actress showed Big face producer James Bierman and said: “I’m going to stick with him. I will follow him because he gave me this opportunity.”
Comer’s phenomenal performance as a lawyer who defends a rapist and is then sexually assaulted by a colleague earned her a slew of Best Actress hardware, including a statuette at Olivier’s – the West End equivalent of the Tony awards.
Her instincts guided her during the original production of Suzie Miller’s play at the Harold Pinter Theater last year. At one point in the play, Tessa, her character, jumped on a table. “It was instinct,” she explained, noting how she wanted to portray Tessa’s physicality.
“As the run progressed, I became more and more fearless and learned more about myself, my emotions and my instincts as I played it,” she added.
Comer’s father saw her first preview and last performance. Dad was impressed. “He said, ‘You got faster,'” she laughed as she held court with friends on the edge of the museum’s temporary dance floor.
Every now and then she swayed gently to the rhythm, but she wasn’t completely confused.
Most likely she was saving her energy for her flight back to New York to rehearse for the Broadway production of Big facePreviews at the Golden Theater begin April 11 with a gala opening night on April 23. The season, limited to ten weeks, ends on June 18.
“We have been rehearsing for a week, but we must quickly pick up where we left off,” she said.
Next move
Bierman tells us that he and Comer will discuss next steps once the actress wraps up Broadway and a slew of film and television commitments.
“I would love to continue working with Jodie on projects for the theater if she is willing to try again,” said Bierman. “She is now committed to the stage. She is to blame.”
The Natural History Museum was teeming with humans and dinosaurs. In one of the exhibits was a Titanosaurus, not roaming, you see, but in skeletal form. Upon entering, the revelers were introduced to the bony skeleton of a blue whale hanging from the ceiling of the Hintze Hall with all the stagecraft of the theater art form we had just celebrated.
A certain Homo sapien was treated as an excellent exhibit. His name? Paul Meskal. The actor thinks it’s “creepy” that he attracts so much attention. If only he had kept his tuxedo on at the party and not worn a spray painted shirt.
“I was hot,” the star smiled as we watched him wander around the huge great room with some friends. A legion of women and a few men followed his every move.
The Olivier Award for Best Actor trophy (known as “Larry” after theater giant Laurence Olivier), which Mescal won for his searing Stanley Kowalski End station required by Tennessee Williams at the Almeida Theater and now transferred to the Phoenix Theater put in his right hand.
“I’m not giving up, seriously. I keep it close,” he said.
He would love to play Kowalski on Broadway if the Rebecca Frecknall-directed production moves there. But how is he to find the time? Once he finishes his short season with the Phoenix, he will travel to Morocco to flex his muscles as Lucius in Ridley Scotts. gladiator 2.
Mescal has been building his biceps for months in preparation the buzz function. He then has to quickly shed his muscular physique to appear in the World War I drama film history of sounds opposite Josh O’Connor (The crown, God’s own country) for director Oliver Hermanus (Life). The role apparently requires more brains than brawn.
End station required won two other awards: Best Revival and Best Supporting Actress for Anjana Vasan for her Stella. Patsy Ferran’s incendiary Blanche DuBois was in the running for best actress – her portrayal of the southern genie was the focus of the production, but Comer took the laurels that night.
But the Almeida Theater shows had a very hot night, with the trophies in front of us tram and Will Keen won Best Supporting Actor for his portrayal of Vladimir Putin in Peter Morgan’s play patriotswhich will be directed by Almeida’s artistic director Rupert Gould (judy). patriots moves to the Noel Coward Theater for 12 weeks from 26 May.
Zubin Varla and Katie Brayben won for their roles Tammy Faye for which Elton John provided the score. Some hoped the rock star might have played a few songs at the after-party, but to be fair he had just played the first of ten gigs at the 02 on the south bank of the Thames in Greenwich.
“It was never planned,” says Gould, who also directed Tammy Faye.
jubilant scenes
Others also had reason to be happy.
The folks at The Royal Shakespeare Company were more than happy with the big six they scored for the Studio Ghibli adaptation of Hayao Miyazaki’s classic animated film My neighbor Totoro. The show’s wins include Best Director for Phelim McDermott and Best Entertainment or Comedy Performance. The RSC announced this last week My neighbor Totoro returns to London’s Barbican for a second 17-week season from 21 November.
The RSC’s rival, the National Theatre, won two Olivier Awards, including Best Original Score. It went to Richard Hawley for the great musical Standing on the edge of heavenwhich he shared with orchestrator Tom Deering.
As a child, Hawley delivered a spirited speech reminiscent of urinating in a posh public atmosphere. Unintelligible, of course, but the audience applauded him anyway.
Deadline did not see him at the Natural History Museum. Instead, he was on his way there Standing on the edge of heaven‘s own private party at a hip restaurant and club in Laylow, across town from Notting Hill.
The show was produced by National and Rupert Lord’s Various Productions and won Best Musical. Like the equivalent Tony Award gong, this is a big deal.
Beverley Knight also had a big night, taking home her first ever Olivier for Best Supporting Actress in a Musical Sylvia, celebrating the life of feminist activist Sylvia Pankhurst. Knight gave a great performance of himself as the show company performed a song at the awards ceremony. The actress-turned-singer previously appeared in a scene from sister lawwhere she played last year.
Teddy Lasso Star and awards presenter Hannah Waddingham was in her element as she watched the musical performances and mustered all her willpower not to jump in and join in.
She led the original opening number and we would have loved to see another one, but it was not to be. However, the live show was way too long at around three and a half hours.
Perhaps the Society of London Theatre’s Olivier Awards sub-committee could scale back next year’s show, but where would they get more of Hannah Waddingham to sing?
Source: Deadline
Ashley Root is an author and celebrity journalist who writes for The Fashion Vibes. With a keen eye for all things celebrity, Ashley is always up-to-date on the latest gossip and trends in the world of entertainment.
