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    Olivier Awards Winners 2025: ‘Giant,’ ‘Fiddler on the Roof’ and More

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    The play, about Roald Dahl’s antisemitism, took home three awards at Britain’s equivalent of the Tonys. So did a “Fiddler on the Roof” revival and a folk rock “Benjamin Button.”“Giant,” a play about Roald Dahl’s antisemitism starring John Lithgow as the truculent children’s author, was one of the big winners at this year’s Olivier Awards, Britain’s equivalent of the Tonys.The play, which was staged at the Royal Court last year and is transferring to the West End on April 26, took home three awards at Sunday’s ceremony at the Royal Albert Hall in London: best actor, for Lithgow; best supporting actor for Elliot Levey as a publisher trying to get Dahl to apologize for his statements about Jews; and the coveted best new play award.For that final prize, “Giant” bested four other titles, including “The Years,” an acclaimed staging of a Frenchwoman’s life (featuring a back-street abortion and late-in-life affair) that is running at the Harold Pinter Theater until April 19.The success for “Giant” was perhaps unsurprising given how much critics praised its opening run. Clive Davis, in The Times of London, said the “subtle, intelligent and stylishly crafted” drama, written by Mark Rosenblatt and directed by Nicholas Hytner, “deserves to transfer to a bigger stage.” (Lithgow has said in interviews that he wants to take the play to Broadway.)Houman Barekat in a review for The New York Times said that Lithgow was “superb as the beleaguered but unrepentant writer, blending affable, avuncular esprit with scowling, cranky prickliness and nonchalant cruelty.Lara Pulver and Adam Dannheisser in “Fiddler on the Roof.”Johan PerssonWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Oliver Awards 2025 Nominations: ‘Fiddler on the Roof’ Earns 13 Nods

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      The acclaimed revival, which is about to transfer to London’s Barbican, scored 13 nominations at Britain’s equivalent of the Tonys.A revival of “Fiddler on the Roof,” the much-loved 1964 musical, received the most nominations on Tuesday for this year’s Olivier Awards, Britain’s equivalent of the Tonys.The show got 13 nods — seven more than any other musical or play — including best musical revival, where it is up against a production of “Hello, Dolly!” starring Imelda Staunton, which ran at the London Palladium, as well as ongoing revivals of “Oliver!” at the Gielgud Theater and “Starlight Express” at the Troubadour Wembley Park Theater.Directed by Jordan Fein, “Fiddler on the Roof” is a stripped-back version of the tale of a Jewish milkman in Czarist Russia who is marrying off his daughters against a backdrop of antisemitic pogroms. It received rave reviews when it opened last August at the Regent’s Park Open Air Theater. (It transfers to the Barbican Center on May 24).Marianka Swain, writing in The Daily Telegraph, called the production “a masterclass in balancing innovation with tradition.” Fein resisted the temptation to draw out the musical’s parallels to contemporary events like Russia’s invasion of Ukraine or surging antisemitism, Swain wrote. “No need when they come through so powerfully anyway,” the reviewer added.Fein is nominated in the best director category, where he will face tight competition from the directors of three of the past year’s most critically acclaimed plays: Nicholas Hytner for “Giant,” about Roald Dahl’s antisemitism, staged last year at the Royal Court and opening in April on the West End; Robert Icke for a version of “Oedipus” that ran at Wyndham’s Theater; and Eline Arbo for “The Years,” running at the Harold Pinter Theater.From left, Anjli Mohindra, Deborah Findlay, Gina McKee, Romola Garai and Harmony Rose-Bremner in “The Years.”Helen MurrayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘Mrs. Harris Goes to Paris’ Review: High Fashion for the Humble

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      This inspirational comedy starring Leslie Manville and Isabelle Huppert trades in a similar kind of British coziness as the “Paddington” movies, though it’s not nearly as effective.In “Mrs. Harris Goes to Paris,” Lesley Manville returns to the world of high fashion in a reversal of her Oscar-nominated role in “Phantom Thread.” Her deliciously frigid character in that film — the forbidding manager of a British fashion house and foe to Vicky Krieps’s lowborn muse — would go catatonic were Manville’s Mrs. Ada Harris to waltz into the fitting room, asking for a “frock” with her cockney drawl.Unsurprisingly, the formidable Manville pulls off the switcheroo, instilling her role as the genial cleaning lady with a tenderness and grace that far surpasses the feel-good pish-posh that is the film around her.Directed by Anthony Fabian, “Mrs. Harris Goes to Paris” trades in a similar kind of British coziness as the “Paddington” movies, though it’s not as zany or funny.Mrs. Harris, a widow toiling away in the service of the postwar London elite, has her eyes set on a custom Dior gown and, after a series of fortunate events, heads to Paris to retrieve the garment of her dreams. Despite having found the cash, our heroine must contend with the menacing Madame Colbert (Isabelle Huppert) and the snooty mores of the biz and its patrons.For the other world-weary employees — the kindly, philosophizing model Natasha (Alba Baptista), the lovesick accountant André (Lucas Bravo) — Mrs. Harris proves single-handedly that the rules of society aren’t necessarily ironclad. If a humble maid can get her hands on a dress that costs 600 pounds, what’s stopping Natasha from pursuing an intellectual life, or André from revolutionizing the company to appeal to women from all walks of life?The trope of the laughably frumpy worker bee, filled with optimism and quiet wisdom, is demeaning, and Mrs. Harris’s iteration is no exception. Despite its gleeful showcasing of beautiful clothes and vibrant midcentury Parisian sights, the film is caught between its fantasies and its principles, landing somewhere more annoyingly clueless — and dull — than it ought to be.Mrs. Harris Goes to ParisRated PG. Running time: 1 hour 55 minutes. In theaters. More