Why the Olivier awards show up the West End's weak spots

Only a handful of Olives were rewarded for a derivative work of the commercial sector - which shows that the West End is just show interesting productions, not create

At least I have a good thing. Interviewed by Radio 2 to predict the headlines in the morning after Olivier Awards, suggested "Matilda waltzes win Olivier". I do not think anyone actually used this specific line (although one of the news agencies came close, but it was the general sense. Similarly artist has dominated the Oscars this year, so we went with Matilda seven Oliviers I have no problem with that - except maybe .. there is something vaguely surreal story by Roald Dahl is a hymn to the pleasures of solitary reading became a big market dazzling masses music

• But while this year's award are quite reasonable - I particularly appreciated the recognition given to Ruth Wilson and extraordinary revival of Anna Christie - I think the real story is lost. When Swet prices, as they were called, were created in 1976, had a simple reason. Commercial producers felt there was a strong bias in awards evening of drama standard available for the subsidized sector. They believe that the work of the West End has not been recognized and decided to create his own rival ceremony.
• Thirty-six years later, what do we find? The record is dominated by the production of the Royal Shakespeare Company, National, the Donmar Warehouse and the open air theater in Regent Park. It is true that most of the winning productions transferred to the West End, but from elsewhere. Scanning the list, I can find only three awards for the work they actually came from the commercial sector: Derren Brown Svengali for the best entertainment, Sheridan Smith for best performance in a supporting role in the production of Trevor Nunn Road Flare and Nigel Harman to support better performance in a musical for his turn in Shrek. Three price is not really a charge, and if the night proves anything, it is the constant failure of the West End to create, rather than simply highlight the exciting work.

That the Society of London Theatre (SOLT) has become really good at it is self-advertisement. I was not at the ceremony on Sunday night (not going to lose this country), but Julian Bird, SOLT chief executive, said it was "probably the most important one night without sleep nobody has ever done. "But, Olives why they feel compelled to compete with the Broadway Tony Awards or Oscars? I remember when they started these gala dinner consisted of a ceremony very nice and modest Café Royal: a very British, informal occasion. now they have become part of the standard showbiz razzmatazz., but that in itself shows how the West End has opted for a model to Broadway. less will shout, creatively, more noise feels compelled to do

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