The Greatest Showman Chapter 1280 - The Rain is Coming

After the Earl of Oxford departed, Renly was once again surrounded by colleagues who greeted him warmly. The lively atmosphere soon returned to Renly's side.

The Oliver Awards ceremony was filled with warmth and cheer. Conversations before the event were animated and passionate, with topics revolving around drama, performances, and the latest works. The ongoing chatter about "West Side" and various productions was the best business card and conversation starter, a chance to connect through mutual admiration and respect for the craft.

"Oh, your last performance got torn apart, it's still causing a stir."

"What happened that night? The energy was electric, the four were shocking. The rumors just kept swirling."

"I think your portrayal was really unique; clearly, your acting coach brought a lot of new ideas."

"By the way, are you preparing a new Shakespeare production? I think it's going to be amazing."

"I watched your last show, but the rhythm felt off. What happened?"

Each performance and each play revealed the actor's role, position, talent, and status, clearly showcased to everyone present. These exchanges became the perfect way to build relationships.

The audacity and innovation of an independent production were met with appreciation, and those preparing a new play were eagerly anticipated. This kind of discussion was a surefire way to break the ice and ignite excitement, much like the Berlin Film Festival.

However, compared to Berlin, the Oliver Awards felt even more professional and profound—it was all about drama, nothing else. The obsessive passion, the fervent enthusiasm, the near-ecstatic focus on the art, even with occasional xenophobia, created a special charm that made the evening both moving and wonderful.

For others, it was a gathering of eccentric personalities, a community enclosed in a bubble, where outsiders couldn't break in. But for those within, it was a carnival of actors—where even the smallest remark could spark a passionate exchange and where it was easy to find like-minded friends.

It was a world Renly had always pursued, but one he had never truly understood, neither in his past life nor this one. Though Renly had always lacked a deep grasp of drama, being at the Royal Theatre now felt like uncovering a hidden treasure. He was immersed in it, filled with joy and wonder.

Within less than 30 minutes, Renly had made a large number of new friends, ranging from actors, playwrights, and directors to stage artists and designers. Though his identity as an actor was still paramount, his work in "Les Miserables" served as his calling card.

The experience was so exhilarating that it could hardly be contained. Even as the ceremony officially began, Renly and Luke Treadaway's conversation continued, reluctantly paused only due to the start of the event. However, from another perspective, the true enjoyment came before the ceremony, when the mood was already high and spirits were lifted.

For years, the Oliver Awards had kept a low profile and a sense of mystery. The event was never televised and was only quietly attended within the industry, conducted with a professional and exclusive attitude—like the aristocracy maintaining its own dignity and etiquette.

But times have changed.

In the fast-paced digital age, even the traditional dominance of movie theaters faces pressure, let alone theaters that have been slow to adapt. The West End and Broadway are slowly losing their influence, and the British Drama Society has started to acknowledge this.

Last year, the surge of "Les Miserables," bolstered by its TV and film stars, along with a revival of interest from audiences, served as a clear reminder to the association that:

As long as the productions are compelling, the stage can still attract a wide audience, both casual and devoted; otherwise, if they cling too rigidly to the traditional attitude of "the fragrance of wine does not fear deep alleys," they risk being left behind by the times. Adapt or disappear.

Thus, the Oliver Awards ceremony was being broadcast live on BBC for the first time in decades. Though live television coverage was attempted in the 1980s, it failed, and the London Drama Society had since discontinued their relationship with BBC. This year marked a notable change.

Still, the essence of the event remained—the simple and pure atmosphere of the Oliver Awards and the West End, perhaps even more understated than the Tony Awards. It increased the musical performances slightly but retained its professional attitude and profound knowledge, focusing on showcasing the dramatic power of the stage.

As for the award ceremony itself, it was refreshingly straightforward. There were no excessive guest appearances, no drawn-out suspense. The ceremony followed a more professional approach, akin to the Berlin Film Festival, prioritizing substance over spectacle.

The technical awards were fiercely contested, with "Les Miserables" and "The Mystery of the Puppy in the Late Night" taking home three awards each. "Les Miserables" triumphed in Best Stage Director, Best Stage Design, and Best Costume Design, while "The Mystery of the Puppy in the Late Night" claimed Best Lighting Effects, Best Sound Effects, and Best Choreography.

"Les Miserables" also went on to win the Best Audience Choice Award, outshining strong competitors like "The Phantom of the Opera," "Out of My World," "Wicked Witch," and "Matilda." With four awards, it continued its strong performance, emerging as the biggest winner so far.

As the ceremony continued, winners for various prestigious categories were announced.

In the Theatre category, Richard McCabe won Best Supporting Actor for The Queen's Summons, while Nicola Walker claimed Best Supporting Actress for The Late Night Puppy Mystery.

In the Musical Theatre category, Tom Holland, at just 17 years old, won Best Supporting Actor for his role in Les Miserables. The Best Supporting Actress award was taken by Lee Zimmerman for her role in Singing and Dancing.

It was clear that the acting awards were becoming more competitive, with a flourishing diversity of talent, and the strength of each performer—bolstered by a little luck and timing—became the dominant theme of the evening.

The evening's anticipation reached a peak when the major actor and actress awards were announced, with minimal suspense.

In Theatre, Luke Treadaway won Best Actor for The Mystery of the Puppy in the Night. His role, starting from an independent theater production, had earned widespread praise, and at just 29, he triumphed over seasoned actors like James McAvoy.

Helen Mirren claimed Best Actress for her role in The Queen Summons, after previously portraying the Queen in The Queen. Her performance was marked by solid technique and profound emotional depth, making her an uncontested winner. This was her fourth nomination and first victory at the Oliviers.

In Musical Theatre, Imelda Staunton won Best Actress for her role in Sweeney Todd. Imelda, a veteran of theater, film, and television, had already earned an Oscar nomination and was a West End legend. This was her fourth Oliver Award win.

The competition between Michael Ball, Renly Hall, and Imelda Staunton for Best Actor was electrifying. While Michael's established fame and Renly's remarkable skills made them formidable contenders, the potential for Renly to achieve EGOT status before the age of 24 had captivated everyone's attention.

Would Renly continue his winning streak, or would he, like the Best Supporting Actress category, lose out at the final moment?

The suspense hung in the air, as the evening's attention turned toward the final award—the one everyone was waiting for.