The Greatest Showman #1284 – Hot out of the Oven

The suspense was palpable as the announcement for the Best Actor in a Musical award was made. Ren Liz, nominated for the award, triumphed and won his first Olivier Award at the age of 23!

However, the ceremony was far from over, and the evening still had five of the most prestigious awards to be handed out.

Best Director was the first category to be revealed. The competition in this department was fierce. Despite strong contenders like The High Hat and The Master Todd, they failed to make it to the final stage. The four directors nominated were from The Queen Summons, Master and Margaret, The Late Night Puppy Mystery, and Les Misérables.

As the evening unfolded, it was clear that the real battle was between The Late Night Puppy Mystery and Les Misérables. In the end, John Codd, the director of Les Misérables, triumphed over Marian Elliott (Maria) from The Late Night Puppy Mystery, claiming his first Olivier Award. This victory cemented Les Misérables as the evening's big winner.

During his acceptance speech, John was overcome with emotion. He expressed deep gratitude for the cast and crew, particularly Renly, saying, "Thank you, Renly Hall. When no one believed you could play Jean Valjean, you didn't flinch. You worked tirelessly, rehearsing and training around the clock. Your performance was stunning, captivating the audience and making this play what it is today."

John wiped tears from his cheeks as he continued, "Thank you for believing in me, and for standing on this stage."

Les Misérables had not only elevated Renly's career to new heights, but Renly had also helped make Les Misérables a classic.

With all individual awards presented, it was now time for the four major category awards.

Best New Drama went to The Mystery of the Puppy in the Midnight, which beat out stiff competition from The Queen Summons and Outstanding Persons, continuing the show's remarkable success.

In a minor upset, Best Revival Drama went to Long Nights and Long Roads, edging out popular works like Macbeth, Twelfth Night, and Old Days.

The highly anticipated Best New Musical was easily claimed by High Hat, with the other nominees posing little threat. This outcome also reflected the challenging situation for newer productions in the West End.

Best Revival Musical went to Les Misérables, sealing the evening's incredible success and confirming the play's dominance.

This year's Oliver Awards demonstrated a trend toward reviving classic plays. The rise of Shakespearean revivals and the phenomenal success of Les Misérables were clear signs of the industry's current direction. This trend is not unique to the theater but extends across film and television as well, where original scripts are dwindling in favor of adaptations and sequels.

In the run-up to the Olivier Awards, Les Misérables made history by receiving eleven nominations. By the end of the night, it had won eight awards, breaking the previous record of seven set by Mamma Mia last year. The Almeida Theatre's version of Les Misérables, after 28 years at the Queen's Theatre, had truly made its mark on history.

But why?

As original works become more challenging to produce, adaptations and revivals are becoming more common. Before the nominations, The Mystery of the Puppy in the Midnight had gained a lot of traction, and some had even suggested it might overtake Les Misérables.

Industry voices had called for more recognition of original and new works, encouraging artists to continue creating and rejuvenating the industry's creative spirit. Yet, in the end, Les Misérables maintained its overwhelming dominance.

John Codd's version of Les Misérables was not just a revival but a bold reimagining. He injected new life into the classic story with innovative direction and fresh perspectives, which resonated deeply with both audiences and critics.

This was a crucial lesson for the entire industry: creation isn't limited to original concepts but can also be found in the re-exploration and reinterpretation of existing works. By approaching classic material with fresh eyes, one can unearth new dimensions of depth and relevance.

As the 2013 Olivier Awards drew to a close, Les Misérables stood as the biggest winner with eight record-breaking trophies.

Since last year, Les Misérables has received critical acclaim, changing the landscape of the industry. Its success has continued to spread worldwide, from the West End to Broadway, and now the Almeida Theatre announced a global tour, taking the new version of Les Misérables to countries including Sweden, Germany, France, Japan, and Australia, bringing the show to even more audiences.

Best Revival Musical, Best Director, Best Actor in a Musical, Best Supporting Actor in a Musical, Best Stage Director, Best Stage Design, Best Costume Design, and Best Audience Choice — Les Misérables claimed a total of eight prestigious trophies, ensuring it would remain in the spotlight as the Oliver Awards buzzed across the UK.

Looking ahead, all eyes turned to the Tony Awards, two months away. Could Les Misérables replicate its success across the Atlantic? Could it continue its incredible streak of accolades?

And what about Renly Hall? Could he win the Tony Award for Best Actor in a Musical? Could he achieve the unthinkable and become the first actor in history to win all four top acting awards within four years? Could he break the age barrier again and set a new, unbeatable standard?

Though the Tony Award nominations had not yet been announced, the speculation had already begun. From the UK to the US, from Europe to Asia, the excitement was palpable. Renly's name was on everyone's lips as people discussed the possibility of him becoming an EGOT winner — someone who has won an Emmy, Grammy, Oscar, and Tony.

In the age of social media, Renly's popularity only continued to grow. People everywhere were Googling "EGOT" to understand the term and learning about Renly's career, eager not to be left out of the conversation.

The New Yorker even published a special report on Renly's rise, calling it the "Master Effect." It described Renly as not just a symbol of talent and dedication but a beacon of hope and artistry in an age often marked by fast trends and fleeting attention.

Renly had redefined what it meant to be an actor, and as he continued to rise, so did the possibility of new, unprecedented accomplishments.

As Renly himself said during his acceptance speech at the Olivier Awards: "Thank God, I really am an actor."