John Lithgow's ‘Giant' Is Among the Big Winners at the Olivier Awards
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.
Two other productions also won three awards: A revival of 'Fiddler on the Roof,' the much-loved 1964 musical, which ran at the Regent's Park Open Air Theater last year; and 'The Curious Case of Benjamin Button,' a folk-rock adaptation of the F. Scott Fitzgerald story about a man who ages in reverse.
'Fiddler on the Roof,' which is transferring to London's Barbican in May, won the best musical revival prize among other awards. Its competitors were a production of 'Hello, Dolly!' that ran at the London Palladium; and ongoing revivals of 'Starlight Express' at the Troubadour Wembley Park Theater and 'Oliver!' at the Gielgud Theater. 'The Curious Case of Benjamin Button,' which is playing at the Ambassadors Theater, took home the best new musical award, as well as the best actor in a musical for its lead, John Dagleish, and the outstanding musical contribution prize.
The night's other major prizes went to a host of productions. The best director award, which pits the most-talked-about plays and musicals against each other, went to Eline Arbo for the 'The Years' — a play that has grabbed attention in London for more than the action onstage: Sonia Friedman, the show's producer, said that at almost every performance, an audience member has fainted during the abortion scene.
The best actress in a musical prize went to Imelda Staunton in the title role of 'Hello, Dolly!', while the best actress in a play award went to Lesley Manville for her Jocasta in Robert Icke's 'Oedipus,' which ran at Wyndham's Theater.
The best new comedy or entertainment award went to a West End version of 'Titanique,' an absurd retelling of James Cameron's 'Titanic' movie featuring Celine Dion songs that had its New York premiere in 2022.
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Wall Street Journal
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‘Too Good to Be Altogether Lost' Review: Back to the Little House
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New York Post
2 days ago
- New York Post
How much are the cheapest ‘Dolly The Musical' Nashville tickets?
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Other shows have tickets starting anywhere from $81 to $206 including fees. For more information, our team has everything you need to know and more about 'Dolly A True Original Musical' below. All prices listed above are subject to fluctuation. 'Dolly The Musical' Nashville ticket prices 2025 Advertisement Every single 'Dolly A True Original Musical' date, show start time and links to the cheapest tickets available can be found here: 'Dolly The Musical' dates Ticket prices start at Thursday, July 24 7:30 p.m. $167 (including fees) Friday, July 25 7:30 p.m. $132 (including fees) Saturday, July 26 2 p.m. $144 (including fees) Saturday, July 26 8 p.m. $96 (including fees) Sunday, July 27 3 p.m. $124 (including fees) Tuesday, July 29 7:30 p.m. $132 (including fees) Wednesday, July 30 7:30 p.m. $115 (including fees) Thursday, July 31 7:30 p.m. $130 (including fees) Friday, Aug. 1 7:30 p.m. $132 (including fees) Saturday, Aug. 2 7:30 p.m. $129 (including fees) Sunday, Aug. 3 7:30 p.m. $140 (including fees) Tuesday, Aug. 5 7:30 p.m. $137 (including fees) Wednesday, Aug. 6 7:30 p.m. $133 (including fees) Thursday, Aug. 7 7:30 p.m. $102 (including fees) Sunday, Aug. 10 1 p.m. $154 (including fees) Sunday, Aug. 10 7 p.m. $204 (including fees) Tuesday, Aug. 12 7:30 p.m. $149 (including fees) Wednesday, Aug. 13 2 p.m. $206 (including fees) Wednesday, Aug. 13 7:30 p.m. $151 (including fees) Thursday, Aug. 14 7:30 p.m. $177 (including fees) Friday, Aug. 15 7:30 p.m. $166 (including fees) Saturday, Aug. 16 2 p.m. $138 (including fees) Saturday, Aug. 16 8 p.m. $161 (including fees) Sunday, Aug. 17 3 p.m. $163 (including fees) Tuesday, Aug. 19 7:30 p.m. $102 (including fees) Wednesday, Aug. 20 2 p.m. $102 (including fees) Wednesday, Aug. 20 7:30 p.m. $102 (including fees) Thursday, Aug. 21 7:30 p.m. $75 (including fees) Friday, Aug. 22 7:30 p.m. $75 (including fees) Saturday, Aug. 23 2 p.m. $149 (including fees) Saturday, Aug. 23 8 p.m. $81 (including fees) Sunday, Aug. 24 3 p.m. $82 (including fees) Tuesday, Aug. 26 7:30 p.m. $96 (including fees) Wednesday, Aug. 27 7:30 p.m. $97 (including fees) Thursday, Aug. 28 7:30 p.m. $81 (including fees) Friday, Aug. 29 7:30 p.m. $93 (including fees) Saturday, Aug. 30 2 p.m. $137 (including fees) Saturday, Aug. 30 8 p.m. $99 (including fees) Sunday, Aug. 31 3 p.m. $105 (including fees) (Note: The New York Post confirmed all above prices at the publication time. All prices are in US dollars, subject to fluctuation and, if it isn't noted, will include additional fees at checkout.) Vivid Seats is a verified secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand. Advertisement They offer a 100% buyer guarantee that states your transaction will be safe and secure and your tickets will be delivered prior to the event. Still curious about Vivid Seats? You can find an article from their team about why the company is legit here. According to The Hollywood Reporter, 'The Fisher Center will also feature Dolly! All Access, a pop-up shop and exhibit showcasing Parton's archival outfits, exclusive photos from throughout her career and limited-edition merchandise available for purchase.' Dolly Parton Las Vegas residency 2025 For those hoping to see the genuine article live, a complete calendar including all 'Dolly: Live In Las Vegas' show dates, start times and links to buy tickets can be found below. 'Dolly A True Original Musical' cast To make sure you're familiar with the players, here are shortened versions of the official bios for the six leads of 'Dolly A True Original Musical' courtesy of the show's website. Katie Rose Clarke (Dolly Parton) most recently starred as Beth in the Tony Award-winning revival of 'Merrily We Roll Along' for director Maria Friedman and opposite Jonathan Groff on Broadway, following a run at the New York Theatre Workshop. Best known for her role as Glinda in the Broadway production of 'Wicked,' she also starred in the role in the musical's first national touring company. Carrie St. Louis (Dolly Parton) was last seen opening the Lucille Lortel Award-winning Off-Broadway hit 'Titanique' at the Daryl Roth Theater as Rose DeWitt-Bukater. Previously, she was the final 'Lauren' on Broadway in the Tony Award-winning musical 'Kinky Boots.' She is best known for her portrayal of Glinda in 'Wicked' on Broadway and in the national touring company. 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We've had so many wonderful people that have worked on this show, and I think you're gonna love everybody's part because they have worked so hard. But you know, this has been my dream for a long time. You know what's funny, back in 1964, when I was a senior in high school, did I tell you this story? Advertisement Well, my high school class, we went to New York to the World's Fair. And that was the year that every taxi cab in New York said, 'Hello, Dolly.' That's when the musical 'Hello, Dolly' was there, and I thought, wow. I can't wait to see my name on a taxi cab again… I want you to know that we're so happy that we get to do this in my hometown here in Nashville…' She concluded her charming speech by telling the crowd not to sing along to the songs they know and love. 'This ain't no hootenanny!' she added. 'This is a Broadway musical. Have a great time, you know I love you, appreciate you.' Huge Nashville concerts 2025 Can't make it to see 'Dolly' live on stage? Advertisement If so, we feel your pain. However, there will be other can't-miss shows coming to the Athens of the South next few months. Here are just five of our favorites that you ought to circle on your calendars. • Katy Perry (Aug. 19) • Benson Boone (Sept. 9) • Tate McRae (Sept. 11) • Lainey Wilson (Oct. 2) • Keith Urban (Oct. 17) Who else is out and about? Take a look at this list of all the biggest country artists on tour in 2025 to find the show for you. This article was written by Matt Levy, New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements from your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed a Bruce Springsteen concert and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change
Newsweek
2 days ago
- Newsweek
What 'Superman' Says About Gaza—And Us
When audiences left early screenings of James Gunn's new Superman, many carried more than popcorn and superhero nostalgia—they carried the unmistakable feeling that they had just watched a parable of the Israeli-Palestinian conflict. And that, in itself, says something profound. Despite fierce controversy and calls for boycott by some pro-Israel commentators, Superman is topping the box office charts, making over $220 million globally during its opening weekend. Gunn has repeatedly insisted that Superman is not about the Middle East. "When I wrote this the Middle Eastern conflict wasn't happening," he told The Times of London. He emphasized that the fictional war between Boravia and Jarhanpur was crafted before the Hamas-led attacks on October 7, 2023, and Israel's ensuing war on Gaza. He even said he tried to steer the narrative away from Middle Eastern analogies once real-world violence erupted. And yet, despite these denials, the allegory has taken hold. Why? Because the movie's central dynamic—a powerful, U.S.-backed aggressor invading a poor, largely defenseless neighbor—is all too familiar. Boravia, with its military might, international impunity, and stated mission to "liberate" Jarhanpur from supposed tyranny, mirrors in disturbing ways Israel's ongoing bombardment and occupation of Gaza. The imagery is searing: tanks and drones lining up at a border fence, a young boy clutching a national flag as civilians scatter in fear, and a so-called "just war" increasingly exposed as a campaign of domination. That such scenes resonated so strongly with viewers is not the fault of the audience's "left-wing brain," as Ben Shapiro dismissively put it—it is a reflection of the moral clarity that emerges when oppression is laid bare, even in fictional form. Online, the reaction was swift and divided. Some called it the most "openly pro-Palestine" content to ever appear in a blockbuster. TikTok creators, influencers, and activists lauded the film's unflinching portrayal of invasion and resistance, with one user declaring, "Superman is antizionist and leaves no room for doubt." Others—particularly in right-wing circles—branded it "Superwoke," accusing Gunn of injecting ideology into entertainment. Whether or not the film was meant to be about Israel and Palestine, it functioned as a kind of cinematic Rorschach test. When seeing injustice portrayed on the screen, viewers brought with them the images that have been burned into global consciousness after nearly two years of siege on Gaza—images of children killed, hospitals bombed, and international law flouted with impunity. When you witness a conflict where one side wields F-35s and the other buries its dead in mass graves, any story of asymmetrical warfare will inevitably call Palestine to mind. LONDON, ENGLAND - JULY 02: James Gunn, David Corenswet, Rachel Brosnahan, Nicholas Hoult and Peter Safran attend the "Superman" Fan Event in London's Leicester Square on July 02, 2025 in London, England. LONDON, ENGLAND - JULY 02: James Gunn, David Corenswet, Rachel Brosnahan, Nicholas Hoult and Peter Safran attend the "Superman" Fan Event in London's Leicester Square on July 02, 2025 in London, be clear, Superman is not a perfect political text. The film's Jarhanpurians—coded as Middle Eastern or South Asian—are largely passive. One of the few named Jarhanpurian characters is a falafel vendor, Malik, who serves as emotional fuel for Superman's arc before being killed off. As The Forward noted, the Jarhanpurians' purpose is less to assert their own dignity than to highlight the hero's morality. And so, while some audiences saw pro-Palestinian messaging, others rightly questioned whether the film reinscribes a savior narrative—centered on a white alien-immigrant superhero—rather than empowering the oppressed to resist on their own terms. Indeed, as Middle East Eye pointedly observed, Palestinians are not waiting for a white superhero to rescue them. The real heroes are the medics treating the wounded under rubble, the journalists livestreaming amidst bomb blasts, and the people who keep marching for their right to exist. Superman may deliver lines about morality, kindness, and justice, but in the real world, those words are being lived by people with far less privilege and far greater courage. Still, the film revealed how deeply the public has absorbed the reality of Gaza, how far sympathy for Palestinians has spread beyond Arab or Muslim audiences, and how badly establishment media and politicians have underestimated this shift. When a Warner Brothers tentpole provokes hashtags like "#SupermanIsHamas," it is not because the film is agitprop—it's because the world now sees Gaza everywhere. Even Gunn's framing of Superman as "an immigrant" touched off fierce debate, with conservative pundits recoiling at the suggestion that a refugee from Krypton could embody the American immigrant story. But that, too, is part of the tension: if Superman is a refugee who stands up to bullies, who uses his power to shield the powerless, then what happens when audiences draw connections between that ethos and the very people being demonized by Western governments? The film doesn't just expose geopolitical parallels—it exposes cultural contradictions. America wants to believe in Superman's values, but recoils when those values are applied consistently, especially when they implicate allies like Israel. It wants to celebrate rebellion in fiction but criminalize resistance in reality. And it wants to embrace immigrants in theory while deporting, detaining, and defunding them in practice. That's why Superman matters—not because it offers a perfect analogy for Gaza, but because it unintentionally lays bare the moral hypocrisy at the heart of so much political discourse. The discomfort it generates is revealing. When people see children under fire and think immediately of Gaza, the problem isn't that the film is too political—it's that reality is too brutal to ignore. This isn't the first time a Hollywood film has echoed global struggles, and it won't be the last. But what's different now is the speed and intensity with which audiences connect the dots—and the growing unwillingness to let sanitized narratives obscure the truth. Even in the heart of a superhero spectacle, people are demanding moral clarity. In the end, Gunn may not have set out to make a film about Palestine. But the world saw Gaza in it anyway. And that, in itself, is a kind of justice. Faisal Kutty is a Toronto-based lawyer, law professor, and frequent contributor to The Toronto Star. The views expressed in this article are the writer's own.
