Best Supporting Actress in a Play
Rachael Stirling, A Midsummer Night’s Dream
That voice! That voice! I could listen to Stirling read the telephone directory and it would be a happy day. And it is remarkable that in a production of A Midsummer Night’s Dream that saw Dame Judi Dench taking on the role of Titania once again, it was Stirling from whom I could not tear my eyes. She brought such fiery warmth to her Helena, a great clarity to her verse speaking but her best moments for me (ironically) were when she was not speaking but reacting to the Rude Mechanicals’ efforts where she was just gorgeous to watch, almost stealing the show from an extremely funny Pyramus and Thisbe. You can currently catch her in An Ideal Husband, which finishes in February.
Honourable Mention: Jemima Rooper, All My Sons
Playing against such heavyweights as Suchet and Wanamaker both delivering stellar performances, one could have forgiven Rooper and Stephen Campbell Moore for slacking a little bit in their supporting roles in Arthur Miller’s All My Sons. But part of what made this production such a monster success was the strength of their own performances, standing up to these heavyweight talents and delivering their own great turns. Rooper’s face-off with Wanamaker was one of my favourite scenes of the year. Rooper is currently in Me and My Girl in Sheffield, and I’m going in early January!
Best Supporting Actress in a Musical
Hannah Waddingham, Into the Woods
I first lost my heart to Hannah Waddingham in A Little Night Music a couple of years back, but this year she really confirmed her place as one of my most favourite musical theatre actresses with four stellar performances that I was lucky enough to see. Rocking the Menier Chocolate Factory with her own cabaret was massive amounts of fun; appearing at Wilton’s Music Hall as part of a charity gala was lovely (and possibly her best rendition of ‘Send in the Clowns’ yet); her contribution to Anton Stephans’ concert Grateful, singing Jason Robert Brown’s ‘Coming Together’ with Stephans was one of those indescribable moments of bliss, but in Stephen Sondheim’s Into the Woods, in a cleverly designed production at the Open Air Theatre, she excelled as the Witch. Whether hunched over as the disguised crone or standing statuesquely tall post-transformation, she sang beautifully and precisely, really demonstrating herself to be, alongside co-star Jenna Russell, as one of the best interpreters of Sondheim in a year when we heard so very much of his works. She will evidently spend most of next year in The Wizard of Oz but I hope Lloyd-Webber is coming up with some crackers for her to sing as the Wicked Witch of the West is not a part best known for its songs. Now I just need to her to look at me, just once, as she sings the line ‘there ought to be clowns’ and I would die a happy man!
Honourable Mention: Jodie Jacobs, State Fair
Again, a bit of a recognition of a body of work for the year here as Jacobs managed the not inconsiderable feat of appearing in three different musicals in as many months: Bright Lights Big City, Me & Juliet and the revival of State Fair at the Trafalgar Studios, this latter of which was my favourite of all her performances and one of my highlights of the year. As Emily, the showgirl with a heart and a wise head, she shone in the tiny Studio 2, revelling in the heady flirtations with Karl Clarkson’s dopey farm-boy, dazzling with her own burlesque-inspired routine and hoofing with the best of them in the numerous glorious ensemble numbers. People around the country will be able to see her next year in the touring production of Footloose (I think), but I hope it is not too long before she hits London’s stages again.