Best Supporting Actress in a Play
Alexandra Gilbreath, Othello
The main reason that I travelled to see Othello at the Crucible was not so much for the reunion of The Wire stars in Dominic West and Clarke Peters, but in the casting of Alexandra Gilbreath as Emilia. And it was totally worth it as she made a massive impact, creating a fully rounded character with a history and passions that surely far exceeds what is on the page. Her work in the Royal Court’s The Village Bike also pleased me greatly, making this a great year for fans of the Gilbreath.
Honourable mention: Sheridan Smith, Flare Path
As anyone who saw Flare Path will say to you, ‘the letter scene, THE LETTER SCENE!’. Though second billed below Sienna Miller in this Terence Rattigan revival, Smith pretty much stole the show, finding unexpected deep reservoirs of feeling in Doris, the barmaid with a heart of gold done good, whose reactions to hearing the (translated) letter from her husband were one of the most affecting moments in a theatre all year.
Best Supporting Actress in a Musical
Samantha Spiro, Company (Crucible)
It does seem that anyone playing Amy in Sondheim’s Company is a shoo-in for recognition here, Cassidy Janson just missed out on a nomination for her role in the Southwark Playhouse production, but the truth is when the song (Not) Getting Married is delivered well, it really is a showstopper. Janson did well, but Samantha Spiro, already so very beloved of my heart for Hello, Dolly! if not necessarily Chicken Soup with Barley, held the Crucible in the palm of her hand as the scatty bride-to-be whose jitters threaten to jeopardise her whole happiness. She radiates warmth here and never once sacrifices clarity of diction for an easy laugh in that most verbose of numbers: acting through song at its best.
Honourable mention: Kate Fleetwood, London Road
In some ways, it is a bit harsh to nominate one person out of London Road as it really is such a strong ensemble show but Kate Fleetwood emerged most as the beating heart of the show as the unassuming woman who set up the London Road in Bloom competition that forms the centre of the community’s coming together and achieves so very much. Fleetwood taps into so much empathetic normality here that somehow translates into something so special: that first “begonias and, petunias, and um, impatiens and things” is just remarkable.