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James McAvoy Nominated for Olivier Award


Written by Celyn on March 09 2015

The list of nominees were announced today for the 2015 Olivier Awards, and James McAvoy not only helped to announce the finalist, but was also shortlisted. He is nominated for Best Actor for his role in “The Ruling Class”, so congratulations to him.

BEST ACTOR

Richard Armitage for The Crucible at Old Vic
James McAvoy for The Ruling Class at Trafalgar Studio 1
Tim Pigott-Smith for King Charles III at Almeida Theatre & Wyndham’s Theatre
Mark Strong for A View From The Bridge at Young Vic & Wyndham’s Theatre

The 2015 Olivier Awards will take place on Sunday April 12 at the Royal Opera House, with highlights shown on ITV later that night.

“The Ruling Class” Gala Performance After Party


Written by Celyn on January 31 2015

The gala performance of “The Ruling Class” took place in London this week (Jan. 28), and we now have HQ images in the gallery from the after party. The show itself is generating very good reviews; I can’t wait to see it!

The Ruling Class review – James McAvoy’s mock messiah is mesmerising


Written by Celyn on January 29 2015

Plays with fat star-parts tend to survive. Even if the class antagonism in Peter Barnes’s 1968 extravaganza now looks a bit blatant, the piece has a juicy lead role that Peter O’Toole played on screen with mercurial fervour. Following in his footsteps, James McAvoy lends Jamie Lloyd’s revival a no less astonishing physical bravura.

McAvoy plays Jack, the 14th Earl of Gurney, who, believing he is the New Testament God, is immediately classified as mad. “How do you know you are God?” he is asked. “Simple,” he replies. “When I pray to Him, I find I am talking to myself.”

Plots by the family to strip Jack of his title are, however, foiled by an enthusiastic therapist who restores him to what passes for sanity. Once Jack joins the ranks of the hangers and floggers, espouses Old Testament values and announces “there is no love without fear”, he is ready to take his place in the House of Lords.

I’d be the last person to deny that class is still a potent factor in British life, but there are times when Barnes’s play betrays its age: the assumption that all bluebloods are barking and that the Lords is a rest home for neanderthals is very much of the late 1960s. But Barnes’s play has as an intoxicating energy that allows characters to spring into song-and-dance at a moment’s notice and still touches a few raw nerves.

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