On the evening of April 6, 2025, London’s Royal Albert Hall was ablaze with glamour and anticipation as the Olivier Awards celebrated the finest achievements in British theatre. The annual event, a cornerstone of the UK’s performing arts scene, honored a remarkable array of talent, with three standout productions—”Giant,” “The Curious Case of Benjamin Button,” and “Fiddler on the Roof”—each claiming a trio of prestigious awards. The night was a testament to the vibrancy of London’s theatre landscape, showcasing stories that ranged from the provocative to the timeless, delivered by some of the industry’s most celebrated performers and creators.
A Triumphant Trio Takes Center Stage
The 2025 Olivier Awards proved to be a night of shared glory, with “Giant,” “The Curious Case of Benjamin Button,” and “Fiddler on the Roof” emerging as the evening’s biggest winners. Each production secured three awards, reflecting their critical and popular acclaim over the past year. Hosted by the dynamic duo of Beverley Knight and Billy Porter, the ceremony was a dazzling blend of performances, heartfelt speeches, and a palpable sense of community among theatre professionals and enthusiasts alike.
“Giant”: A Bold Exploration of Roald Dahl’s Legacy
“Giant,” a provocative new play by Mark Rosenblatt, captivated audiences and judges alike with its unflinching look at Roald Dahl’s life, particularly his controversial antisemitic views. Staged initially at the Royal Court Theatre in 2024, the production is now poised for a West End transfer later this month. The play earned accolades for Best New Play, Best Actor for John Lithgow’s towering portrayal of Dahl, and Best Supporting Actor for Elliot Levey’s nuanced performance as publisher Tom Maschler.
Lithgow, a seasoned American actor known for his versatility, brought a complex Dahl to life—one who oscillated between charm and abrasiveness. In his acceptance speech, he reflected on the role’s significance: “This has been one of the most rewarding experiences of my career. Playing Roald Dahl allowed me to delve into the mind of a genius who was also deeply flawed, and I’m grateful to the British theatre community for embracing me in this journey.” His win marks a significant moment for transatlantic collaboration in theatre, with rumors swirling about a potential Broadway run.
Levey, meanwhile, delivered a masterclass in subtlety as Maschler, the man tasked with navigating Dahl’s prickly personality. The play’s success underscores its relevance in today’s cultural conversations, tackling thorny issues with intelligence and grace. Directed by Nicholas Hytner, “Giant” has already garnered attention beyond the UK, with critics praising its bold narrative and stellar ensemble.
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“The Curious Case of Benjamin Button”: A Musical Marvel
In the musical realm, “The Curious Case of Benjamin Button” stole the spotlight, clinching Best New Musical, Best Actor in a Musical for John Dagleish, and Outstanding Musical Contribution for composers Darren Clark and Mark Aspinall. Adapted from F. Scott Fitzgerald’s short story, this folk-infused production—first seen at Southwark Playhouse in 2019—has found a new home at the Ambassadors Theatre in the West End, complete with an on-site pub named the Pickled Crab, a nod to its Cornish setting.
John Dagleish, who previously won an Olivier in 2015 for “Sunny Afternoon,” delivered an emotional acceptance speech, dedicating his award to his late mother. “She was my plus-one the last time I stood here,” he said, his voice trembling with emotion. “She would have adored this show, and this is for her.” His portrayal of Benjamin, a man aging backward, was lauded for its depth and charisma, cementing his status as one of Britain’s brightest stage talents.
The musical’s innovative score, crafted by Clark and Aspinall, was another highlight, blending haunting melodies with intricate orchestrations. Critics have drawn comparisons to “Come From Away” for its use of actor-musicians, with 13 performers playing over 30 instruments on stage. The win for Outstanding Musical Contribution recognized the duo’s meticulous work, which has elevated the production into a modern classic.
“Fiddler on the Roof”: A Revival That Resonates
Rounding out the trio of triple winners was Jordan Fein’s revival of “Fiddler on the Roof,” which took home Best Musical Revival, Best Set Design for Tom Scutt, and Best Sound Design for Nick Lidster. Staged at Regent’s Park Open Air Theatre in 2024, this production—set to transfer to the Barbican in May 2025—earned a record-tying 13 nominations, matching the haul of “Hamilton” in 2018.
Fein’s fresh take on the classic musical, originally composed by Jerry Bock with lyrics by Sheldon Harnick and a book by Joseph Stein, struck a chord with audiences for its timely exploration of tradition, displacement, and resilience. Accepting the award for Best Musical Revival, Fein spoke passionately about the show’s relevance: “Some questioned whether ‘Fiddler’ was right for this moment, but it’s a story of love—not just romantic love, but the brave, rebellious kind that demands empathy. That’s what we need now more than ever.”
Tom Scutt’s evocative set design, featuring a sloped stage that mirrored the precariousness of the characters’ lives, was a visual triumph, while Nick Lidster’s sound design enveloped the audience in the shtetl’s vibrant world. The production’s five-star reviews and enduring appeal affirm its place as a cornerstone of musical theatre.
Spotlight on Stellar Performances
Beyond the triple winners, the night was filled with standout individual performances that left an indelible mark on the ceremony.
Lesley Manville’s Regal “Oedipus”
Lesley Manville claimed Best Actress for her portrayal of Jocasta in Robert Icke’s modern reimagining of “Oedipus” at Wyndham’s Theatre, a production that also won Best Revival. Her second Olivier win—following her 2014 triumph for “Ghosts”—underscored her commanding presence on stage. In her speech, she praised Icke’s meticulous direction: “From day one, I knew we were onto something extraordinary. Robert’s care and precision made this a joy to perform.”
The production’s success signals a potential Broadway transfer, with Manville’s performance hailed as a career-defining moment. Her dedication of the award to her grandson, born during the show’s run, added a touching personal note to the evening.
Imelda Staunton’s Show-Stopping “Hello, Dolly!”
Imelda Staunton added a fifth Olivier to her collection, winning Best Actress in a Musical for her electrifying turn in “Hello, Dolly!” at the London Palladium. Marking her 14th nomination, Staunton’s victory was a testament to her enduring brilliance. Her roof-raising performance as the irrepressible Dolly Levi drew rapturous applause, with critics and fans alike celebrating her vocal prowess and comedic timing.
Staunton’s win was one of the night’s most predictable outcomes, given the buzz surrounding her performance. Her acceptance speech was characteristically gracious, thanking her fellow nominees and the Palladium team for an unforgettable run.
Romola Garai’s Dual Triumph in “The Years”
Romola Garai faced a unique challenge at the 2025 Oliviers, earning two nominations for Best Supporting Actress for her roles in “Giant” and “The Years.” She ultimately won for her work in “The Years,” an adaptation of Annie Ernaux’s memoir directed by Eline Arbo, which also secured Best Director. Playing one of five actresses embodying a woman’s life across decades, Garai delivered a performance that resonated deeply with audiences.
In a humorous aside, Garai admitted to a moment of panic on stage: “I had this terrifying thought that I might be accepting this for the wrong play—a fever dream I’ve had for weeks!” Her win, alongside Arbo’s, highlighted “The Years” as a groundbreaking theatrical achievement, with its run at the Harold Pinter Theatre continuing to draw crowds.
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Celebrating Craft and Innovation
The Oliviers also recognized the behind-the-scenes brilliance that brings theatre to life. Tom Scutt’s set design for “Fiddler on the Roof” and Nick Lidster’s sound design were joined by other technical winners, including Paule Constable and Ben Jacobs for Best Lighting Design in “Oliver!” and Gabriella Slade for Best Costume Design in “Starlight Express.” These awards underscored the collaborative nature of theatre, where every element—from lighting to costumes—shapes the audience’s experience.
Darren Clark and Mark Aspinall’s Outstanding Musical Contribution award for “Benjamin Button” was another nod to the unsung heroes of musical theatre. Their work exemplifies how music can deepen a story’s emotional impact, a sentiment echoed by Clark in a post-ceremony interview: “We wanted the score to feel like Benjamin’s heartbeat—alive, shifting, and unexpected.”
A Night of Reflection and Forward Momentum
The 2025 Olivier Awards were more than a celebration of past achievements; they were a beacon for theatre’s future. Productions like “Giant” and “The Years” tackled complex human experiences with daring originality, while “Fiddler on the Roof” and “Benjamin Button” reimagined familiar tales for new audiences. The diversity of winners—from established stars like Staunton and Manville to emerging talents like Dagleish—reflected a thriving industry poised for growth.
As the curtain fell on the Royal Albert Hall, the theatre community buzzed with excitement about what lies ahead. With “Giant” eyeing Broadway and “Fiddler” set for its Barbican run, the ripple effects of this night will be felt far beyond London. For now, though, the spotlight remains on the artists who made 2025 a year to remember in British theatre.
For more insights into the evolving world of performing arts, check out The Stage for industry news or Theatre London for upcoming show schedules.