Olivier Awards 2026: Rachel Zegler’s heroes, Brian Cranston’s nap schedule and more moments from the night
Olivier Awards 2026: Celebrating Theatre’s Stars and Stories
The 2026 Olivier Awards, held on Sunday night, highlighted a mix of heartfelt moments and surprising revelations. Among the standout performances, Rachel Zegler’s win for best actress in a musical for *Evita* stood out, as did the return of Rosamund Pike to the West End and Bryan Cranston’s unique approach to managing his demanding schedule.
A Love Letter to the Stage
Rachel Zegler’s emotional journey was a central theme of the evening. After accepting her award, she reflected on the legacy of Elaine Page, the first Eva Perón in Andrew Lloyd Webber’s 1978 musical. “I spent my life listening to her sing *Memory* from *Cats*,” she shared, her voice filled with admiration. The award felt surreal to her, especially given her path to stardom. Following her breakout role as Maria in the 2021 *West Side Story* film—secured through a social media casting call—she faced fierce competition for the part. “There were 30,000 other women vying for the same role,” she noted. “I was just very lucky that my parents let me.”
“For every good thing, there are so many bad things but remember that the bad makes you appreciate the good so much more.”
Brian Cranston’s Theatrical Stamina
Bryan Cranston, known for his role in *Breaking Bad* and his leading performance in the West End revival of *All My Sons*, spoke about the physical toll of back-to-back shows. “We had two performances a day on Wednesdays and Saturdays, totaling 115 shows,” he explained. “When there are two shows a day, I can’t expend any more energy. I stay inside the theatre, eat a little soup, and live like a monk.”
“I say my little prayer, go to bed, take a nap, get up and get ready for the next show—that’s my life.”
Rosamund Pike’s Return and Passion for Racing
Rosamund Pike’s 14-year absence from the West End came to an end with a triumphant win in the best actress category for *Inter Alia*. “The thrill of doing a new play is incredible,” she said, echoing her experience when cast in *Gone Girl*. “This role gave me the chance to explore every part of being a woman.”
“I love the protective veil of a character, I like being other people, so the possibility of being singled out as just me is always quite daunting.”
Surprisingly, Pike also revealed her passion for F1. As she hosts a BBC Radio 5 Live podcast on the sport, she drew parallels between the world of motorsports and theatre. “F1 teams and how they move around the globe are not unlike a theatrical family,” she mused. “Every part coming together creates this performance in front of the cameras.”
Paddington The Musical’s Triumph
*Paddington The Musical* emerged as one of the night’s biggest winners, claiming seven awards, including best new musical. The composer, Tom Fletcher of McFly, credited his family for their support during the creative process. “My wife, Giovanna, and my sister, Carrie, are both West End performers, and they were essential to the writing,” he said. “All my family can sing, so they’re on the original demos—somewhere there’s a Fletcher family album of *Paddington* that exists,” he joked.
“This is a show about celebrating kindness, and to be part of that message going out into the universe is very special.”
Fletcher also emphasized the pressure of creating a musical inspired by a beloved character. “Looking after Paddington but showing my sons [the musical] was very special,” he admitted, underscoring the blend of nostalgia and innovation in the production.
Theatre’s Heart and Soul
From Zegler’s gratitude to Cranston’s ritualistic routine and Pike’s unexpected interests, the night underscored the diverse experiences of those in the industry. Whether through personal stories or artistic achievements, the Oliviers celebrated the resilience and creativity that define West End theatre.
