Olivier Awards 2026: Rachel Zegler’s heroes, Brian Cranston’s nap schedule and more moments from the night

Olivier Awards 2026: Celebrating Kindness, Shy Stars, and Unlikely Heroes

On Sunday night, the Olivier Awards showcased a mix of heartfelt moments, unexpected triumphs, and behind-the-scenes stories. Among the highlights was a poignant scene as Rachel Zegler entered the winner’s room after claiming the best actress in a musical award for her role in *Evita*. Her win sparked a special moment when she spotted Elaine Page, the original Eva Perón from the 1978 debut of Andrew Lloyd Webber’s *Cats*, in the audience. “I spent my life listening to her sing ‘Memory’,” Zegler said, expressing her admiration. She also shared her disbelief at the evening’s surprises, noting how “some of the famous faces cheering me on” felt surreal.

Zegler, who broke into musical theatre through a social media casting call for the 2021 film *West Side Story*, recounted the journey that led to her stage success. “I was just very lucky that my parents let me,” she said, reflecting on the role of Maria. “I kind of did it without asking them, but they were very supportive.” Her win, she added, was “crazy” to achieve, emphasizing the challenges and rewards of the path.

Bryan Cranston, known for his role in *Breaking Bad*, faced a unique challenge in the West End revival of *All My Sons*. With two shows a day on Wednesdays and Saturdays, he performed 115 times, balancing the demands with a ritual he described as “monk-like.” “I stay inside the theatre, eat a little soup, and take a nap,” he joked. His performance as Joe Keller, a morally flawed character, required a blend of understanding and execution. “You look for justifications to grasp your character’s motives,” he explained.

Meanwhile, Rosamund Pike returned to the West End after 14 years, earning recognition for her role in *Inter Alia*. She described the experience as “incredible,” likening it to the thrill of her *Gone Girl* role. “This gives me the chance to explore every part of being a woman,” she said. Despite her confidence on stage, she admitted being “quite a shy person” and found the idea of being singled out for awards daunting.

Pike also revealed her passion for F1, hosting a BBC Radio 5 Live podcast on the sport. “I love the stories and how F1 teams move around the globe—like a theatrical family,” she shared. The connection between the two worlds, she noted, lies in the collaborative effort that creates a “performance in front of the cameras.”

A Musical Milestone and Family Collaboration

Paddington The Musical emerged as a standout winner, securing seven accolades, including best new musical. Tom Fletcher, the composer, credited his close family for shaping the project. “My wife, Giovanna, and sister, Carrie, are both West End performers, and they were instrumental in the process,” he said. The music, he joked, was “a Fletcher family album” in the making, with his son and others involved in the original demos.

Fletcher expressed pride in the show’s message of kindness, calling the work “an absolute joy” and “a dream.” “It’s a celebration of warmth and generosity, and to be part of that story is special,” he added. The night also highlighted the resilience of theatre professionals, who navigate the demands of back-to-back performances with grace.

From Zegler’s emotional journey to Cranston’s nap-centric routine and Pike’s blend of acting and F1 enthusiasm, the Oliviers offered a tapestry of personal and professional triumphs. Each moment, whether unexpected or deeply moving, underscored the magic and challenges of the stage.