Alec Baldwin shooting on Rust set: It’s been a year since Halyna Hutchins was accidentally shot dead. Is the DA finally close to bringing charges?
On 21 October 2021, Halyna Hutchins turned up to the Bonanza Creek Ranch in New Mexico, the set of the western film she was working on with star Alec Baldwin, for what should have been a normal day at work.
Hutchins, who was Ukrainian, was considered a rising star in her field, having moved to Los Angeles to study film after growing up on an army base in the Russian Arctic, where her father served in the navy.
An experienced cinematographer and crew member with previous action film credits, she was used to being on location, helping to bring stories to screen.
Pic: Swen Studios/ Reuters
The 42-year-old mother of one appeared to be enjoying her time in the city of Santa Fe, sharing photographs of sunrises and other moments from the Rust set on social media in the days before the tragedy that unfolded.
But while rehearsing for a scene involving a firearm, the prop gun, held by Baldwin, was discharged, the bullet wounding director Joel Souza and fatally striking Hutchins. The star believed the .45 Colt he had been handed was “cold”, or unloaded.
The cinematographer’s death made headlines around the world, with claims of safety concerns on set in the days leading up to the tragedy quickly coming to the fore. A lawyer for Hannah Gutierrez-Reed, the film’s armourer (the person in charge of weapons on set), alleged the gun may have been sabotaged.
Lawsuits from crew members and Hutchins’ husband, Matthew, followed, as Baldwin, 64, gave an on-camera interview saying he didn’t pull the trigger, that the weapon misfired as he cocked it, and that he did not know how live rounds came to be on set.
How the gun went off is a detail that remains contested, with an FBI report released in August 2022 concluding that the gun could not have been fired without the trigger being physically pulled.
At the beginning of October 2022 came confirmation of an undisclosed settlement between Baldwin and the production company for the film, and Hutchins’ family – and the announcement that filming of Rust would resume early in 2023, with Matthew Hutchins executive producing.
The criminal inquiry into what happened on set that day continues, despite the civil settlement. But a year on from Hutchins’ untimely death, charges are still to be brought.
Santa Fe’s district attorney (DA) has been granted additional funding to investigate the high-profile case, saying in a letter to the State of New Mexico Board of Finance, seen by Sky News, that she anticipates prosecuting “up to four individuals” if it is found that charges are warranted. The names of those individuals have not been released.
Strict safety protocols are typically in place on film and TV sets, especially when weapons are being handled. So how did this tragedy happen – and why, after a year, is the investigation still ongoing?
The DA’s investigation: ‘Many individuals had handled the gun’
Hannah Gutierrez-Reed was the armourer on the set of Rust. File pic: Shutterstock
In August, an FBI report concluded that Baldwin did pull the gun’s trigger.
The report, seen by Sky News, said that with the hammer (the part of a gun that strikes the firing pin) in the quarter – and half-cock positions, the gun “could not be made to fire without a pull of the trigger”.
The FBI’s review came after a separate report by safety regulators found that management on set “knew that firearm safety procedures were not being followed”, with the Rust film company fined a maximum $139,793 (£107,019) over the “avoidable loss of life“.
At the time, Rust Movie Productions said it disagreed with the findings and planned to appeal.
The Santa Fe district attorney, or chief prosecutor, had been waiting for the results of the FBI investigation before looking at charges.
In a letter requesting funds to aid her work, dated 30 August 2022, Mary Carmack-Altwies said: “During the filming of [RUST], Alec Baldwin shot and killed Halyna Hutchins and injured Joel Souza while rehearsing a scene.
“Many individuals had handled the gun that ultimately killed Hutchins and injured Souza.”
She continued: “If charges are warranted, the FJDA (First Judicial District Attorney) anticipates prosecuting up to four individuals.”
While the names of those individuals were not included in the letter, as Baldwin was involved in the incident he could be one of them.
Ms Carmack-Altwies went on to say that while she was ready to start considering charges, “I do not have the proper funding in my budget to prosecute such a high-profile case”. A request of $635,000 (about £565,000) was made, with the State Of New Mexico Board of Finance agreeing on 20 September 2022 to just over half this amount, $317,750 (about £282,900).
A spokesperson for the district attorney told Sky News there is no set timeline to make a decision on whether to file charges and that they are still awaiting a final report from the Santa Fe County Sheriff.
“Once she receives the report, the district attorney and her team of professional attorneys and investigators will carefully review all of the materials provided,” the spokesperson said. “The district attorney’s priority will be upholding the integrity of the process and ensuring that, like any other case she handles, this investigation is held to the highest standards.”
Details of what the charges could be, if the DA decides to move forward with prosecution, have not been released, but the prosecutor is understood to be looking at all New Mexico laws that might be applicable to the case – which could include involuntary manslaughter and negligent use of a deadly weapon.
Sky News has also contacted the Santa Fe County Sheriff’s office for an update. It is understood the sheriff office’s report is expected to be ready in the next week or so.
In a statement in August, a spokesperson said detectives were waiting to receive and review phone records before forwarding their case file to the DA for review.
Before the shooting
Filming of Rust began on 6 October 2021, according to the New Mexico Film Office, and was set to take place throughout that month and into November 2021.
“Rust is the story of a 13-year-old boy, left to fend for himself and his younger brother following the death of their parents in 1880s Kansas, [who] goes on the run with his long-estranged grandfather after he’s sentenced to hanging for the accidental killing of a local rancher,” the film office said in a statement announcing production had started.
From New Mexico, about 75 crew members, 22 principal actors, and 230 “background talent” were taking part in the film, it said.
In the days before her death, Hutchins shared photos and videos from the set on Instagram. Her last, just two days before the tragedy, showed a clip of her horse riding.
“One of the perks of shooting a western is you get to ride horses on your day off,” she wrote.
The day of Hutchins’ death
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‘We need help’: 911 call after film set shooting
According to police reports, the shooting took place shortly before 1.50pm. The bullet hit Hutchins in the chest.
Rust’s assistant director Dave Halls had earlier handed Baldwin the prop gun and indicated it was safe to use, according to court documents.
A search warrant filed in a Santa Fe court suggested neither Baldwin nor Halls knew the weapon was loaded with live rounds.
The recording of the 911 call made was released in the days after the tragedy. Script supervisor Mamie Mitchell could be heard telling the operator “we need help immediately”.
Asked if the gun was loaded with a real bullet, she replied: “I don’t, I cannot tell you that… we have two injuries from a movie gunshot.”
When asked if there was “any serious bleeding”, Ms Mitchell replied: “I don’t know. I ran out of the building.”
An unidentified male voice later came on the line and told the operator the two people who were shot were “alert” but he was not sure which parts of their bodies were injured.
In April 2022, police in New Mexico made public all the files associated with the criminal investigation into Hutchins’ death, including camera footage from detectives, incident reports, crime scene photos and witness interviews collected during the investigation.
One clip showed Baldwin rehearsing with the gun that went off.
With Ms Hutchins behind the camera lining up what would be her last ever scene, the footage showed Baldwin sitting inside a church, dressed in period Western costume, pulling out the revolver.
Why do film sets use real guns?
Pic: Vianney Le Caer/Invision/AP
As tributes were paid to Hutchins, her death also raised questions about the use of guns on sets.
When special effects can conjure up a talking tiger and other animals in the Jungle Book, and create dragons for Game Of Thrones, why use real firearms?
“With firearms, you only get one mistake and somebody’s dead. There’s just no reason to take that risk,” California state senator Dave Cortese said in an interview in the wake of the fatal shooting.
Craig Zobel, the director of the Emmy-winning Mare Of Easttown series, starring Kate Winslet, tweeted: “There’s no reason to have guns loaded with blanks or anything on set anymore. Should just be fully outlawed.”
Dwayne Johnson also said his production company would no long use real guns or bullets on set.
“We are going to be using rubber guns and we’ll take care of it in post [production] and we won’t worry about the dollars or won’t worry about math or what the cost is,” he said at the time.
Speaking to Sky News at the UK premiere of his new superhero film Black Adam, he gave an update, saying: “We’ve done some reshoots, of course, on our sets and we have put that in practice and you actually realise it becomes very seamless.
“It’s just a matter of standing by the decision and then making sure that everyone is aligned with it because everyone really just wants a safer set.
“And by the way that’s not an indictment on our armoury guys, our gun guys. I believe in the right to arm… guns, and I’m a gun owner. But I also think the most important thing is complete safety on our set. So it’s been going very well and we’ll continue down this road.”
The safety concerns raised
Serge Svetnoy, a friend of Hutchins’, was one of the crew members who filed a lawsuit following her death
In November 2021, Ms Mitchell and Serge Svetnoy, the film’s chief electrician, both filed lawsuits.
At a news conference, Ms Mitchell’s lawyer Gloria Allred claimed Baldwin, an “industry veteran”, should not have trusted a gun handed to him by anyone other than the prop master or armourer.
She described his and producers’ behaviour as “reckless”.
Ms Allred said safety failures included allowing live ammunition on set, leaving guns and ammunition unattended and permitting them to be handled by people other than the armourer and prop master.
Mr Svetnoy was inside the church set when Hutchins was shot, standing just feet from the actor. He described being hit with bullet fragments before cradling the dying cinematographer, whom he had known for several years, for more than 20 minutes before an ambulance arrived.
A resignation letter from former crew member Lane Luper also emerged in the weeks after the shooting, and he said he “never felt as close to death” on a set as he did on the set of Rust.
Mr Luper was the lead camera operator for the production but resigned the day before the tragedy.
In his resignation letter to a production manager, seen by Sky News, Mr Luper highlighted concerns about the safety and welfare of crew as the reason for him walking away.
In the email, he noted two accidental discharges of firearms and one accidental discharge of special effects explosives in the days before Hutchins was killed.
‘Someone is responsible… I know it’s not me’
Pic: ABC
In an interview with Good Morning America in December 2021, Baldwin said he did not feel guilt over the shooting and that there was “only one question to be resolved – where did the live round come from?”
The star told host George Stephanopoulos that he and Hutchins “had something profound in common, and that is we both assumed the gun was empty”.
When asked if he felt guilt over her death, he said: “No. No. I feel that… someone is responsible for what happened and I can’t say who that is, but I know it’s not me. Honest to God, if I felt that I was responsible, I might’ve killed myself if I thought that I was responsible. And I don’t say that lightly.”
Speaking about the moments before the gun went off, he said: “I cock the gun. I go, ‘Can you see that? Can you see that? Can you see that?’ And then I let go of the hammer of the gun, and the gun goes off.”
The actor said he did not realise what had happened at first, as “the idea that someone put a live bullet in the gun was not even in reality”.
“She goes down,” he said. “I thought to myself, did she faint? The notion that there was a live round in that gun did not dawn on me till probably 45 minutes to an hour later.”
Read more: Seven key points from Baldwin’s first interview
In another interview in August 2022, Baldwin responded to the FBI’s report concluding that the gun’s trigger had been pulled, saying the bullet could have fired through a process called “fanning”.
“This did not come from me, this came from the DA’s office themselves,” he told US journalist Chris Cuomo on his podcast.
“If you pull the hammer back, and you don’t lock the hammer; if you pull the hammer back pretty far – in old Western movies you’d see someone fan the hammer of the gun.
“The hammer didn’t lock. You pulled it back to an extent where it would fire the bullet without you pulling the trigger, without you locking the hammer.”
He also said that “everybody who was there, they know exactly what happened. They know exactly who’s to blame”.
Baldwin also commented on the slow progress of the investigation, saying: “The fact that this has taken so long has been quite troublesome to me.”
What did the separate parties say about the civil settlement?
Halyna Hutchins’ husband, Matt Hutchins, will executive produce Rust when filming resume. Pic: NBC
The undisclosed settlement between Hutchins’ family, Baldwin and Rust Movie Productions was announced on 5 October 2022.
“I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr Baldwin),” Matthew Hutchins said in a statement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”
Rust Movie Productions, through attorney Melina Spadone, said: “We are pleased the parties came together to resolve this matter, which, subject to court approval, marks an important step forward in celebrating Halyna’s life and honouring her work.”
Alec Baldwin’s attorney, Luke Nikas, said: “Throughout this difficult process, everyone has maintained the specific desire to do what is best for Halyna’s son. We are grateful to everyone who contributed to the resolution of this tragic and painful situation.”
Rust director Joel Souza said: “Those of us who were lucky enough to have spent time with Halyna knew her to be exceedingly talented, kind, creative, and a source of incredible positive energy. I only wish the world had gotten to know her under different circumstances, as it surely would have through her amazing work.
“In my own attempts to heal, any decision to return to finish directing the film could only make sense for me if it was done with the involvement of Matt and the Hutchins family. Though certainly bittersweet, I am pleased that together, we will now complete what Halyna and I started. My every effort on this film will be devoted to honouring Halyna’s legacy and making her proud. It is a privilege to see this through on her behalf.”
What happens now?
Following the announcement of the civil settlement, the DA’s office issued a statement to say the agreement would have “no impact” on the ongoing criminal investigation.
“While civil suits are settled privately and often involve financial awards, criminal cases deal only in facts,” the statement said.
“If the facts and evidence warrant criminal charges under New Mexico law then charges will be brought. No one is above the law.”
Read more: The tributes to Halyna Hutchins
So the criminal inquiry continues.
If charges are brought by the DA, it is understood most defendants would get separate jury trials, with preliminary hearings, which could take several weeks each to complete.
Sky News has contacted representatives for Alec Baldwin and Rust Productions for comment.
Entertainment
BBC apologises over controversial Gaza documentary, with chairman calling it ‘a dagger to the heart’
The BBC has called the ongoing controversy over a documentary on Gaza a “really, really bad moment”, admitting the film’s failings are “a dagger to the heart” of the corporation’s impartiality.
Gaza: How To Survive A Warzone was pulled from iPlayer and will not be broadcast on channels again after it emerged that the child narrator is the son of Ayman Alyazouri, who has worked as Hamas’s deputy minister of agriculture.
Last week, Culture Secretary Lisa Nandy called an “urgent meeting” with the corporation over the film.
BBC director-general Tim Davie and BBC chairman Samir Shah were questioned by MPs during a Culture, Media and Sport Select Committee meeting on Tuesday.
Mr Shah told committee members: “This is a really, really bad moment. It’s is a dagger to the heart of the BBC claim to be impartial and to be trustworthy.”
He said questions over “what went wrong” were asked “on day one” following the programme’s transmission.
He went on: “To my shock, I think that we found that there were serious failings on both sides, on the independent production side as well, as well as on the BBC side.”
Mr Shah said an interim report commissioned by the BBC found “it wasn’t so much the processes were at fault as people weren’t doing their job”.
Mr Shah said he believed the problem was confined to this programme, adding: “On this story we’re examining the how and why, the compliance that determines did not take place.”
However, he also said he thought an independent review into how the BBC covers stories in the Middle East should also be carried out independently.
BBC director general Tim Davie and chairman Samir Shah. Pic: PA
Tim Davie said there was “a lot of frustration and disappointment” over the film, adding: “We’re very sorry to the audience.”
Read more:
Starmer faces calls for UK’s role in Gaza war to be scrutinised
Hamas rejects Israeli request to extend first phase of Gaza ceasefire deal
‘We were not told’
How To Survive A Warzone was made on commission by independent production company Hoyo Films, and features 13-year-old Abdullah al Yazouri, who speaks about life in Gaza during the war between Israel and Hamas.
Mr Davie said there were specific questions asked around Abdullah’s father, and the BBC “found out that we were not told”.
He went on: “At that point, quite quickly, I lost trust in that film. Therefore, I took the decision quite quickly to take it off iPlayer while we do this deep dive.”
Mr Davie said removing the film from iPlayer had been “a very tough decision”.
Discussing whether or not the family involved in the film had been paid for their work, he said: “As I understand it today, the BBC has only made one payment. This was for a licence fee, to the programme maker.”
He said an initial assessment of the economics had showed “that there was a small payment to the sister… It’s totally normal payment because the boy recorded the narration. He went to a studio to do it.”
Describing the fallout as “damaging”, Mr Davie said he believes “overall trust in BBC news remains very high”.
He went on: “We’re not losing all context here. This was a serious failing. But we have trust numbers that we’re very proud of, we’re the most trusted brand in the world. And part of what we do to earn that trust… is actually be highly transparent and go through enormous processes when we fail like this to show how we’re going to fix it.”
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What’s next as the ceasefire deal ends?
Mr Davie says he has “fast-tracked” the review “out of the news department”, where it will be overseen by Peter Johnson, BBC Director, Editorial Complaints and Reviews.
Media watchdog Ofcom sent a letter to the BBC flagging their “ongoing concerns” about the “nature and gravity” of the documentary on Monday, which Mr Shah said he “welcomed”.
The Metropolitan Police said: “Officers from the Met’s Counter Terrorism Command are currently assessing whether any police action is required” in relation to the documentary.
Complaints from both sides
Hoyo Films said in a statement: “We are co-operating fully with the BBC and Peter Johnston (director of editorial complaints and reviews) to help understand where mistakes have been made.
“We feel this remains an important story to tell, and that our contributors – who have no say in the war – should have their voices heard.”
Last week, protesters gathered outside Broadcasting House in London claiming the BBC had aired Hamas propaganda.
The BBC also faced criticism in pulling the documentary, with Gary Lineker, Anita Rani, Riz Ahmed and Miriam Margoyles among more than 500 media figures who had condemned the action.
In an open letter addressed to Mr Davie, Dr Shah and outgoing chief content officer Charlotte Moore, hundreds of TV and film professionals and journalists called the decision to remove the documentary “politically motivated censorship”.
Following the committee session, Artists for Palestine UK, the group that published the letter, accused Mr Davie and Mr Shah of “throwing Palestinian children under the bus”, questioning how the corporation would safeguard the young people who appeared in the documentary.
In a statement, the charity Campaign Against Antisemitism accused the BBC of “marking its own homework”, adding: “No other broadcaster would be permitted this latitude, and no other regulated industry would allow this.”
They also called for the licence fee to be suspended pending an independent investigation into the documentary.
Nominations for the Olivier Awards, British theatre’s most prestigious honours, have been announced.
Following his second Oscar win at the weekend, Adrien Brody is nominated for best actor, for his performance in The Fear Of 13 – a play based on the real-life story of a man who spent 22 years on death row for a rape and murder that he did not commit.
Fellow US stars Billy Crudup and John Lithgow are up against him in the category, along with UK stars Paapa Essiedu and Mark Strong.
Brody, Crudup, Essiedu and Lithgow are all first-time nominees.
In the best actress category, The Crown star Lesley Manville is up against Meera Syal, Indira Varma, Heather Agyepong and Rosie Sheehy.
Manville and Varma both nominated for playing the same role in different productions of the Greek mythology classic Oedipus
Fiddler On The Roof is this year’s most nominated production, with 13 nods.
It’s up for best musical revival, with old favourites including Oliver!, Hello Dolly and Starlight Express.
Starlight Express. Pic: SOLT
In the musical theatre performing categories, John Dagleish is up for best actor for his role in The Curious Case Of Benjamin Button, a decade after his last win.
He’s up against Myles Frost, Simon Lipkin, Jamie Muscato and Adam Dannheisser.
Four-time Olivier winner Imelda Staunton is up for best actress in a musical for her role in Hello Dolly!, her 14th Olivier nomination and her eighth in the category.
She’s competing against Lara Pulver, Chumisa Dornford-May, Lauren Drew and Clare Foster.
Why Am I So Single? Pic: SOLT
Best new play includes Brody’s The Fear Of 13, along with Kyoto, Shifters, Giant and The Years.
Giant and The Years are tied for most nominated play this year with five apiece.
Gina McKee is nominated for best actress in a supporting role, alongside Romola Garai who is double nominated in the same category for her roles in Giant and The Years.
Actress Sharon D Clarke makes up the category.
And in best supporting actor, Ben Whishaw will be battling it out against Jorge Bosch, Tom Edden, and Elliot Levey.
Sunset Boulevard was the big winner at last year’s Olivier Awards, taking home seven gongs and equalling the record for the most prizes for a musical at the ceremony.
The 2025 Olivier Awards will take place on Sunday 6 April at the Royal Albert Hall, hosted by Beverley Knight and Billy Porter.
MJ The Musical. Pic: SOLT
Full list of nominations:
Mastercard Best New Musical
The Curious Case Of Benjamin Button, music & lyrics by Darren Clark, book & lyrics by Jethro Compton at Ambassadors Theatre
MJ The Musical, book by Lynn Nottage at Prince Edward Theatre
Natasha, Pierre & The Great Comet Of 1812, music, lyrics & book by Dave Malloy at Donmar Warehouse
Why Am I So Single?, music, lyrics & book by Toby Marlow & Lucy Moss at Garrick Theatre
Blue-i Theatre Technology Award for Best Set Design
Jon Bausor for Set Design, Toby Olié & Daisy Beattie for Puppetry Design and Satoshi Kuriyama for Projection Design for Spirited Away at London Coliseum
Frankie Bradshaw for Set Design for Ballet Shoes at National Theatre – Olivier
Es Devlin for Set Design for Coriolanus at National Theatre – Olivier
Tom Scutt for Set Design for Fiddler On The Roof at Regent’s Park Open Air Theatre
White Light Award for Best Lighting Design
Paule Constable & Ben Jacobs for Oliver! at Gielgud Theatre
Howard Hudson for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Howard Hudson for Starlight Express at Troubadour Wembley Park Theatre
Aideen Malone for Fiddler On The Roof at Regent’s Park Open Air Theatre
TAIT Award for Best New Opera Production
Duke Bluebeard’s Castle by English National Opera at London Coliseum
Festen by The Royal Opera at Royal Opera House
L’Olimpiade by Irish National Opera & The Royal Opera at Royal Opera House
The Tales Of Hoffmann by The Royal Opera at Royal Opera House
Outstanding Achievement in Opera
Aigul Akhmetshina for her performance in Carmen at Royal Opera House
Allan Clayton for his performance in Festen at Royal Opera House
Jung Young-doo for his direction of Lear at Barbican Theatre
Best Family Show
Brainiac Live at Marylebone Theatre
Maddie Moate’s Very Curious Christmas at Apollo Theatre
The Nutcracker at Polka Theatre
Rough Magic at Shakespeare’s Globe – Sam Wanamaker Playhouse
Best New Production in Affiliate Theatre
Animal Farm at Theatre Royal Stratford East by George Orwell, adapted by Tatty Hennessy
Boys On The Verge Of Tears by Sam Grabiner at Soho Theatre
English by Sanaz Toossi at Kiln Theatre
Now, I See by Lanre Malaolu at Theatre Royal Stratford East
What We Talk About When We Talk About Anne Frank by Nathan Englander at Marylebone Theatre
Best New Dance Production
Assembly Hall by Kidd Pivot, Crystal Pite & Jonathon Young at Sadler’s Wells
Frontiers: Choreographers Of Canada – Pite/Kudelka/Portner by The National Ballet Of Canada at Sadler’s Wells
Theatre Of Dreams by Hofesh Shechter Company at Sadler’s Wells
An Untitled Love by A.I.M by Kyle Abraham at Sadler’s Wells
Outstanding Achievement in Dance
Sarah Chun for her performance in Three Short Ballets at Royal Opera House – Linbury Theatre
Tom Visser for his lighting design of Angels’ Atlas as part of Frontiers: Choreographers Of Canada – Pite/Kudelka/Portner at Sadler’s Wells
Eva Yerbabuena for her performance in Yerbagüena at Sadler’s Wells
Best Actor in a Supporting Role
Jorge Bosch for Kyoto at @sohoplace
Tom Edden for Waiting For Godot at Theatre Royal Haymarket
Elliot Levey for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Ben Whishaw for Bluets at Jerwood Theatre Downstairs at Royal Court Theatre
Best Actress in a Supporting Role
Sharon D Clarke for The Importance Of Being Earnest at National Theatre – Lyttelton
Romola Garai for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Romola Garai for The Years at Almeida Theatre & Harold Pinter Theatre
Gina McKee for The Years at Almeida Theatre & Harold Pinter Theatre
Gillian Lynne Award for Best Theatre Choreographer
Matthew Bourne for Oliver! at Gielgud Theatre
Julia Cheng for Fiddler On The Roof at Regent’s Park Open Air Theatre
Hofesh Shechter for Oedipus at The Old Vic
Christopher Wheeldon for MJ The Musical at Prince Edward Theatre
Best Costume Design
Hugh Durrant for Robin Hood at The London Palladium
Sachiko Nakahara for Spirited Away at London Coliseum
Tom Scutt for Fiddler On The Roof at Regent’s Park Open Air Theatre
Gabriella Slade for Starlight Express at Troubadour Wembley Park Theatre
d&b audiotechnik Award for Best Sound Design
Nick Lidster for Fiddler On The Roof at Regent’s Park Open Air Theatre
Christopher Shutt for Oedipus at The Old Vic
Thijs van Vuure for The Years at Almeida Theatre & Harold Pinter Theatre
Koichi Yamamoto for Spirited Away at London Coliseum
Outstanding Musical Contribution
Mark Aspinall for Musical Supervision & Additional Orchestrations for Fiddler On The Roof at Regent’s Park Open Air Theatre
Darren Clark for Music Supervision, Orchestrations & Arrangements and Mark Aspinall for Musical Direction, Music Supervision, Orchestrations & Arrangements for The Curious Case Of Benjamin Button at Ambassadors Theatre
Dave Malloy for Orchestrations and Nicholas Skilbeck for Musical Supervision for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Asaf Zohar for Compositions and Gavin Sutherland for Dance Arrangements & Orchestration for Ballet Shoes at National Theatre – Olivier
Best Actress in a Supporting Role in a Musical
Liv Andrusier for Fiddler On The Roof at Regent’s Park Open Air Theatre
Amy Di Bartolomeo for The Devil Wears Prada at Dominion Theatre
Beverley Klein for Fiddler On The Roof at Regent’s Park Open Air Theatre
Maimuna Memon for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Best Actor in a Supporting Role in a Musical
Andy Nyman for Hello, Dolly! at The London Palladium
Raphael Papo for Fiddler On The Roof at Regent’s Park Open Air Theatre
Layton Williams for Titanique at Criterion Theatre
Tom Xander for Mean Girls at Savoy Theatre
Noël Coward Award for Best New Entertainment or Comedy Play
Ballet Shoes adapted by Kendall Feaver at National Theatre – Olivier
Inside No 9 Stage/Fright by Steve Pemberton & Reece Shearsmith at Wyndham’s Theatre
Spirited Away adapted by John Caird & co-adapted by Maoko Imai at London Coliseum
Titanique by Tye Blue, Marla Mindelle & Constantine Rousouli at Criterion Theatre
Sir Peter Hall Award for Best Director
Eline Arbo for The Years at Almeida Theatre & Harold Pinter Theatre
Jordan Fein for Fiddler On The Roof at Regent’s Park Open Air Theatre
Nicholas Hytner for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Robert Icke for Oedipus at Wyndham’s Theatre
Best Actress
Heather Agyepong for Shifters at Duke of York’s Theatre
Lesley Manville for Oedipus at Wyndham’s Theatre
Rosie Sheehy for Machinal at The Old Vic
Meera Syal for A Tupperware Of Ashes at National Theatre – Dorfman
Indira Varma for Oedipus at The Old Vic
Best Actor
Adrien Brody for The Fear Of 13 at Donmar Warehouse
Billy Crudup for Harry Clarke at Ambassadors Theatre
Paapa Essiedu for Death Of England: Delroy at @sohoplace
John Lithgow for Giant at Jerwood Theatre Downstairs at Royal Court Theatre
Mark Strong for Oedipus at Wyndham’s Theatre
Cunard Best Revival
The Importance Of Being Earnest by Oscar Wilde at National Theatre – Lyttelton
Machinal by Sophie Treadwell at The Old Vic
Oedipus by Robert Icke at Wyndham’s Theatre
Waiting For Godot by Samuel Beckett at Theatre Royal Haymarket
Piper-Heidsieck Award for Best Musical Revival
Fiddler On The Roof, music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein at Regent’s Park Open Air Theatre
Hello, Dolly!, music & lyrics by Jerry Herman, book by Michael Stewart at The London Palladium
Oliver!, book, music & lyrics by Lionel Bart, new material & revisions by Cameron Mackintosh at Gielgud Theatre
Starlight Express, music by Andrew Lloyd Webber, lyrics by Richard Stilgoe at Troubadour Wembley Park Theatre
Best Actor in a Musical
John Dagleish for The Curious Case Of Benjamin Button at Ambassadors Theatre
Adam Dannheisser for Fiddler On The Roof at Regent’s Park Open Air Theatre
Myles Frost for MJ The Musical at Prince Edward Theatre
Simon Lipkin for Oliver! at Gielgud Theatre
Jamie Muscato for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Best Actress in a Musical
Chumisa Dornford-May for Natasha, Pierre & The Great Comet Of 1812 at Donmar Warehouse
Lauren Drew for Titanique at Criterion Theatre
Clare Foster for The Curious Case Of Benjamin Button at Ambassadors Theatre
Lara Pulver for Fiddler On The Roof at Regent’s Park Open Air Theatre
Imelda Staunton for Hello, Dolly! at The London Palladium
The Londoner Award for Best New Play
The Fear Of 13 by Lindsey Ferrentino at Donmar Warehouse
Giant by Mark Rosenblatt at Jerwood Theatre Downstairs at Royal Court Theatre
Kyoto by Joe Murphy & Joe Robertson at @sohoplace
Shifters by Benedict Lombe at Duke of York’s Theatre
The Years adapted by Eline Arbo, in an English version by Stephanie Bain at Almeida Theatre & Harold Pinter Theatre
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