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Brendan Gleeson has been named best actor at the Critics’ Circle theatre awards for his West End debut in Conor McPherson’s pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond’s bear. The Weir, directed by McPherson, was entirely omitted from the nominations for this year’s Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.
All My Sons, a critically adored production of Arthur Miller’s 1946 classic at Wyndham’s theatre, won in two categories at the Critics’ Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine’s Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.
The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham’s Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian’s theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.
Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller’s Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard’s Indian Ink which opened at Hampstead theatre days after the revered playwright’s death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane. The Palladium production of Evita, which was nominated in five categories, missed out on an award, as did the play Stereophonic (which had four nominations).
Guardian journalist Mark Lawson, 2026 chair of the Critics’ Circle drama section, said that, in “an attempt to extend the range of work considered”, it was the first year that members voted from longlists and shortlists. “Some categories were won by a landslide, but others were tight five- or six-way contests eventually decided after a recount, suggesting strong quality among the quantity.”
In 2023 the Critics’ Circle announced that it would incorporate the Empty Space Peter Brook award, founded by Blanche Marvin, as one of its categories. Marvin died earlier this year at the age of 100 and the award, which recognises an innovative venue, has been renamed in her memory. This year’s winner, decided by a separate panel of critics chosen by the Marvin family, is the not-for-profit theatre company Red Rose Chain in Ipswich.
