Othello;
James Whitmore for 1974 s
Give Em Hell, Harry, which was distributed by Theatre Television (after using nine cameras to capture a single performance of the show in front of an audience); and
Maximilan Schell for 1975 s
The Man in the Glass Booth, which was distributed by The American Film Theatre (although it was very slightly opened up from its stage version).
Indeed, there is no rule on the Academy s books that would technically preclude
Hamilton from competing for Oscar noms. The closest thing is a rule that was implemented in 1997 for the documentary features and documentary shorts categories: Works that are essentially promotional or instructional are not eligible, nor are works that are essentially unfiltered records of performances.