These are the nominees (it's actually a very competitive category, I would have to choose Lily Tomlin, who was amazing in Damages):

Mary Kay Place (Big Love)
Sissy Spacek (Big Love)
Shirley Jones (The Cleaner)
Lily Tomlin (Damages)
Ann-Margret (Law & Order: Special Victims Unit)
Elizabeth Mitchell (Lost)

It at least a bright spot in Shirley's Year. She has not been getting good reviews in her concerts. Her voice is not what it used to be.
I remember somebody asked her about retiring and she said she had nothing to retire to.

Note Marty Ingels at an event.
http://www.youtube.com/watch?v=lh0KzhOtGtw

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/live_reviews/article7074373.ece

Here is part of the review.
It would be tempting to say that Jones’s stylish reminiscences about her Broadway and Hollywood career are worth the price of admission alone.

The truth, unfortunately, is that the musical side of her West End debut is decidedly uneven. With her 76th birthday just around the corner, she looks terrific. But on the larger-scale numbers she masks the inevitable weaknesses in her voice by veering into impersonal sub-operatic flourishes. More unsettling still, the quartet arrangements have a cruise-liner quality about them, the pianist and musical director Ron Abel competing with Toby Cruse’s synthesizer stationed on the other side of a decidedly dowdy set.

When Jones took over again, she flung herself into Oklahoma! and a reverb-heavy Oh, What a Beautiful Mornin’. Anecdotes about her old friend Stephen Sondheim led the way into a rendition of Send in the Clowns that was a winning mixture of anguish and frailty. Unfortunately, on the showstoppers Seventy-six Trombones and You Made Me Love You she sounded underpowered and in danger of being trampled underfoot.

Lena Horne and Barbara Cook have proved that age is no obstacle to seducing an audience. Jones does not quite have their guile or their charisma.