Back to News & Press King Charles III to receive Australian premiere in March 2016 Tuesday, 8 September 2015 The production will run from 31 March until 30 April 2016. Robert Powell will reprise the role of Charles as performed on the UK Tour. The Almeida Theatre production of the 2015 Olivier Award winner for Best Play, King Charles III imagines the aftermath of the death of Elizabeth II when Prince Charles finally ascends the throne. Confronting the contradictions of monarchy and democracy and exploring power and betrayal, the ‘future history’ play turns a Shakespearean lens on relationships in the world’s most famous and exposed family. Written by Mike Bartlett and directed by Rupert Goold with Whitney Mosery, King Charles III is designed by Tom Scutt, with music composed by Jocelyn Pook, lighting by Jon Clark and sound by Paul Arditti. King Charles III is co-produced in Sydney by Sonia Friedman Productions, Stuart Thompson Productions, Tulchin Bartner Productions, Charles Diamond and the Almeida Theatre in association with Birmingham Repertory and by arrangement with Lee Dean. Visit the Sydney Theatre Company website for more information. Up Up

Back to Productions THE FERRYMAN This production began performances on 24th April and closed on 20th May 2017. ★★★★★ A play crackling with life The Times “Vanishing. It’s a powerful word, that. A powerful word.” Rural Northern Ireland, 1981. The Carney farmhouse is a hive of activity with preparations for the annual harvest. A day of hard work on the land and a traditional night of feasting and celebrations lie ahead. But this year they will be interrupted by a visitor. ★★★★★ Butterworth and Mendes deliver shattering tale of passion and violence The Guardian Jez Butterworth’s The Ferryman , directed by Sam Mendes , won widespread critical acclaim during its run at the Jerwood Theatre, Royal Court from 24 April until 20 May 2017. The play, produced by Sonia Friedman Productions , Neal Street Productions and Royal Court Theatre Productions , was the fastest-selling show in the Royal Court’s history. ★★★★★ It has the feel of unearthed, instant classic The Independent CAST ELISE ALEXANDRE – Mercy Carney SOPHIA ALLY – Honor Carney BRÍD BRENNAN – Aunt Maggie Far Away PADDY CONSIDINE – Quinn Carney TURLOGH CONVERY – Lawrence Malone DARCEY CONWAY – Mercy Carney GRACE DOHERTY – Honor Carney LAURA DONNELLY – Caitlin Carney FRA FEE – Michael Carney TOM GLYNN-CARNEY – Shane Cocoran STUART GRAHAM – Muldoon JOHN HODGKINSON – Tom Kettle GERARD HORAN – Father Horrigan CARLA LANGLEY – Shena Carney DES MCALEER – Uncle Pat CONOR MACNIELL – Diarmaid Corcoran ROB MALONE – Oisin Carney MICHAEL MCCARTHY – Declan Corcoran DEARBHLA MOLLOY – Aunt Pat XAVIER MORAS SPENCER – Declan Corcoran CLARA MURPHY – Nunu Carney ANGEL O'CALLAGHAN – Nunu Carney EUGENE O'HARE – Frank Magenns GENEVIEVE O'REILLY – Mary Carney NIALL WRIGHT – JJ Carney CREATIVES JEZ BUTTERWORTH – Writer SAM MENDES – Director ROB HOWELL – Designer PETER MUMFORD – Lighting Designer NICK POWELL – Composer and Sound Designer

Back to News & Press Guests including Ed Miliband and Fiona Bruce join Sonia Friedman for West End return of 1984 Thursday, 18 June 2015 1984 is adapted and directed by Robert Icke and Duncan Macmillan, set and costume designed by Chloe Lamford, with lighting designed by Natasha Chivers, sound designed by Tom Gibbons and video designed by Tim Reid. George Orwell’s 1984, published in 1949, is one of the most influential novels in recent history. Its ideas have become our ideas, and Orwell’s fiction is often said to be our reality. Up Up

Back to Productions UP FOR GRABS This production began performances on 23rd May and closed on 13th July 2002. When one of Jackson Pollock's finest works slips quietly onto the market, a sharp and ambitious art dealer is determined to make her fortune. Risking everything she has through the course of a tense private auction, she plays off her wealthy clients against each other, manipulating their greed, lust and power as the price of the painting surges. David Williamson 's brilliantly funny satire on the art world opened in Sydney in February 2001 where demand for tickets was so overwhelming that the run was extended and all records were broken. This bitingly funny comedy delves into the darker recesses of the super-privileged. Focusing on their virtues, vices and ulterior motives, it is a hugely entertaining insight into what makes people tick when money is no object. CAST MADONNA – Loren TOM IRWIN – Gerry MEGAN DODDS – Mindy DANIEL PINO – Kel SIAN THOMAS – Dawn MICHAEL LERNER – Manny DEBORA WESTON – Phylis CREATIVES DAVID WILLIAMSON – Playwright LAURENCE BOSWELL – Director JEREMY HERBERT – Designer ARIANNE PHILLIPS – Costume Designer MARK HENDERSON – Lighting Designer FERGUS O'HARE – Sound Designer JON DRISCOLL & RICHARD OVERALL – Projection SIMON BASS – Music JIM CARNAHAN – US Casting SAM JONES – UK Casting

Back to News & Press The Mountaintop, Mark Rylance and Ultz Triumph at the 2010 Oliver Awards Monday, 22 March 2010 Set the night before the assassination of Martin Luther King Jr, it starred David Harewood as the famous civil rights leader and Lorraine Burroughs (also nominated in the Best Actress category) as the maid in his Memphis motel with whom he has an illuminating encounter. Mark Rylance was named Best Actor for his portrayal of local waster Johnny ‘Rooster’ Byron in JERUSALEM. Jez Butterworth’s play opened at the Royal Court last summer and was transferred by SFP earlier this year to the Apollo theatre, where it plays to 24 April. This is Rylance’s second Laurence Olivier Award; he won Best Actor in 1994 for Much Ado About Nothing. He was most recently nominated in 2008 for his role in BOEING-BOEING. Ultz also triumphed in the Best Set Design category for his work on JERUSALEM, taking home the coveted bronze statuette for his leafy design of a Wiltshire wood. Up Up

Back to News & Press Casting Is Announced for The Book of Mormon Monday, 12 November 2012 Other cast members include: Mark Anderson, Stephen Ashfield, Benjamin Brook, Daniel Buckley, Daniel Clift, Ashley Day, Terry Doe, Candace Furbert, Patrick George, Nadine Higgin, Tyrone Huntley, Evan James, Chris Jarman, Michael Kent, Alexia Khadime, Matt Krzan, Oliver Lidert, Daniel Mackinley, Luke Newton, Terel Nugent, Haydn Oakley, Olivia Phillip, Lucy St. Louis, Giles Terera, Kayi Ushe, Tosh Wanogho-Maud and Liam Wrate. Gavin Creel has previously appeared in the West End as Claude in Hair at the Gielgud Theatre and as Bert in Mary Poppins at the Prince Edward Theatre. Creel received Tony Award® nominations for his roles in the Broadway productions of Hair and Thoroughly Modern Millie. Jared Gertner will make his West End debut in THE BOOK OF MORMON. He was a member of the original Tony Award®-winning Broadway company and has previously been seen on stage in Spelling Bee at the Circle in the Square Theatre and in Ordinary Days at the Roundabout Theatre. Gertner has also been seen on TV in Ugly Betty and The Good Wife. THE BOOK OF MORMON comes from South Park creators Trey Parker and Matt Stone , and Avenue Q co-creator Robert Lopez . THE BOOK OF MORMON, winner of nine Tony Awards®, including Best Musical, and the Grammy for Best Musical Theatre album, follows a pair of Mormon boys sent on a mission to a place that’s a long way from Salt Lake City. Book, Music and Lyrics are by Trey Parker, Robert Lopez and Matt Stone. Directed by Casey Nicholaw and Trey Parker, THE BOOK OF MORMON has choreography by Casey Nicholaw, set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt, sound design by Brian Ronan, orchestrations by Larry Hochman and Stephen Oremus and music supervision and vocal arrangements by Stephen Oremus. THE BOOK OF MORMON is produced in the West End by Anne Garefino, Scott Rudin, Important Musicals and Sonia Friedman Productions. The Broadway production of THE BOOK OF MORMON continues at the Eugene O’Neill Theatre in New York. In September the first national US tour began at the Denver Center Attractions’ Ellie Caulkins Opera House and in December a new company of The Book of Mormon will begin an engagement at the Bank of America Theatre, Chicago. Up Up

Back to Productions MUCH ADO ABOUT NOTHING – DIGITAL This production was captured by Digital Theatre live at Wyndham's Theatre in London’s West End. Tennant and Tate sparkle in Much Ado. The Guardian Much Ado About Nothing played to sold-out houses and received wide critical acclaim prior to being filmed for onine streaming. Directed by Josie Rourke , it starred David Tennant as Benedick and Catherine Tate as Beatrice. You can stream here on Digital Theatre . Rourke’s production has a freshness and a wit that is often irresistible… A mixture of slapstick and flight that reduces the audience to a state of blissful hilarity. The Daily Telegraph Two young lovers Claudio and Hero are to be married imminently but the devious scheming of a resentful Prince looks set to thwart the nuptials. Meanwhile, marriage seems inconceivable for reluctant lovers Beatrice (Catherine Tate) and Benedick (David Tennant) whose endless witty sparring threatens to keep them apart forever. There is much to love here and nothing to fault. Daily Mirror CAST In order of speaking JONATHAN COY – Leonato LEO STAAR – Messenger CATHERINE TATE – Beatrice SARAH MACRAE – Hero ADAM JAMES – Don Pedro DAVID TENNANT – Benedick ELLIOT LEVEY – Don John TOM BATEMAN – Claudio ANNA FARNWORTH – Imogen LEE KNIGHT – Conrade ALEX BECKETT – Borachio JOSHUA BERG – Titus NATALIE THOMAS – Margaret KATHRYN HUNT – Ursula DEREK HOWARD – Angelo MARIO MARIN-BORQUEZ – Boy BAILEY PEPPER – Boy EUGENE LEWIS – Boy ENZO SQUILLINO JNR. – Balthasar JOHN RAMM – Dogberry MIKE GRADY – Verges CLIVE HAYWARD – Hugh Oatcake NICHOLAS LUMLEY – George Seacoal CLIVE HAYWARD – Friar Francis ENZO SQUILLINO JNR. – Sexton HANNAH WARREN-GREEN – Maria CREATIVES JOSIE ROURKE – Director ROB JONES – Designer PETER MUMFORD – Lighting MICHAEL BRUCE – Composer EMMA LAXTON – Sound Designer GEORGINA LAMB – Movement ALASTAIR COOMER CDG – Casting Director ROBERT HASTIE – Associate Director

Back to News & Press Sonia Friedman is ranked The Stage's most influential theatre producer Wednesday, 2 January 2019 On Sonia Friedman Productions , The Stage said: At the Palace Theatre, Harry Potter and the Cursed Child continues to be busier than Diagon Alley on Black Friday. In 2018, it also began its Voldermort-like march to global domination, with a first replica production opening in New York and more to follow in San Francisco, Hamburg and Melbourne (so far). In New York, Friedman has had a particularly busy year on Broadway, with productions of Travesties , Farinelli and the King , The Ferryman and Mean Girls joining the aforementioned wizard. Ink , the James Graham play about Larry Lamb and Rupert Murdoch that Friedman has already transferred from the Almeida to the West End, is soon to join them. In London, it has been a brave year, with two unlikely hits that might never have had a commercial life but for Friedman’s intervention: The Jungle and The Inheritance . The Inheritance is a seven-hour, two-part new play by Matthew Lopez that transposes EM Forster’s novel Howards End to 21st-century New York a generation after the 1980s Aids crisis. Friedman transferred the hit Young Vic production and its huge cast to the West End, where it proved to be the new play of the year, winning an Evening Standard Award in the process. Even bolder was The Jungle , which told stories from the eponymous Calais refugee camp. For the transfer, the West End’s Playhouse Theatre was turned into an Afghan cafe. Friedman has been a key supporter of Good Chance Theatre since it launched as a pop-up venue in the camp outside Calais in 2015. No one – not even Friedman – could have thought at the time that three years later it would inspire a West End show. Other West End shows, nearly all of them bona fide critical hits, included Consent , The Birthday Party and The Ferryman , which joined long-runners such as The Book of Mormon and Dreamgirls . Plans for this year include the fascinating prospect of a stage version of All About Eve , directed by Ivo van Hove and starring Gillian Anderson and Lily James . For most of 2018, Friedman had five productions running at any one time in the West End, and across the whole year she produced 23 shows across all territories. She also continued to branch out into TV production, following up the BBC adaptation of Wolf Hall by executive-producing King Lear with Anthony Hopkins. Her West End production of Funny Girl starring Sheridan Smith was also screened globally in cinemas and made it to TV. This would be an extraordinary output for any other producer but for Friedman it has become business as usual. Playwright Tom Stoppard refers to Friedman as this generation’s “go-to producer” and when she appeared in 2018’s Time 100 list with an entry penned by James Corden, he explained: “She understands the logistics, the nuts and bolts, of putting on a show. And she knows what audiences want to see, even before they do.” It’s hard to argue with any of that: Friedman is a true producer, creating a portfolio of work dwarfing that of her competitors in terms of scale, variety and quality. The West End and Broadway would be shadows of themselves without the work she is creating. Friedman was ranked number one in The Stage 100 two years ago and – when it comes to producing quality theatre in the commercial sphere – she is still top dog. Read the full article here . Up Up

Back to News & Press Harry Potter and the Cursed Child receives 6 Outer Critics Circle Awards Sunday, 6 May 2018 Harry Potter and the Cursed Child has received 6 awards including Best Play – the most won by any production this season. Outstanding New Broadway Play Outstanding Director of a Play — John Tiffany Outstanding Set Design — Christine Jones Outstanding Lighting Design — Neil Austin Outstanding Projection Design — Finn Ross & Ash Woodward Outstanding Sound Design — Gareth Fry Up Up

Back to News & Press Sheridan Smith to play Fanny Brice in Funny Girl Sunday, 2 August 2015 The Menier Chocolate Factory today announces that award-winning actress Sheridan Smith returns to the theatre to play Fanny Brice in a major new revival of Funny Girl. The multi award-winning Michael Mayer directs the production, which opens on 2 December, with previews from 20 November, and runs until 5 March 2016. This production is presented in association with Sonia Friedman Productions and Scott Landis . Funny Girl returns to the London stage for the first time since its 1966 première. With music by Jule Styne , lyrics by Bob Merrill and book by Isobel Lennart , the Broadway smash which skyrocketed Barbra Streisand to stardom, is revived with Sheridan Smith playing Fanny Brice, who rose from the Lower East Side of New York to become one of Broadway's biggest stars under producer Florenz Ziegfield. While she was cheered onstage as a great comedienne, offstage she faced a doomed relationship with the man she loved. With a score featuring now-classic songs such as "People", "You Are Woman, I Am Man" and "Don't Rain on My Parade", this brand new production promises to be a major theatrical event. Tickets go on sale to the Menier Chocolate Factory supporters at 9am on Monday 10 August, with public booking opening at 9am on Monday 17 August. Director: Michael Mayer ; Designer: Michael Pavelka ; Choreographer: Lynne Page Lighting Designer: Mark Henderson ; Sound Designer: Richard Brooker Musical Supervisor: Alan Williams Up Up

Back to Productions BY THE BOG OF CATS This production began performances on 19th November 2004 and closed on 26th February 2005. In Hester Swane, Marina Carr has created a protagonist who echoes Medea, seemingly doomed to undergo similar trials as her ancient Greek forbear. By the Bog of Cats is a reworking of one of the most famous of the ancient Athenian tragedies, Medea by Euripides, which was first performed as far back as 431 BC. CAST HOLLY HUNTER – Hester Swane DARREN GREER – The Ghost Fancier SORCHA CUSACK – Monica Murray KATE COSRELLO – Josie Kilbride ELLIE FLYNN WATTERSON – Josie Kilbride CHLOE O'SULLIVAN – Josie Kilbride BARBARA BRENNAN – Mrs Kilbride BRID BRENNAN – Catwoman GORDON MACDONALD – Carthage Kilbride DENISE GOUGH – Caroline Cassidy TREVOR COOPER – Xavier Cassidy WARREN RUSHER – Young Dunne COLETTE KELLY – Waitress AOIFE MADDEN – Waitress PATRICK WALDRON – Father Willow ADAM BEST – Joseph Swane CREATIVES MARINA CARR – Playwright DOMINIC COOKE – Director HILDEGARD BECHTLER – Designer NICKY GILLIBRAND – Costume Designer JEAN KALMAN – Lighting Designer GARY YERSHON – Composer GARETH FRY – Sound Designer LIZ RANKEN – Movement Director LISA MAKIN – UK Casting

Back to News & Press Meet Sonia Friedman: British Theatre’s most important LGBTQ advocate Friday, 21 December 2018 In April 2018, during an exchange backstage at the Olivier Awards, leading arts producer Sonia Friedman promised to represent the queer community in London’s West End within 12 months. “I’m of a particular age now and know that if I’m going to continue to do theatre that represents now, I’m going to have to work with younger generations to keep me stimulated and keep me fired up to tell those stories,” she acknowledged with great honesty – something perhaps unexpected for a leader of her field. “See me next year and if I haven’t done anything then wrap me over the knuckles. Seriously!” Well, it didn’t happen in 12 months but in fact six, as Sonia Friedman Productions (Sonia’s producing company, clue is in the name sweetie) opened The Inheritance , a new play by writer Matthew Lopez . A piece of art we understatedly described during its initial opening at the Young Vic Theatre as “a remarkably consistent work on gay themes that leaves you stirred, shaken and deeply moved” – and that’s putting it lightly. Anybody that’s been lucky enough to spend a day at the Noël Coward Theatre knows it’s a modern masterpiece at that, and has been unsurprisingly showered with critical acclaim even from the hardest of top line tabloids. But why was the story of the AIDS crisis and a group of gay men in New York right for 2018? In an exclusive interview, Sonia Friedman speaks about why diverse and minority casting is to always be embraced, how staging The Inheritance holds a personal connection to her and the friends lost in the 80s AIDS crisis, and how she will always be there for the queer community to ensure our voices and stories don’t ever become invisible. Sonia Friedman is a true ally – fact. How would you describe who Sonia Friedman is? I’m a theatre producer who unusually, for my profession, loves all genres of work; musical, play, modern classic, revival, Shakespeare, cabaret and modern music. Because I’m obsessed with new work and new writing, and because I like to think of myself as quite musical and also politicised and plugged in. I’m at my best and happiest creating and developing and finding new stories to be told. Is it a requirement that your work must always have a second meaning then? It’s giving audiences work they don’t know they want to see. It means I’m always trying to plug myself into what people are perhaps talking about but thinking about, but that’s not necessarily in our zeitgeist or on our stages. As I get older, I’ve got history to fall back on and my emotional range is wider and my life experience is wider so the stories I’m interested in are growing. As a producer, I’m just so curious. I never stop wondering what on Earth is going on with our world. As we talk right now, I can’t imagine a more confused or difficult or challenging but also positive place that we’re living in – think I might have said that ten years ago. Is it getting worse or getting better? I don’t know. Have you been tempted recently to present work that discusses the current political dramas internationally? Trump, for example. I don’t know that audiences here and now want to sit in the theatre and see something about Trump because we’re reading it everyday. We need our writers and our artists to take us on a different journey and make us think about Trump perhaps in a different way, but through the lens of something else. It’s much more satisfying for me, and if you were a writer pitching a play about him, I would argue that play would be out of date next month. Somebody will do that play, but it’s interesting it hasn’t happened yet. I don’t know how we respond to what’s happening now, other than looking backwards. Do you look and listen to the minority voices around you regularly? Oh gosh, yes. It’s very interesting, as when preparing for this conversation, I was looking back over my work of the last few years and how I’ve changed. There’s no question that, in my mind for inclusion and diversity, it’s been a massive shift. Not just with me but the industry. Even four or five years ago, it wouldn’t have been a conscious decision of mine with a director to say that ‘diversity is just a given’. Then it would have been unusual. If you go back even further, eight or nine years ago, the diversity that happened within my company – people were cast because of their colour, not regardless. I look at now and it’s so changed and I think as an industry, as opposed to being ashamed or berating ourselves, we should celebrating how we are moving forward and checking each other and ensuring we’re better at that and calling each other out when we’re not. If we go on outdated stereotypes, LGBTQ focused pieces shouldn’t work commercially for the West End, but they do. Angels in America at the NT last year, for example, was a huge success. Angels is quite rightly a modern classic and it changed my life – and I’m not gay. It changed my life as to what is possible in theatre. It took me to places I didn’t know existed. Angels is one of the great plays ever written. It’s a big ol’ piece. It will, I hope for many decades, be part of the canon. I didn’t produce it. Do you wish you did? Erm… do you know what, I don’t wish I produced it because it meant I wouldn’t have seen it. I feel like I’m doing my Angels now with The Inheritance . We’re giving our answer to Angels now. Have you noticed attitudes have changed since you began producing a play and subject matter like The Inheritance? I have a very personal relationship to the play and subject matter. I was very involved in the AIDS crisis in the 80s. When I was a young stage manager at the National Theatre, I volunteered with the Terrence Higgins Trust and spent a good two years in 1986/87 through to 1989. I worked pretty much full time and the National Theatre were great and gave me a lot of time off, to do whatever I could do. It ended up being, without question, the most important and informative time of my life. What started it was seeing people in my industry dying. I was frightened of it like many people were, but rather than running away from it, I ran towards it to try and understand and help because there was something within me that needed to reach out. I created an enormous amount of events and benefits. I didn’t even know I was producing. We went for it and so doing that changed my life. I’ll never, ever think of the world in the same way as when I was young. I still am haunted by the memory of how many young men I would see either in hospital beds or on their own with one bar of heating and they couldn’t afford anything more. The best I could do was write them a cheque from the money we’d raised to pay for the electricity bill for another month. To know that I did the tiniest, just the tiniest bit to help, I will always be very thankful I was there at that time. Without exaggeration, I was going to a funeral a week. I then went back to work. Well, the truth is I had a meltdown. I think you can only face so much devastation for so long. I then went back to my day job and, for a lot of people who were around and particularly the men who’s lovers died, God knows how they were dealing with it. I was able to walk away in one sense but it’s unfinished business in my head, and The Inheritance is by no means the close of a chapter but is responding to that. I’ve been looking for this story because there are many, many wonderful plays about that time, but what is the play that is about now, about then? This is it. Just talking about it now, I can’t stop thinking about the 80s and what the gay community went through, and how staggering it is that we are where we are now. How good it is now where we are in many ways. So how did you two end up finding each other? The Inheritance sort of just landed on my lap like a gift. A gift from above. I wasn’t meant to be producing it, but it was a series of random circumstances with me doing it because of my relationship with Stephen Daldry (The Inheritance director). Stephen was around at my house and he read my Margaret’s monologue at the end where she’s looking back on the time, like I did, seeing so many young men dying. He read me this monologue and at the end of it, I said to him, ‘I’ll do anything, literally anything, to be involved in this. Please.’ I felt I had to justify my credentials because I’m not a gay man. I literally can’t stop thinking about the 80s at the moment. I lost my mother recently and I’m also thinking about the past a lot as well. It will speak to my generation and people around at the time, but more importantly young gay men. I’ve talked to quite a few gay men in my office and around my life, and what has really surprised me how unaware some of them are about what happened. About what really happened. Being involved in The Inheritance , these same young gay men have said to me, ‘This is the first time they’ve seen a play ever that is speaking to me. It’s talking directly to me’. The fact they say and feel that, I know this play is a play for a generation and I feel it very, very, very deeply. While it’s a challenge at an eight hour piece of theatre, I’m absolutely convinced I’m involved with a piece of history. I think anyone that’s been to see it knows that. Genuinely. I hope so. You’re a strong character. Did you have a time in your career when you felt like giving up? Gosh. I’ve never been asked that question before. As we’re having an honest conversation, quite recently just after my mum died. So, February, March, April? Because my mum was my greatest influence in my life and my inspiration, she was who I sort of did it for really. I worked very, very hard and long hours and would always check in with her. If not by phone, text, letter. She wrote me poems every day. I didn’t realise until she died that she was my anchor and all my work here – the narrative that runs through it is my mum. I remember where she was when she saw every piece and her reaction. That was suddenly out of my life and I didn’t really know. It was grief. That’s an honest answer and I’m not through it yet, but plays like The Jungle and The Inheritance specifically right now in my life… something was in the stars that aligned so that they happened right now because they’ve made me appreciate my life in a way, and working life in a way that’s so essential when I’m going through this crisis. It’s a balancer. Yes, I’ve lost my mum, but look at the story we’re telling in The Inheritance . Get it in order, Friedman. And finally, alongside everything you’ve mentioned above, you’ve also put a musical version of Legally Blonde on stage, brought Dreamgirls to London, and you’re now working on the stage adaptation of Mean Girls. Are you ready to claim your gay icon status?! It would be my greatest honour. It would be. Why is Mean Girls so… Do you want it in London? I mean… if ever you’ve got a hit, there it is. Can you imagine what it must be like for me to work with Tina Fey. I’m in the writing room with Tina Fey and I pinch myself. She also might be a gay icon but she’s my icon, too. She’s everybody’s icon. I was phoned up by the producer of the film and asked if I would come in and join him on Mean Girls . It’s been very exciting and obviously there’s conversations about bringing it here, and Tina Fey has said she’d be very excited to bring it to London, so it’ll happen. Up Up