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

Back to Productions MASTERCLASS This production began performances on 31st January and closed on 28th April 2012. Tyne Daly… offers one of those high-definition Broadway star performances that deftly mingle comedy and pathos — and resistance proves futile. The Telegraph Don't miss Master Class, an extraordinary insight into the life and loves of Maria Callas, the iconic opera singer whose turbulent private life and fiery temperament were as astonishing as her formidable talents. Inspired by her master classes of the early 70s, this is a riveting, hilarious and intensely moving portrayal of the sacrifice and heartache behind the artist, the diva and the legend. Tyne Daly is astonishingly good The Independent With an electrifying performance from Tony Award and six-time Emmy Award winner Tyne Daly (Cagney & Lacey) as the troubled and infamous Maria Callas , Terrence McNally 's Tony Award-winning play Master Class was a smash-hit on Broadway and now arrives in the West End for a strictly limited season. Terrence McNally’ s Master Class received its world premiere at the John Golden Theatre in 1995, wining the Tony Award for Best Play and the Drama Desk Award for Outstanding New Play. Stephen Wadsworth’s Manhattan Theatre Club production opened at the Samuel J. Friedman Theatre earlier this year. Tyne Daly first appeared in Stephen Wadsworth's production of Master Class at the Kennedy Center. Multi award-winning Tyne Daly plays Maria Callas. She is best known on television for her portrayal of Detective Mary Beth Lacey in Cagney and Lacey, for which she received four Emmy Awards. For her roles as Maxine Gray in Judging Amy and Alice Henderson in Christy she received two Emmy Awards for Outstanding Supporting Actress in a Drama. For the former she also won Golden Globe Award. Her many Broadway credits include Rose in Gypsy for which she won the Tony Award for Best Leading Actress in a Musical, Mme. Arkadina in The Seagull and Rabbit Hole. Daley’s film credits include The Enforcer, Dirty Harry, John and Mary and Telefon. Writer Terrence McNally has won four Tony Awards for his plays Love! Valour! Compassion! and Master Class and his musical books for Kiss of the Spiderwoman and Ragtime. More recent Broadway revivals of his plays include The Ritz and Frankie and Johnny in the Clair de Lune. His other plays include A Perfect Ganesh, Corpus Christi, Lips Together and Its Only a Play. His most recent play, Golden Age, was featured in the Kennedy Center celebration of his work year. For the musical theatre other his librettos include Catch Me if You Can, The Full Monty, The Rink, The Visit, A Man of No Importance and the opera Dead Man Walking. McNally has also written a number of television scripts including Andre's Mother for which he won an Emmy Award. Theatre and Opera director Stephen Wadsworth has worked for Metropolitan Opera, Teatro alla Scala, Royal Opera Covent Garden, Vienna Staatsoper, Edinburgh Festival, Nederlandse Opera, Seattle Opera and in San Francisco, Los Angeles, Toronto and Santa Fe. Wadsworth is the Head of Dramatic Studies at the Metropolitan Opera’s Lindemann Young Artist Development Program, the James S. Marcus Faculty Fellow and Director of Opera Studies at The Juilliard School, an artist in residence at the Aspen Institute, and a Chevalier de l’Ordre des Arts et des Lettres. Max Cooper , Maberry Theatricals , The Marks-Moore-Turnball Group , Ted Snowdon and Sonia Friedman Productions in association with Morris Berchard , Scott M.Delman , Susan Dietz/Lams Productions , Scott & Brian Zeilinger/The Broadway Consortium present “MASTER CLASS ”. Stephen Wadsworth's production gives Daly room to captivate, and she consistently does just that. Evening Standard CAST TYNE DALY – Maria Callas CREATIVES STEPHEN WADSWORTH – Director THOMAS LYNCH – Designer MARTIN PAKLEDINAZ – Costume DAVID LANDER – Lighting JON GOTTLIEB – Sound PAUL HUNTLEY – Wigs

Back to Productions LA CAGE AUX FOLLES – BROADWAY This production began performances on 6th April 2010 and closed on 1st May 2011. The Tony Award and Olivier Award-winning musical comedy LA CAGE AUX FOLLES is on the road! The acclaimed Menier Chocolate Factory production dazzled London and went on to earn several Tony Awards including Best Revival of a Musical, running at Broadway's Longacre Theatre from April 18, 2010 to May 1, 2011. The US tour will kick off in Des Moines, Iowa in October 2011, and will continue on to cities including Cleveland, Boston, Chicago, Washington, D.C., Fort Lauderdale, St. Louis, Dallas, Houston, and Los Angeles. LA CAGE AUX FOLLES features music and lyrics by Jerry Herman and book by Harvey Fierstein , based on the play by Jean Poiret. This freshly reconceived production is choreographed by Lynne Page and directed by Terry Johnson . The Menier Chocolate Factory production of LA CAGE AUX FOLLES played from November 23, 2007, to March 8, 2008, earning across-the-board raves and moving to the West End's Playhouse Theatre on October 30, 2008, where it won the 2009 Olivier Award for Best Musical Revival and delighted audiences through until January 2, 2010. Sonia Friedman Productions, David Babani, Barry and Fran Weissler and Edwin W. Schloss, Bob Bartner/ Norman Tulchin, Broadway Across America, Matthew Mitchell, Raise The Roof 4 Winkler/ Besinger Taylor/ Laudenslager Bergere, Arlene Spivak, Jerry Frankel/ Bat-Barry Productions, Nederlander Presentations, Inc/ Harvey Weinstein present the Menier Choclate Factory Production “LA CAGE AUX FOLLES”. CAST NICK ADAMS CHRISTINE ANDREAS FRED APPLEGATE CHRISTOPHE CABALLERO SEAN A. CARMON VEANNE COX NICHOLAS CUNNINGHAM ROBIN DE JESUS SEAN PATRICK DOYLE KELSEY GRAMMER DALE HENSLEY CHRIS HOCH DOUGLAS HODGE LOGAN KESLAR TODD LATTIMORE TERRY LAVELL HEATHER LINDELL CAITLIN MUNDTH BILL NOLTE DAVID NATHAN PERLOW ELENA SHADDOW A. J. SHIVELY CHERYL STERN CREATIVES JASON CARR – Orchestrator JONATHAN DEANS – Sound Designer TODD ELLISON – Musical Director TERRY JOHNSON – Director RICHARD MAWBEY – Make-Up Designer/Wig Designer LYNN PAGE – Choreographer NICK RICHINGS – Lighting Designer TIM SHORTALL – Scenic Designer MATTHEW WRIGHT – Costume Designer

Back to Productions LOBBY HERO This production opened on 26th June and closed on 17th August 2002. Written by Kenneth Lonergan and produced by Sonia Friedman Productions/ATG , Act Productions , Arts Nova Pgm , David Binder . CAST DAVID TENNANT – Jeff GARY MCDONALD – William DOMINIC ROWAN – Bill CHARLOTTE RANDLE – Dawn CREATIVES KENNETH LONERGAN – Playwright MARK BROKAW – Director ROBERT JONES – Designer RICK FISHER – Lighting FERGUS O'HARE – Sound

Back to News & Press Broadway casting announced for The Inheritance Wednesday, 14 August 2019 The Broadway cast will feature Jordan Barbour, Jonathan Burke, Andrew Burnap, Darryl Gene Daughtry Jr., Dylan Frederick, Kyle Harris, John Benjamin Hickey, Paul Hilton, Samuel H. Levine, Carson McCalley, Lois Smith, Kyle Soller, and Arturo Luis Soria. The company will also include understudies Mark H. Dold, Kate Goehring, Sam Lilja, Jake Odmark, Matthew Russell, Bradley James Tejeda and Reggie D. White. Andrew Burnap, John Benjamin Hickey, Paul Hilton, Samuel H. Levine, and Kyle Soller will reprise their roles from the acclaimed London production. Mr. Soller won the 2019 Olivier Award for Best Actor in a Play. THE INHERITANCE will begin previews at Broadway’s Ethel Barrymore Theater (243 West 47th street) on Friday, September 27, 2019 and will officially open on Sunday, November 17, 2019. It begins with a gathering of young, gay New Yorkers. Each has a story aching to come out… Profoundly touching and wickedly hilarious, Matthew Lopez’ highly-anticipated two-part play, THE INHERITANCE, asks how much we owe to those who lived and loved before us, and questions the role we must play for future generations. Brilliantly re-envisioning E. M. Forster’s masterpiece Howards End to 21st-century New York, it follows the interlinking lives of three generations of gay men searching for a community of their own – and a place to call home. THE INHERITANCE is a life-affirming journey of tears and laughter, through conflicts and connections, heartbreak and hope. A new play, generations in the making. The creative team for THE INHERITANCE includes scenic and costume designer Bob Crowley , lighting designer Jon Clark, sound designer Paul Arditti and Christopher Reid, and music by Paul Englishby . General Management is by RCI Theatricals . Casting by Jordan Thaler, CSA & Heidi Griffiths, CSA, Julia Horan CDG. THE INHERITANCE had its world premiere at London’s Young Vic Theatre from March 2 through May 19, 2018. The acclaimed production transferred to the West End, where it played a limited engagement September 21, 2018 through January 19, 2019. Up Up

Back to News & Press Full Dreamgirls company celebrates first day of rehearsals Tuesday, 4 October 2016 American actress and singer Amber Riley stars as ‘Effie White’ and is joined in Dreamgirls at the Savoy Theatre by Liisi LaFontaine as Deena Jones and Ibinabo Jack as Lorrell Robinson making up the soulful singing trio ‘The Dreams’. Joe Aaron Reid will play Curtis Taylor Jr, Adam J. Bernard will play Jimmy Early, Tyrone Huntley will play C.C. White, Nicholas Bailey will play Marty and Lily Frazer will play Michelle Morris with Ruth Brown and Karen Mav alternating the role of Effie White at performances when Amber Riley is not scheduled to perform. The cast of Dreamgirls will also include Jocasta Almgill , Callum Aylott , Hugo Batista , Samara Casteallo , Chloe Chambers , Carly Mercedes Dyer , Joelle Dyson , Kimmy Edwards , Candace Furbert , Nathan Graham , Ashley Luke Lloyd , Gabriel Mokake , Sean Parkins , Kirk Patterson , Ryan Reid , Rohan Richards , Noel Samuels , Durone Stokes and Tosh Wanogho-Maud . Sian Nathaniel-James and Michael Afemaré will both join the previously announced cast. Full information on performance schedules can be found on the official website Dreamgirlswestend.com Dreamgirls will be Directed and Choreographed by Olivier and Tony Award®-winning Casey Nicholaw (The Book of Mormon , Disney’s Aladdin and Something Rotten! ), with Set Design by Tim Hatley , Costume Design by Gregg Barnes , Lighting Design by Hugh Vanstone , Sound Design by Richard Brooker and Hair Design by Josh Marquette . The Musical Supervisor will be Nick Finlow , the Orchestrator will be Harold Wheeler , with Additional Material by Willie Reale . Dreamgirls transports you to a revolutionary time in American music history. Dreamgirls charts the tumultuous journey of a young female singing trio from Chicago, Illinois called ‘The Dreams’, as they learn the hard lesson that show business is as tough as it is fabulous, and features the classic songs ‘And I Am Telling You I'm Not Going’, ‘I Am Changing’, ‘Listen’ and ‘One Night Only’. With Book and Lyrics by Tom Eyen and Music by Henry Krieger , the original Broadway production of Dreamgirls , Directed and Choreographed by Michael Bennett opened in 1981 and subsequently won six Tony Awards®. The original cast recording won two Grammy awards for Best Musical Album and Best Vocal Performance for Jennifer Holliday’s ‘And I Am Telling You I'm Not Going.’ In 2006 it was adapted into an Oscar winning motion picture starring Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx. Up Up

Back to Productions BENEFACTORS This production began performances on 25th June and closed on 28th September 2002. Spanning a period of 15 years, this moving, funny and dazzlingly written piece explores the intricate interactions of two neighbouring couples. Jane and David are successful, apparently happy professionals while Sheila and Colin seem more insecure and isolated. All of their lives, however, are about to change. This brand new production of Michael Frayn 's Olivier Award-winning play BENEFACTORS reunites the creative team behind The Royal National Theatre's smash hit production of his record breaking comedy Noises Off. BENEFACTORS charts four people's private and public journeys, set against the ever changing landscape of modern Britain. CAST SYLVESTRA LE TOUZEL – Jane ADEN GILLET – David NEIL PEARSON – Colin EMMA CHAMBERS – Sheila CREATIVES MICHAEK FRAYN – Playwright JEREMY SAMS – Director ROBERT JONES – Designer TIM MITCHELL – Lighting Designer JOHN LEONARD – Sound Designer ANNA LINSTRUM – Associate Direction

Back to Productions MERRILY WE ROLL ALONG - FILM This film will be released on 5 December 2025. Broadway never saw a better triple-act than Daniel Radcliffe, Jonathan Groff and Lindsay Mendez. Chicago Tribune Spanning three decades, MERRILY WE ROLL ALONG charts the turbulent relationship between composer Franklin Shepard and his two lifelong friends — writer Mary and lyricist & playwright Charley. Originally produced on Broadway in 1981, then becoming an inventive cult-classic ahead of its time, the musical features some of Stephen Sondheim’s most celebrated and personal songs. The 2023-2024 Broadway production, directed by Friedman, redefined the show for a new era, bringing Stephen Sondheim’s intricate score and George Furth’s book to vivid life with extraordinary depth and clarity. MERRILY WE ROLL ALONG shattered the Hudson Theatre’s house record on Broadway, solidifying its place as a landmark event in Broadway history. The critically acclaimed production won the 2024 Tony Awards for Best Revival of a Musical, Best Performance by an Actor in a Leading Role in a Musical, Best Performance by an Actor in a Featured Role in a Musical and Best Orchestrations. Additionally, in London, MERRILY WE ROLL ALONG garnered the most five-star reviews in West-End history, with Friedman’s production also winning the Olivier Award for Best Musical Revival. MERRILY WE ROLL ALONG is produced by Sonia Friedman, David Babani, Patrick Catullo, F. Richard Pappas, RadicalMedia’s Jon Kamen, and Dave Sirulnick. Executive Producers include Meredith Bennett, No Guarantees Productions, Scott Abrams, Jonathan Corr, Mary Maggio, Jeff Romley, Tony Yurgaitis, Andrew Cohen, Amanda Lipitz, Henry Tisch alongside Co-executive producer Stephanie P. McClelland. Karla Zambrano and Alec Sash serve as Supervising Producers. MERRILY WE ROLL ALONG is available theatrically from Fathom Entertainment in the United States and will also be distributed by Fathom in Australia/New Zealand, Canada, Ireland, and the UK. Maria Friedman's inspired re-invention of Merrily We Roll Along makes Broadway - and Sondheim - feel newly and fully alive again. Ben Brantley Sony Pictures Classics and Fathom Entertainment have produced the live filmed version of the smash four-time Tony Award-winning musical, MERRILY WE ROLL ALONG, directed by Maria Friedman. The film will open in theaters worldwide beginning on December 5, 2025, and will be released in collaboration with Fathom Entertainment, the leading specialty distributor of content to theatrical partners worldwide. In advance of the highly anticipated immersive film, Sony Pictures Classics has debuted the official trailer HERE , giving audiences an early glimpse at the brilliant and groundbreaking vision of Friedman and showcasing the incredible performances by Tony Award winners Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez, alongside Krystal Joy Brown, Katie Rose Clark and Reg Rogers. As close to perfect as Broadway gets. USA Today CAST DANIEL RADCLIFFE – Charley Kringas JONATHAN GROFF – Franklin Shepard LINDSAY MENDEZ – Mary Flynn KRYSTAL JOY BROWN – Gussie Carnegie KATIE ROSE CLARKE – Beth Shepard REG ROGERS – Joe Josephson MAX RACKENBERG – Frank Jr. BRADY WAGNER – Frank Jr. SHERZ ALETAHA – Scotty/Mrs. Spencer/Auditionee/Understudy Mary Flynn MAYA BOYD – Mimi from Paramount/Make-Up Artist/Understudy Gussie Carnegie LEANA RAE CONCEPCION – Claudia/Newscaster/Auditionee/Understudy Beth Shepard MORGAN KIRNER – Swing/Dance Captain COREY MACH – Tyler/Understudy Franklin Shepard TALIA SIMONE ROBINSON – Meg Kincaid/Understudy Beth Shepard AMANDA ROSE – Swing JAMILA SABARES-KLEMM – Dory/Evelyn/Pianist/Understudy Mary Flynn/Understudy Gussie Carnegie BRIAN SEARS – Bunker/Newscaster/Photographer/Understudy Charley Kringas EVAN ALEXANDER SMITH – Greg From Paramount/Understudy Franklin Shepard CHRISTIAN STRANGE – RU/Reverend KORAY TARHAN – Swing/Understudy Charley Kringas VISHAL VAIDYA – Jerome/Understudy Joe Josephson NATALIE WACHEN – Kt/Understudy Gussie Carnegie JACOB KEITH WATSON – Terry/Mr. Spencer/Understudy Joe Josephson CREATIVES STEPHEN SONDHEIM – Music & Lyrics GEORGE FURTH – Book MARIA FRIEDMAN – Director GEORGE S. KAUFMAN & MOSS HART – Original Play HAROLD PRINCE – Original Direction TIM JACKSON – Choreography JONATHAN TUNICK – Orchestrations SOUTRA GILMOUR – Scenic & Costume Designer AMITH CHANDRASHAKER – Lighting Designer KAI HARADA – Sound Designer COOKIE JORDAN – Hair & Wig Designer JIM CARNAHAN, CSA & JASON THINGER, CSA – Casting CATHERINE JAYES – Music Supervisor JOEL FRAM – Music Director

Back to News & Press Wolf Hall Voted Number 1 in the Radio Times Top 40 TV Shows of 2015 Wednesday, 30 December 2015 The television event presents an intimate and provocative portrait of Thomas Cromwell, the brilliant and enigmatic consigliere to King Henry VIII, as he maneuvers the corridors of power at the Tudor court. "Mark Rylance was mesmerising as Thomas Cromwell, the watcher, the waiter, the thinker, the man in the shadows at the court of Henry VIII in Peter Kosminsky’s masterly version of Hilary Mantel’s award-winning novel." Radio Times Mark Rylance is Thomas Cromwell, the son of a brutal blacksmith who rises from the ashes of personal disaster, and deftly picks his way through a court where ‘man is wolf to man.’ Damian Lewis is King Henry VIII, haunted by his brother’s premature death and obsessed with protecting the Tudor dynasty by securing his succession with a male heir to the throne. Told from Cromwell’s perspective, Wolf Hall follows the complex machinations and back room dealings of this pragmatic and accomplished power broker – from humble beginnings and with an enigmatic past – who must serve king and country while dealing with deadly political intrigue, Henry VIII’s tempestuous relationship with Anne Boleyn and the religious upheavals of the Protestant reformation. Shown on BBC2 and PBS Wolf Hall is a Playground Entertainment and Company Pictures production for BBC and MASTERPIECE in association with BBC Worldwide, Altus Media and Prescience. Executive producers are John Yorke for Company Pictures, Polly Hill, BBC Head of Independent Drama, for BBC TWO, Rebecca Eaton for MASTERPIECE, Martin Rakusen and Ben Donald for BBC Worldwide and Tim Smith for Prescience. Associate producer is Sonia Friedman for Sonia Friedman Productions. Executive Producer is Colin Callender. Producer is Mark Pybus. The writer is Peter Straughan. The director is Peter Kosminsky. MASTERPIECE is presented on PBS by WGBH Boston. Rebecca Eaton is Executive Producer. Viking River Cruises is the exclusive corporate funder of Wolf Hall on MASTERPIECE on PBS, with additional funding provided by The MASTERPIECE Trust. Up Up

Back to Productions FAITH HEALER – BROADWAY This production began performances on 18th April and closed on 30th July 2006. Faith Healer is a masterpiece. A magnificent piece of storytelling. A gripping production that has you on the edge of your seat and wiping the tears from your eyes. Daily Telegraph Faith Healer tells the moving tale of dissolute, charasmatic Frank Hardy ( Fiennes ), his long-time lover ( Jones ) and his devoted manager ( McDiarmid ) as they travel the back roads of Scotland and Wales peddling miracles. As the three wrestle with Hardy's genuine but elusive gift for healing, they ask potent questions about who we trust, what we know and why we believe. Faith Healer offers the unique opportunity to see three of our finest actors on one stage and delights those with faith in the enduring power of live theatre. In the astonishing and mesmerising new Broadway production of Brian Friel's great play, Ralph Fiennes paints a portrait of an artist as dreamer and destroyer that feels so fresh. Rarely has his glamorous star shine been put to such powerful use. The New York Times Ralph Fiennes returns to Broadway - alongside Cherry Jones , fresh from her tour de force in Doubt - in Brian Friel 's Faith Healer , a spellbinding play in which each revelation upends all that has come before it. Faith Healer was mounted on Broadway in May 1979, starring James Mason and directed by Jose Quintero . In the quarter century since, several high-profile productions have established its critical standing as equal to that of Friel 's other masterworks Philadelphia , Here I Come and the Tony-winning Best Play Dancing at Lughnasa . Theatrical magic! Brian Friel's play is brilliantly evocative" The Guardian CAST RALPH FIENNES – Frank IAN MCDIARMID – Teddy CHERRY JONES – Grace CREATIVES BRIAN FRIEL – Playwright JONATHAN KENT – Director JONATHAN FEMSOM – Designer MARK HENDERSON – Lighting Designer

Back to Productions THE INHERITANCE – BROADWAY This production opened on 27th September 2019 and closed on 12th March 2020. Here is the play of this year and last year and quite possibly next year as well. Evening Standard It begins with a gathering of young, gay New Yorkers. Each have a story aching to come out… Perhaps the most important American play of the century. A richly imagined world that has the innate thrill of a page-turner. The Telegraph Profoundly touching and wickedly hilarious, Matthew Lopez ’s highly-anticipated two-part play, The Inheritance , asks how much we owe to those who lived and loved before us and questions the role we must play for future generations. Brilliantly re-envisioning E. M. Forster’s masterpiece Howard’s End to 21st-century New York, it follows the interlinking lives of three generations of gay men searching for a community of their own – and a place to call home. The Inheritance is a life-affirming journey of tears and laughter, through conflicts and connections, heartbreak and hope. A new play, generations in the making. A highly entertaining, rollercoaster epic. Pierces your emotional defences and enfolds you in its narrative. The Guardian CAST JORDAN BARBOUR JONATHAN BURKE ANDREW BURNAP DARRYL GENE DAUGHTY JR. DYLAN FREDERICK KYLE HARRIS JOHN BENJAMIN HICKEY PAUL HILTON SAMUEL H.LEVINE CARSON MCCALLEY LOIS SMITH KYLE SOLLER SRTURO LUÍS SORIA CREATIVES MATTHEW LOPEZ – Playwright STEPHEN DALDRY – Director BOB CROWLEY – Designer JON CLARK – Lighting Designer PAUL ARDITTI – Sound Arditti PAUL ENGLISHBY – Music