Back to Productions THE NORMAN CONQUESTS – BROADWAY This production began performances on 11th April and closed on 23rd July 2009. The Norman Conquests generates profound happiness in audiences. It is so damn funny it cripples you with laughter. The New York Times Matthew Warchus has spun comic gold, with utmost clarity and actorly fireworks. The cast is never less than awe-inspiring New York Post Alan Ayckbourn 's comic trilogy of plays, THE NORMAN CONQUESTS , transferred to Broadway directly following its sold-out critically acclaimed run in London. The production played for a limited season from April 23 2009 at Circle in the Square Theatre (235 West 50th Street) until July 26 2009. Previews began on April 7 2009. The first Broadway revival of Ayckbourn's masterpiece featured the original heralded company from The Old Vic: Amelia Bullmore (Ruth), Jessica Hynes (Annie), Stephen Mangan (Norman), Ben Miles (Tom), Paul Ritter (Reg) and Amanda Root (Sarah). The first London revival of THE NORMAN CONQUESTS ran September 11 – December 20, 2008 at The Old Vic and was an instant sell-out. For the production, the venerable 200-year-old theatre was converted for an in-the-round staging which is retained for Circle in the Square's unique configuration. Sonia Friedman Productions , Steven Baruch , Marc Routh , Richard Frankel , Tom Viertel , Dede Harris , Tulchin/ Bartner/ Lauren Doll , Jamie deRoy , Eric Falkenstein , Harriet Newman Leve , Probo Productions , Dougals G. Smith , Michael Filerman/ Jennifer Manocherian , Richard Winkler in association with Dan Fisherwasser , Pam Laudenslager/ Remmel T. Dickinson , Jane Dubin/ True Love Productions , Barbara Manocherian/ Jennifer Isaacson present The Old Vic Theatre Company production of “THE NORMAN CONQUESTS ”. Alan Ayckbourn's trilogy delivers more laughs than ought to be legal. It's an endless valley of jokes, with hilarious peaks and contemplative valleys. Richly rewarding, it's like a Rubik's Cube with humor and heart, its structural ingenuity matched by an exceptional cast and supple direction. Variety CAST AMELIA BULLMORE – Ruth JESSICA HYNES – Annie STEPHEN MANGAN – Norman BEN MILES – Tom PAUL RITTER – Reg AMANDA ROOT – Sarah CREATIVES MATTHEW WARCHUS – Director ROB HOWELL – Designer DAVID HOWE – Lighting Designer GARY YERSHON – Music SIMON BAKER for Autograph – Sound Designer GABRIELLE DAWES CDG – Casting

Back to Productions SEXUAL MISCONDUCT OF THE MIDDLE CLASSES Sexual Misconduct of the Middle Classes and Creditors are directed in rep by Ian Rickson. These productions will also be recorded and released on Audible at a later date, extending their reach to millions of listeners around the world. “The Minetta Lane is a gem of a theater with a rich history, and over the past seven years, Audible has re-established it as a crucial center for top-tier productions, and a shining example of off-Broadway excellence. Adding to that their innovative model of producing work on stage and in audio, it was clear to us and director Ian Rickson that launching our first TOGETHER venture with Audible was a perfect match." Sonia Friedman and Hugh Jackman Sign up to the TOGETHER mailing list for further updates here . Jon is an acclaimed novelist, a charismatic university professor, and a middle-aged man staring down the end of his third marriage. Enter Annie - nineteen years old, a star student and a huge fan of Jon’s work. An undeniable attraction draws them into dangerous territory. With Ella Beatty and Hugh Jackman , the US premiere of award-winning playwright Hannah Moscovitch’s Sexual Misconduct of the Middle Classes takes us down the most slippery of slopes and will have you questioning your perspective throughout. "What makes this collaboration even more meaningful is our shared belief in access and audience development: 25% of tickets to every performance will be free to community groups through our collaboration with TDF, and another 25% will be available day-of for just $35—an unprecedented effort to honor the audience of today while building the audience of tomorrow, by welcoming people who might not otherwise have the opportunity to attend.” Sonia Friedman and Hugh Jackman Audible Theater and TOGETHER, from Sonia Friedman & Hugh Jackman, are bringing socially conscious, accessible theatre to the Minetta Lane Theatre. “Audible Theater is proud to be a home for creators to imagine outside the bounds of traditional models, and we’re honored to collaborate with the team at TOGETHER who are doing just that. We’re both devoted to connecting talented artists with audiences in intimate spaces like the Minetta. With TDF, we’re excited to ensure that every audience at the theater reflects the brilliant diversity of our community. By later releasing these plays as Audible Originals, our service has the ability to share these powerful works with people across the globe.” Jeremy Blocker, Audible Head of Live Creative Producing CAST ELLS BEATTY HUGH JACKMAN CREATIVES IAN RICKSON – Director HANNAH MOSCOVITCH – Writer BRETT J BANAKIS & CHRISTINE JONES – Co-Scenic Design ÁSTA HOSTETTER – Costume Design ISABELLA BYRD – Lighting Design MIKAAL SULAIMAN – Sound Design ANN WILLIAMS – Intimacy Coordinator JIM CARNAHAN – Casting Director

Back to News & Press Live music and theatre industries launch legal action against Government to force the publication of Events Research Programme data Wednesday, 23 June 2021 Today the live music industry body LIVE and a range of theatre businesses, including Andrew Lloyd Webber's Really Useful Group, Cameron Mackintosh, Michael Harrison and Sonia Friedman, have commenced legal proceedings against the Government to force it to hand over the report of Phase 1 of the Events Research Programme (ERP). The ERP is the Government's research into Covid-19 mitigations in sport, entertainment and business conferences settings. The music industry and theatre businesses have repeatedly called on the Government to outline the scientific basis for its decision to maintain restrictions on events. Despite portions of the ERP economic impact assessment being leaked to the media this week, the Government refused calls from many MPs in a debate on Tuesday 22 June to release the report in full. The live entertainment sector has spent the last few months participating in, and paying for, full capacity pilot events as part of the ERP - including The BRIT Awards at The 02 arena, an outdoor festival event in Liverpool for 5,000 people, a snooker tournament at the Crucible Theatre in Sheffield and the Download festival for 10,000 people last weekend. These events have been a huge success, according to the government itself in various press reports, showing that with proper precautions in place, live events at full capacity can go ahead safely. But the Government chose to keep the live entertainment industry under severe restrictions from 21 June, while allowing parts of the economy that have not been subject to similar scientific studies, including hospitality, public transport and retail, to operate. The Government has also refused to publish the results from the first phase of the Events Research Programme, despite saying that it would do so on numerous occasions. As well as declining to publish the ERP results, the Government is yet to provide any form of insurance scheme for the sector or to make it clear what kind of ongoing mitigations may be required in the future - effectively making it impossible to plan for any live entertainment business. The short-term hit is stark. Industry research indicates that the potential four-week delay to reopening will lead to around 5,000 live music gigs being cancelled, as well as numerous theatre productions across the country, costing hundreds of millions of pounds in lost income. This devastating impact was well-known to the Government according to leaked ERP economic impact assessments. Live entertainment and theatre generate £11.25 billion in Gross Value Added each year and the sectors support just under one mill ion jobs between them. The Government's Culture Recovery Fund has been welcome but very little has penetrated the commercial theatre sect or in particular. The Government has now begun to announce a third round of pilots. It is clear that these pilots are little more than a way of allowing certain high-profile events to go ahead, primarily large-scale sporting events, while keeping the rest of the sector shut. In the legal action, lodged today, the parties assert that the Government has flagrantly breached the 'duty of candour' which requires it to be transparent when faced with a legal challenge and that none of the reasons given for withholding the Events Research Programme material t hey seek withstand scrutiny. They have asked the Court to consider their application at an urgent hearing as soon as possible. As well as forming the basis for a reopening decision for 19 July, the Events Research Programme findings also provide a path to ensuring t hat live entertainment does not need to be the first to close should there be a Covid resurgence over the winter. Covid certification, plus simple mitigation measures in venues, mean that events can be run safely. In addition to publication of the Events Research Programme reports, there are other things that the theatre and live music sectors need from Government now, in order to be able to plan for a reopening from 19 July: 1. Insurance - the live entertainment industry has been pleading with the Government for more than 9 months to help address the market failure in the provision of commercial Covid cancellation cover. The Government was willing to do this for the film and TV industry but will not step in in the same way for music, theatre and events. Without it, the risk of running activity is too high for many to be able to go forward. 2. Quarantine - the tiny number of productions that are running at reduced capacity, or are in rehearsals, are dropping daily as they are forced to close after a single positive test, even when everyone else in a cast tests negative. The Government has said that it is considering moving to a 'daily testing' regime, such as that undertaken recently by Michael Gove, but live entertainment needs it now. 3. Guidance - the live entertainment industry has been told that there will be new Stage 4 live events guidance. But people are cancelling events due to take place post 19 July because they do not know what the on-going restrictions or requirements are going to be. Guidance should be made available now. Andrew Lloyd Webber said: "Last week I rejected the Government's invitation for Cinderella to be singled out as a last-minute part of the Events Research Programme. Today, with a range of voices from across the theatre and live entertainment industries, we are forced to take it further. We simply must now see t he data t hat is being used to strangle our industry so unfairly. The Government's actions are forcing theatre and music companies off a cliff as the summer wears on, whilst cherry-picking high-pro fi le sporting events to go ahead. The situation is beyond urgent." Stuart Galbraith , music promoter and Co-Founder of LIVE, the representative body for the live music industry, said: "The live music industry has been very willing to work wit h Government for the last year to show that our industry can operate safely. But it is int olerable that after running pilot shows for the Government's Events Research Programme, at our own cost, we have been blocked from seeing the results, leaving the whole sector in limbo with the real chance that the entire summer could collapse for the second year running. "Even now, the live music sector has no idea what the rest of the summer brings, and we are left with a complete inability to plan ahead due to the Government 's continued unwillingness to provide some form of insurance to enable events to move forward." Cameron Mackintosh said: "Having been forced to close our theatres twice last year, the second time after the government encouraged reopening for Christ mas, losing further millions as a result, a joint insurance scheme to protect us against another enforced closure is vital. Along with most of the commercial theatre we have had absolutely no direct financial help either for our productions or the upkeep of our historic theatres. Opening without any sort of protection is impossible for many producers, live event organisers and theatre buildings across the country. Having contributed huge amounts of money to the exchequer over the last few decades, t he theatre desperately needs to be supported in its hour of need or the government will be responsible for the disintegration of one of this country's most priceless and irreplaceable assets after centuries of being the envy of the world." Peter Gabriel, WOMAD Festival, said: "Without immediate government intervention, the festival industry is on the brink of collapse. That doesn't mean cash; it means providing the certainty to enable us to deliver festivals, guidance on safety, and an understanding of how their timing affects us in the real world. "At the end of this week, WOMAD will be faced with one very difficult and heart-wrenching decision. Millions of pounds of investment and the livelihood of around five thousand people are at stake. Several pilot events have been successfully run over recent months. But, like other festival teams, we need to be told what that research means for WOMAD. We struggle to understand why these trials took place if the Government can 't now tell us the results and how that will affect all of us." Sonia Friedman said: "The Government continues to display a wilful lack of understanding of the extraordinary value of the theatre industry, and the way in which we operate. We can only fully reopen once. We need absolute clarity on when and how we can fully reopen - to bring a show back to full production takes months in planning to rehearse and to build a box office advance. It is also incumbent on the Government to underwrite the potential losses riding on its words and provide an insurance scheme to theatre and live entertainment that it, readily and rightly, provided to the fi lm and television industries. Right now, the government's delay and lack of provision and support for the commercial sector has prohibited our reopening in full, but its dithering and lack of clarity is preventing us even being able to make a plan as to how we move forward to save the industry that we love." Craig Hassall , CEO of Royal Albert Hall, said: "The chronic uncertainty and endless indecisiveness from government, and pilot events with no published result s, have damaged audience confidence and further harmed a sector that has already been decimated by the pandemic. For as long as venues like the Royal Albert Hall, and hundreds more across the country, are prevented from effectively operating with no justification, we cannot play our part in supporting the critical ecosystem of freelancers, small businesses and suppliers who rely on us and who are so desperately in need of work." Michael Harrison said: "The theatre and live event industries are operating on a knife edge because of the rules around testing, tracking and isolation. All rehearsal rooms, theatres and performing arts venues have introduced robust Covid secure measures including regular testing to ensure the safety of the many actors, musicians, stage managers and theatre makers but current guidance means that rehearsals or performances must be stopped for 10 days following a single positive test at huge expense. "Without daily testing replacing isolation, productions will be forced to suspend or close and producers will not have the financial resource to continue with product ions leaving theatres across the country dark and many out of work. These rules are yet another barrier on our road to recovery." Up Up

Back to News & Press Hamlet starring Benedict Cumberbatch now on sale to Barbican Members Thursday, 31 July 2014 Lyndsey Turner’s production of William Shakespeare’s Hamlet, with Benedict Cumberbatch playing the title role, will begin performances at the Barbican Theatre on 5 August 2015, with opening night on 25 August at 7pm. The twelve week limited run will conclude on 31 October 2015. Set design is by Es Devlin. Further casting and details for this production will be announced at a later date. Hamlet will be produced by Sonia Friedman Productions. Tickets go on public sale on Monday 11 August 2014 at 10am, with priority booking for Barbican members beginning today (1 August 2014). At each performance there will be 100 seats at £10, positioned throughout the auditorium. These seats will be released for sale at a later date. In addition to regular performances, there will be four education matinees scheduled exclusively for schools, higher and further education students. These performances will go on-sale early 2015 via the Barbican, with booking details to be announced at a later date. As a country arms itself for war, a family tears itself apart. Forced to revenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state. Benedict Cumberbatch is an international multi-award winning theatre, television and film actor. His recent stage credits, both for the National Theatre, are After the Dance and alternating both the creature and Dr Frankenstein, in Danny Boyle's production of Mary Shelley's Frankenstein for which he won the Olivier, Evening Standard and Critics’ Circle Best Actor awards. Also, a critically-acclaimed television actor, he is currently best known for playing the title role in the BBC’s Sherlock. His film work includes Tinker Tailor Soldier Spy, Star Trek into Darkness, 12 Years a Slave, The Fifth Estate, August: Osage County and the role of Smaug in The Hobbit trilogy, with the final instalment to be released later this year. In October Cumberbatch will be seen playing Alan Turning in The Imitation Game which opens The BFI London Film Festival. Lyndsey Turner’s directing credits include Fathers and Sons and Philadelphia, Here I Come! for the Donmar Warehouse, Machinal for the Roundabout Theatre, Chimerica at the Almeida and in the West End, Posh for the Royal Court and in the West End, There Is A War and Edgar and Annabel for the National Theatre, Alice and The Way Of The World for Sheffield Theatres and Our Private Life, Contractions, A Miracle for the Royal Court. Hamlet will be presented by the Barbican and produced by Sonia Friedman Productions for an exclusive 12-week run. Up Up

Back to Productions MARIA FRIEDMAN LIVE This strictly limited production ran from 22nd April until 27th April 2002. Sonia Friedman Productions presents “MARIA FRIEDMAN LIVE ”. CAST MARIA FRIEDMAN CREATIVES SIMON LEE & JASON CARR – Musical Direction and Arrangements MATTHEW O'CONNOR – Lighting Designer SCOTT GEORGE – Sound Designer

Back to Productions JERUSALEM This production began performances on 16th April and closed on 11th August 2022. ★★★★★ It feels more necessary now than a decade ago. Sunday Times On St George's Day, the morning of the local county fair, Johnny Byron is a wanted man. The Council officials want to serve him an eviction notice, his son wants his dad to take him to the fair, Troy Whitworth wants to wreak his revenge and a motley crew of mates wants his ample supply of drugs and alcohol. ★★★★★ Time has only deepened Jez Butterworth's modern classic. Evening Standard Sonia Friedman Productions and the Royal Court Theatre confirm the return of Ian Rickson’s production of Jez Butterworth ’s Jerusalem to London’s West End for a strictly limited 16-week engagement. Mark Rylance and Mackenzie Crook will reprise their celebrated roles as Johnny “Rooster” Byron and Ginger respectively. The original creative team will return for this 2022 production - designer Ultz , lighting designer Mimi Jordan Sherin , composer Stephen Warbeck , sound designer Ian Dickinson for Autograph and casting director Amy Ball CDG . Jez Butterworth ’s award-winning play, which premiered at the Royal Court in 2009, returns to the West End following record-breaking sold-out runs at the Royal Court and the Apollo Theatres in 2009, 2010 and 2011 as well as the Music Box Theater on Broadway in 2011. ★★★★★ A masterpiece... One of the best plays you will ever see. The Times CAST MARK RYLANCE – Johnny "Rooster" Byron MACKENZIE CROOK – Ginger KEMI AWODERU – Pea SHANE DAVID-JOSEPH – Mr Parsons GERARD HORAN – Wesley ED KEAR – Davey CHARLOTTE O'LEARY – Tanya INDRA OVÉ – Dawn JACK RIDDIFORD – Lee BARRY SLOANE – Troy Whitworth NIKY WARDLEY – Linda Fawcett ALAN WILLIAMS – The Professor ELEANOR WORTHINGTON-COX – Phaedra CREATIVES JEZ BUTTERWORTH – Playwright IAN RICKSON – Director ULTZ – Designer MIMI JORDAN SHERIN – Lighting Designer STEPHEN WARBECK – Composer IAN DICKINSON – Sound Designer AMY BALL CDG – Casting Director

Back to News & Press PEOPLE: Tom Felton Recreates Iconic Draco Malfoy Moment as He Makes Broadway Debut in Harry Potter and the Cursed Child Wednesday, 12 November 2025 Original article here . It was pure magic on Broadway on Tuesday, Nov. 11 as Tom Felton officially made his debut in Harry Potter and the Cursed Child . Two decades after Harry Potter and the Sorcerer’s Stone first hit theaters, the actor proved he still knows exactly how to cast a spell as he stepped onto the stage of New York City’s Lyric Theatre and back into the shoes of Draco Malfoy, the sneering Slytherin he played in all eight films. PEOPLE was there for the milestone moment in the packed audience that included plenty of lifelong Potter fans, all dressed as their favorite characters from J.K. Rowling's Wizarding World. The Tony Award-winning play — penned by Jack Thorne as the eighth story in the Harry Potter series with help from Rowling and the production's director, John Tiffany — picks up 19 years after the action in Deathly Hallows and follows the next generation of wizards as they navigate the latest Hogwarts' mystery. Returning to the role that made him a household name, Felton was met with thunderous applause during his entrance. But the crowd truly erupted when he recreated one of Draco’s most memorable movie moments, raising his wand over his face and delivering that line with a knowing grin: "Scared, Potter?" Of course, this was more than a nostalgic wink to his Harry Potter days, it was a chance for Felton to revisit the character that defined his youth and explore him from an entirely new perspective. As a grown-up Draco — older, wiser and still shadowed by the choices of his youth — Felton leaned into the quieter complexities of a father still learning how to move beyond his family’s dark legacy. In doing so, he found new layers of heart and humanity in the onetime Hogwarts bully, with a performance that carried the weight of redemption with a hint of reckoning. By curtain call, the emotion of the night clearly caught up with Felton. His eyes were glistening as he took his final bow, visibly moved by the roaring standing ovation that met him and the rest of Cursed Child ’s newly launched Year 7 company. This marks Felton's first time playing Draco since the final Harry Potter movie wrapped in 2011, and his first time ever being on Broadway. It's also the first time an actor from the film has appeared in the hit stage show. "I keep thinking I’m dreaming," Felton told PEOPLE back in June, on the red carpet at the 2025 Tony Awards , adding that he's a "huge fan of the show" and has seen it "a dozen times, nearly in England and a few times now on Broadway." "I just never saw myself having blonde hair again and reprising that role,” he admitted. “Now as a dad, Draco has a son. So yes, it is an old character, but in a very new set of circumstances. I'm excited to explore it." The actor added that his former costar Daniel Radcliffe , a Tony Award winner and longtime Broadway vet, has been giving him advice ahead of his debut. "My old school chum, Potter, [Daniel] Radcliffe, has done quite a bit of Broadway, so he's holding my hand and certainly helping me through all the things that are hard to learn," Felton said. "But from what I gather, it's an amazing community of people. The fans are really, really gracious and excited. So I'm just thrilled to be part of it." Felton's limited 26-week engagement in Cursed Child is currently scheduled through May 10, 2026. Joining Felton on stage is John Skelley, Emmet Smith, Aidan Close and Trish Lindstrom, who join the Broadway company as Harry Potter, Albus Potter, Scorpius Malfoy and Ginny Potter, respectively, after originating these roles in the North American touring production. Other cast members include Rachel Christopher as Hermione Granger, Daniel Fredrick as Ron Weasley, Janae Hammond as Rose Granger-Weasley, Kristen Martin as Delphi Diggory. The company includes Chadd Alexander, John Alix, Logan Becker, Darby Breedlove, Megan Byrne, James Cribbins, Ted Deasy, Gary-Kayi Fletcher, Dani Goldberg, Alexis Gordon, Caleb Hafen, Logan James Hall, Chance Marshaun Hill, Jay Mack, Samaria Nixon-Fleming, Bradley Patchett, Alexandra Peter, Dan Plehal, Allie Re, Gabrielle Reid, Isaac Phaman Reynolds, Kiaya Scott, Maren Searle, Stephen Spinella, Tom Stephens. Khadija Tariyan, Baylen Thomas, Julius Williams and Riley Thad Young. Up Up

Back to Productions GUANTANAMO 'Honour Bound to Defend Freedom' This production began performances on 23rd June and closed on 4th September 2004. ★★★★★ The British theatre - indeed every Briton - should be proud of this play. Sunday Times ★★★★ Without raising its voice, the show leaves you shocked. The Guardian After the groundbreaking The Colour of Justice (Stephen Lawrence Inquiry) and last year's Justifying War (The Hutton Inquiry), GUANTANAMO ‘Honor Bound to Defend Freedom’ a new piece of documentary theatre from the Tricycle Theatre using personal testimony from British detainees, their families and their lawyers. ★★★★★ A must-see piece of theatre. Metro CAST WILLIAM HOYLAND – The Lord Steyn BADI UZZAMAN – Mr Begg AARON NEIL – Wahab al-Rawi SHAUN PARKES – Jamal al-Harith JAN CHAPPELL – Gareth Pierce ALAN PARNABY – Mark Jennings MIDO HAMADA – Bisher al-Rawi/Major Dan Mori PAUL BHATTACHARJEE – Moazzam Begg/Mr Ahmed THEO FRASER STEELE – Tom Clarke WILLIAM HOYLAND – Donald Rumsfeld TARIQ JORDAN – Ruhel Ahmed DAVID ANNEN – Clive Stafford Smith/Jack Straw MP/Greg Powell CREATIVES VICTORIA BRITTAIN & GILLIAN SLOVO – Playwrights NICOLAS KENT & SACHA WARES – Directors MIRIAM BUETHER – Designer JOHANNA TOWN – Lighting JOHN LEONARD – Sound

Back to Productions PRIVATE LIVES – BROADWAY This production began performances on 6th November, opened on 17th November and closed on 30th December 2011. Glamorous, rich and reckless, Amanda ( Cattrall ) and Elyot ( Gross ) have been divorced from each other for five years. Now both are honeymooning with their new spouses in the South of France. When, by chance, they meet again across adjoining hotel balconies, their insatiable feelings for each other are immediately rekindled. They hurl themselves headlong into love and lust without a care for scandal, new partners or memories of what drove them apart in the first place...for a little while, anyway. Kim Cattrall and Paul Gross will star on Broadway this autumn in Noël Coward 's Private Lives directed by Richard Eyre at the Music Box Theatre. Considered one of the greatest comedies ever written, Noël Coward 's Private Lives premiered in London in 1930 and has been produced around the world ever since; it premiered on Broadway in 1931. Kim Cattrall , an international star of film, TV and stage, starred as Amanda in Sir Richard Eyre 's production of Private Lives at London's Vaudeville Theatre in 2010. The production received rave reviews from critics and played a sell-out season. It will play a limited run at Toronto's Royal Alexandra Theatre prior to Broadway. Cattrall will be joined by Paul Gross in the role of Elyot. One of Canada's most acclaimed actors, Gross starred in such TV shows as Due South and Slings and Arrows. The cast is completed by Simon Paisley Day ; Anna Madeley and Caroline Olsson . CAST KIM CATTRALL – Amanda PAUL GROSS – Elyot SIMON PAISLEY DAY – Victor ANNA MADELEY – Sybil CAROLINE LENA OLSSON – Louise CREATIVES NOËL COWARD – Playwright RICHARD EYRE – Director ROB HOWELL – Scenic Designer DAVID HOWE – Lighting Designer JASON BARNES – Sound Designer UK CHRISTOPHER CONIN – Sound Designer US CAMPBELL YOUNG ASSOCIATES – Hair Designer LUC VERSCHUEREN – Hair Designer MATTHEW SCOTT – Music Supervisor/Composer

Back to News & Press Our Ladies of Perpetual Succour, the new musical, transfers to the West End Thursday, 26 January 2017 Following a critically-acclaimed opening at the Edinburgh Festival Fringe, subsequent UK tour and sell-out run last summer at the National Theatre, Our Ladies of Perpetual Succour opens in the West End in May 2017 at the Duke of York’s Theatre. Vicky Featherstone ’s smash-hit production of Lee Hall ’s musical adaptation of Alan Warner ’s The Sopranos reunites original cast members, opening on 15 May, with previews from 9 May. With tickets from just £10 and all previews priced at £30 and under, over 30,000 tickets will be priced at £30 and under throughout the run. Tickets go on sale to the public from 31 January, with priority booking from 27 January. ★★★★ ‘Big hearted and enjoyably coarse, but with moments of real poignancy, this is a fearless portrait of adolescence, fuelled by songs and Sambuca.’ Evening Standard From the creator of Billy Elliot (Lee Hall ) comes the uplifting and moving story of six Catholic school girls from Oban, let loose in Edinburgh for the day. Funny, raucous and heart-breaking, Our Ladies of Perpetual Succour is adapted from Alan Warner ’s brilliant novel about six young friends on the cusp of change. Featuring, amongst others, the songs of ELO , Our Ladies is a glorious anthem to friendship, youth and growing up disgracefully. Prepare thyself for 24 hours of holy chaos. Contains singing, hilarity, sambuca and strong language. ★★★★ 'A high spirited, hilarious, exhilarating and poignant portrait of essentially good, naïve girls having a reckless stab at being bad, and being brave, eager to experience everything life can throw at them and discovering important stuff about themselves and their friendships in the process.’ Mail on Sunday Winner of a Scotsman Fringe First Award, a Herald Angel Award, a Little Devil Herald Award and a Stage Ensemble Award at the Edinburgh Festival Fringe 2015. Our Ladies of Perpetual Succour is a co-production between the National Theatre of Scotland and Live Theatre, and presented in the West End by Sonia Friedman Productions, Scott M. Delman and Tulchin Bartner Productions. Lee Hall has been writer-in-residence at the Royal Shakespeare Company and Live Theatre, Newcastle Upon Tyne. His theatre work includes The Pitmen Painters (Live Theatre/National Theatre of Great Britain/Broadway/ West End/UK tour, Evening Standard Best Play Award and TMA Best New Play Award), Billy Elliot - The Musical (West End/Australia/Broadway/Chicago, Olivier Award - Best Musical and nine Tony Awards including Best Book) and Cooking with Elvis (Live Theatre/ West End). His adaptations include Shakespeare In Love (Noel Coward Theatre), The Barber of Seville (Bristol Old Vic), The Good Hope (National Theatre of Great Britain), Mother Courage (Shared Experience/Ambassadors Theatre), The Adventures of Pinocchio (Lyric, Hammersmith), A Servant to Two Masters (Royal Shakespeare Company/Young Vic), Mr Puntila and his Man Matti (Almeida) and Leonce and Lena (Gate Theatre). For opera, his work includes an English adaptation of I Pagliacci (English National Opera). Film work includes War Horse and Billy Elliot (Oscar nomination for Best Screenplay). Television work includes Toast , The Wind in the Willows , A Prince of Hearts and Spoonface Steinberg . Radio work includes I Luv You Jimmy Spud (Writers’ Guild Award Best New Play/ Gold Sony Award Best New Play/Alfred Bradley Award/Society of Authors Award), Spoonface Steinberg , I Love You , Ragie Patel , The Sorrows of Sandra Saint , Blood Sugar , Aunt Julia and the Scriptwriter , Gristle , Child of the Snow and Child of the Rain , all for the BBC. Artistic Director of the Royal Court Vicky Featherstone directs - she joined the Royal Court in January 2013. At the Court she has recently directed Cyprus Avenue by David Ireland in the Theatre Upstairs and the Abbey Theatre Dublin, and X by Alistair McDowall in the Theatre Downstairs. Previous directing at the Royal Court includes Zinnie Harris’s How to Hold Your Breath ; Molly Davies’s award-winning God Bless the Child ; Maidan: Voices from the Uprising ; Abi Morgan’s The Mistress Contract ; Dennis Kelly’s The Ritual Slaughter of George Mastromas ; Ali McDowell's Talk Show ; Nicole Beckwith’s Untitled Matriach Play and The President Has Come to See You by Georgian playwright Lasha Bugadze. Her other work includes Enquirer , An Appointment with the Wicker Man ; 27 ; The Wheel; Somersaults (National Theatre of Scotland); The Small Things ; Pyrenees ; On Blindness ; Tiny Dynamite ; Crazy Gary’s Mobile Disco ; Splendour ; and Crave (Paines Plough). She was Artistic Director of Paines Plough 1997-2005 and was the founding Artistic Director of The National Theatre of Scotland 2005-2012. She began her career at West Yorkshire Playhouse and in television. Live Theatre is recognised as one of the great new writing theatres on the international stage. Based in Newcastle upon Tyne it is deeply rooted in its local community and produces work as varied and diverse as the audiences it engages with. As well as championing the art of writing for stage by producing and presenting new plays, Live Theatre finds, nurtures and trains creative talent and uses theatre to unlock the potential of young people. The theatre is a beautifully restored and refurbished complex of five Grade II listed buildings with state-of-the-art facilities in a unique historical setting including both cabaret style theatre and studio theatres. In 2016, Live Garden, an outdoor performance space, and Live Tales, a centre for children and young people’s creative story writing, were added. Founded in 1973, Live Theatre is a national leader in developing new strategies for increasing income and assets for the charity. To sustain and extend its artistic programme it has diversified its income streams to include Live Works, the purchase and development of commercial property for rental income; an award winning gastro pub The Broad Chare; The Schoolhouse a hub for creative businesses, and on-line interactive playwriting course www.beaplaywright.com . Live Theatre is grateful for the support of Arts Council England and the Newcastle Culture Investment Fund through the Community Foundation, and its many other friends and supporters. For more information visit www.live.org.uk . The National Theatre of Scotland is dedicated to playing the great stages, arts centres, village halls, schools and site-specific locations of Scotland, the UK and internationally. As well as creating ground-breaking productions and working with the most talented theatre-makers, the National Theatre of Scotland produces significant community engagement projects, innovates digitally and works constantly to develop new talent. Central to this is finding pioneering ways to reach current and new audiences and to encourage people’s full participation in the Company’s work. With no performance building of its own, the Company works with existing and new venues and companies to create and tour theatre of the highest quality. Founded in 2006, the Company, in its short life, has become a globally-significant theatrical player, with an extensive repertoire of award-winning work. The National Theatre of Scotland is supported by the Scottish Government. www.nationaltheatrescotland.com Up Up

Back to Productions TWELFTH NIGHT & RICHARD III – BROADWAY This production began performances on 15th October 2013 and closed on 15th February 2014. ★★★★★ Sensational double bill. Mark Rylance is dazzling. A glorious star performance. Sublime. Daily Telegraph Direct from a sold-out run in London’s West End, the critically beloved, Shakespeare’s Globe productions of Twelfth Night and Richard III come to Broadway for a 16-week limited engagement. Two-time Tony Award®-winner Mark Rylance (Jerusalem, Boeing-Boeing ) will star on Broadway in two startlingly different performances in repertory: as the suddenly love-struck noblewoman Olivia in Twelfth Night and as the ruthless and conniving title monarch in Richard III . Twelfth Night Outrageous high comedy ensues as the pangs of unrequited love affect the unforgettable characters of Shakespeare’s Twelfth Night. While the lovelorn Duke Orsino plots to win the heart of the mourning Olivia (Mark Rylance ), an alliance of servants and hangers-on scheme against the high-handedness of Olivia’s steward, the pompous Malvolio (Stephen Fry ). When Orsino engages the cross-dressed Viola (Samuel Barnett ), who has disguised herself as a young man under the name Cesario, to plead with Olivia on his behalf, a bittersweet and hilarious chain of events follows. Richard III Richard Duke of Gloucester (Mark Rylance ) is determined that he should wear the crown of England. He has already dispatched one king and that king’s son; now all that stands in his way are two credulous brothers and two helpless nephews – the Princes in the Tower. And woe betide those – the women he wrongs, the henchmen he betrays – who dare to raise a voice against him. Monstrous, but theatrically electric, Richard is Shakespeare’s most charismatic, self-delighting villain, revelling at every moment in his homicidal, hypocritical journey to absolute power. Sonia Friedman Productions , Scott Landis , Roger Berlind , Glass Haf Full Productions / Just for Laughs Theatricals , 1001 Nights Productions , Tulchin Bartner Productions , Jane Bergere , Paula Marie Black , Rupert Gavin , Stephanie P. McClelland , Shakespeare's Globe Centre USA , Max Cooper , Tanya Link Production s and Shakespeare Road present Twelfth Night and Richard III . ★★★★★ A gloriously successful transfer. Superb. Remarkable. The Independent Direct from a sold-out run in London’s West End, the critically beloved, Shakespeare’s Globe productions of Twelfth Night and Richard III come to Broadway for a 16-week limited engagement. Two-time Tony Award®-winner Mark Rylance (Jerusalem, Boeing-Boeing ) will star on Broadway in two startlingly different performances in repertory: as the suddenly love-struck noblewoman Olivia in Twelfth Night and as the ruthless and conniving title monarch in Richard III . Twelfth Night Outrageous high comedy ensues as the pangs of unrequited love affect the unforgettable characters of Shakespeare’s Twelfth Night. While the lovelorn Duke Orsino plots to win the heart of the mourning Olivia (Mark Rylance ), an alliance of servants and hangers-on scheme against the high-handedness of Olivia’s steward, the pompous Malvolio (Stephen Fry ). When Orsino engages the cross-dressed Viola (Samuel Barnett ), who has disguised herself as a young man under the name Cesario, to plead with Olivia on his behalf, a bittersweet and hilarious chain of events follows. Richard III Richard Duke of Gloucester (Mark Rylance ) is determined that he should wear the crown of England. He has already dispatched one king and that king’s son; now all that stands in his way are two credulous brothers and two helpless nephews – the Princes in the Tower. And woe betide those – the women he wrongs, the henchmen he betrays – who dare to raise a voice against him. Monstrous, but theatrically electric, Richard is Shakespeare’s most charismatic, self-delighting villain, revelling at every moment in his homicidal, hypocritical journey to absolute power. Sonia Friedman Productions , Scott Landis , Roger Berlind , Glass Haf Full Productions / Just for Laughs Theatricals , 1001 Nights Productions , Tulchin Bartner Productions , Jane Bergere , Paula Marie Black , Rupert Gavin , Stephanie P. McClelland , Shakespeare's Globe Centre USA , Max Cooper , Tanya Link Production s and Shakespeare Road present Twelfth Night and Richard III . The most astonishing Shakespearean performance I've ever seen New York Times CAST RICHARD III MARK RYLANCE – Richard III LIAM BRENNAN – Clarence/Lord Mayor PETER HAMILTON DYER – Brakenbury/Catesby PAUL CHAHIDI – Hastings/Tyrrell JOSEPH TIMMS – Lady Anne Grey TERRY MCGINTY – River/Scrivener/Blunt/Holy Man SAMUEL BARNETT – Queen Elizabeth MATT HARRINGTON – Dorset/Bishop of Ely/Guard ANGUS WRIGHT – Duke of Buckingham JETHRO SKINNER – Murderer 1/ Cardinal/Ratcliff/Halberdier/Guard COLIN HURLEY – King Edward IV/Stanley KURT EGYIAWAN – Duchess of York/Richmond MATTHEW SCHECHTER – Prince Edward HAYDN SIGNORETTI – Duke of York TWELFTH NIGHT LIAN BRENNAN – Orsino MATT HARRINGTON – Curio/Officer/Olivia's Servant KURT EGYIAWAN – Valentine/Officer SAMUEL BARNETT – Viola TERRY MCGINTY – Sea Captain/Priest COLIN HURLEY – Sir Toby Belch PAUL CHAHIDI – Maria ANGUS WRIGHT – Sir Andrew Aguecheek HAMILTON DYER – Feste Peter MARK RYLANCE – Olivia STEPHEN FRY – Malvolio PAUL CONNOLLY – Antonio John JOSEPH TIMMS – Sebastan JETHRO SKINNER – Fabian CREATIVES TIM CARROLL – Director WILLIAM SHAKESPEARE – Playwright JENNY TIRAMANI – Designer CLAIRE VAN KAMPEN – Music STAN PRESSNER – Lighting

Back to News & Press Full casting announced for Lyndsey Turner's production of Hamlet as rehearsals begin Sunday, 14 June 2015 Joining Cumberbatch are Barry Aird (Soldier), Eddie Arnold (Danish Captain, Servant), Leo Bill (Horatio), Siân Brooke (Ophelia), Nigel Carrington (Servant, Cornelius), Ruairi Conaghan (Player King), Rudi Dharmalingam (Guildenstern), Colin Haigh (Priest, Messenger), Paul Ham (Official), Diveen Henry (Player Queen, Messenger), Anastasia Hille (Gertrude), Ciarán Hinds (Claudius), Kobna Holdbrook-Smith (Laertes), Karl Johnson (Ghost of Hamlet’s father), Jim Norton (Polonius), Amaka Okafor (Official), Daniel Parr (Barnardo), Jan Shepherd (Courtier), Morag Siller (Voltemand), Matthew Steer (Rosencrantz), Sergo Vares (Fortinbras) and Dwane Walcott (Marcellus). Performances at the Barbican Theatre begin on 5 August 2015, with opening night on 25 August at 7pm. Hamlet is produced by Sonia Friedman Productions and presented by the Barbican for an exclusive 12-week run, concluding 31 October 2015. Set designs are by Es Devlin with costume designs by Katrina Lindsay, video by Luke Halls, lighting by Jane Cox, music by Jon Hopkins, sound by Christopher Shutt, movement by Sidi Larbi Cherkaoui and fights by Bret Yount. As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state. Sonia Friedman Productions, in partnership with Sky Arts, has allocated 100 £10 tickets, spread throughout the auditorium for every performance of this production, totalling over 8,500 throughout the run. Visit hamlet.barbican.org.uk for more details. In addition to regular performances, four education matinees have been scheduled exclusively for school and university groups (aged 14+ and in full-time education only) on 10 and 30 September and 7 and 21 October 2015 with, for every performance, 100 tickets priced at £10, 300 at £25 and the remainder at £35. As previously announced, Hamlet will be broadcast to cinemas around the world on Thursday 15 October 2015 as part of National Theatre Live - the National Theatre’s ground-breaking project which broadcasts plays live from the stage to over 550 cinemas in the UK and over 44 countries internationally. Details of all screenings, including Encore performances, can be found at ntlive.com Up Up