Back to Productions NOISES OFF – BROADWAY This production opened on 1st November 2001 and closed on 1st September 2002. Ambassador Theatre Group and Act Productions , Waxman Williams Entertainment , D. Harris/ M. Swinsky , USA Ostar Theatricals and Nederlander Presentations , present The Royal National Theatre Production of “NOISES OFF ” by Michael Frayn . CAST RICHARD EASTON – Selsdon Mowbray PETER GALLAGHER – Lloyd Dallas PATTI LUPONE – Dotty Otley EDWARD HIBBERT – Frederick Fellowes FAITH PRINCE – Belinda Blair KATIE FINNERAN – Brooke Ashton T. R. KNIGHT – Tim Allgood THOMAS MCCARTHY – Gary Lejeune ROBIN WEIGERT – Poppy Norton-Taylor CREATIVES MICHAEL FRAYN – Playwright JEREMY SAMS – Director ROBERT JONES – Designer TIM MITCHELL – Lighting FERGUS O'HARE – Sound

Back to Productions THE 47TH This production opened on 29th March 2022 and closed on 28th May 2022. ★★★★★ Bertie Carvel is remarkable in this outrageous, must-see play The Sunday Times 'It’s not a game for gentlemen we’re playing, Political and civilized. This is Historic.' It is 2024 and as America goes to the polls, democracy itself is on the brink. Who takes the White House – and at what cost? ★★★★ Bertie Carvel is jaw-droppingly good in Mike Bartlett's bold, witty new drama Financial Times The team behind the multi-award-winning King Charles III reunite as Rupert Goold directs the world premiere of Mike Bartlett’s viciously funny The 47th , a chaotic glimpse into the underbelly of the greatest political show on earth – the next presidential race. With Bertie Carvel as Donald Trump, Tamara Tunie as Kamala Harris and Lydia Wilson as Ivanka Trump. An Old Vic, Sonia Friedman Productions & Annapurna Theatre co-production. ★★★★ Brilliant and Witty Daily Mail CAST BERTIE CARVEL – Donald Trump TAMARA TUNIE – Kamala Harris LYDIA WILSON – Ivanka Trump DAVID CARR – Ensemble JOSS CARTER – Shaman KAJA CHAN – Ensemble JAMES COONEY – Charlie Takashi CHARLES CRADDOCK – Ensemble FLORA DAWSON – Ensemble EVA FONTAINE – Ensemble JAMES GARNON – Ted Cruz/Paul RICHARD HANSELL – Steve Richetti/Ohio Senator OSCAR LLOYD – Donald Jnr/Matt JENNI MAITLAND – Heidi Cruz/CIA FREDDIE MEREDITH – Eric Trump BEN ONWUKWE – General Taylor CHERRELLE SKEETE – Tina Flournoy/Nurse Vita DAVID TARKENTER – Ensemble AMI TREDREA – Rosie Takahashi SIMON WILLIAMS – Joe Biden CREATIVES MIKE BARTLETT – Writer RUPERT GOOLD – Director MIRIAM BUETHER – Set Designer EVIE GURNEY – Costume Designer NEIL AUSTIN – Lighting Designer TONY GAYLE – Sound Designer ADAM CORK – Original Music & Sound Score ASH J WOODWARD – Video Designer LYNNE PAGE – Movement RICHARD MAWBEY – Wigs, Hair and Make-Up JESSICA RONANE CDG – Casting JIM CARNAHAN CSA – US Casting JOEL TRILL – Voice BRETT TYNE – Dialect SARA ANIQAH MALIK – Associate Director ALEX BERRY – Associate Set ROB WILSON – Associate Wigs, Hair and Make-Up ZOË THOMAS-WEBB – Costume Supervisor LIZZIE FRANKL & FAHMIDA BAKHT FOR PROPWORLS – Prop Supervisors

Back to News & Press Helen Hunt to star in Eureka Day at The Old Vic Sunday, 3 July 2022 The Old Vic and Sonia Friedman Productions are delighted to announce that Helen Hunt will star in the European premiere of Eureka Day , Jonathan Spector 's multi-award-winning off-Broadway play, directed by Katy Rudd . Academy, Golden Globe and Emmy Award-winner Helen Hunt (As Good As It Gets , The Sessions , Mad About You ) stars as Suzanne in this satire on the quest for consensus set against the backdrop of a mumps outbreak at a progressive private elementary school in California in 2017 – the central question of 'to vaccinate' or 'not to vaccinate' taking on a whole new meaning in a post-pandemic world. Eureka Day will play from 06 September to 31 October 2022. Full casting and the creative team are still to be announced. Up Up

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 Box Office Opens for King Charles III On Broadway Thursday, 3 September 2015 King Charles III, the highly anticipated play about Britain’s future king, will begin previews October 10, 2015, with opening night set for Sunday, November 1, 2015. The full cast and creative team for King Charles III is now complete. Joining Tim Pigott-Smith, reprising his much-raved about role as King Charles III, will be Anthony Calf as Mr. Stevens, Oliver Chris as William, Richard Goulding as Harry, Nyasha Hatendi as Spencer and other roles, Adam James as Mr. Evans, Margot Leicester as Camilla, Miles Richardson as James Reiss, Tom Robertson as Cootsey and other roles, Sally Scott as Sarah and other roles, Tafline Steen as Jess and Lydia Wilson as Kate. Written by Mike Bartlett and directed by Rupert Goold, King Charles III features sets and costumes by Tom Scutt, music compositions by Jocelyn Pook, lighting design by Jon Clark and sound design by Paul Arditti. The Queen is dead. After a lifetime of waiting, Prince Charles ascends the throne with Camilla by his side. As William, Kate and Harry look on, Charles prepares for the future of power that lies before him…but how to rule? Winner of the 2015 Olivier Award for Best New Play, King Charles III is the “bracingly provocative and outrageously entertaining” (The Independent) drama of political intrigue by Mike Bartlett that comes to Broadway following a sensational West End run. Directed by Rupert Goold and starring the "magnificent" (The Observer) Tim Pigott-Smith in the title role, King Charles III has been deemed “the most insightful and engrossing new history play in decades” by Ben Brantley of The New York Times. This “bold and brilliant” (The Times of London) production explores the people underneath the crowns, the unwritten rules of Britain's democracy and the conscience of its most famous family. Tickets for King Charles III will be available for purchase in person at the Music Box Theatre box office (open Monday – Saturday, 10 am – 8 pm; Beginning November 8: Sunday, 12 – 6 pm), and are currently on sale online at www.telecharge.com , or by calling Telecharge at 212-239-6200. King Charles III had its critically acclaimed world premiere at the Almeida Theatre on April 10, 2014. It premiered in the West End on September 11, 2014. For more information, including full performance schedule, visit www.KingCharlesIIIBroadway.com . ★★★★★ “Theatre doesn’t get much better than this” (The Times) ★★★★★ “Attendance is compulsory” (The Telegraph) ★★★★★ “Tim Pigott-Smith gives the performance of his career” (Daily Express) ★★★★★ “Long may it reign. Hilarious, Dizzyingly audacious state-of-the-nation political thriller.” (Time Out London) ★★★★★ “A brilliant, provocative piece of drama” (The Financial Times) ★★★★★ “Mike Bartlett has found a grand style to match his subjects...a crowning achievement for all concerned” (Mail on Sunday) www.KingCharlesIIIBroadway.com Up Up

Back to News & Press Jewish district inspires Tom Stoppard in 'personal' new play Tuesday, 25 June 2019 Tom Stoppard, whose four Jewish grandparents and much of his family from his parents’ generation died in Nazi concentration camps, is returning to the West End with what is likely to be his most personal play. The 81-year-old playwright has spent the last year writing Leopoldstadt, his first play since The Hard Problem at the National Theatre in early 2015. It is set in 1900 in Vienna, then the most vibrant city in Europe where about a 10th of the population were Jewish. Stoppard is known for being an impersonal writer, rarely drawing on autobiography. When asked where he got his ideas from, he has often replied: “Harrods.” His new play is different. “It took a year to write but the gestation was much longer,” he said. “Quite a lot of it is personal to me but I made it about a Viennese family so that it wouldn’t seem to be about me.” He said the play, directed by Patrick Marber and produced by Sonia Friedman, was a big one that needed a large company. “Sonia wants to go straight into the West End with it, which I find quite exciting – like the old days with [the producer] Michael Codron. “I’m astonished to see that it’s five years since my last play The Hard Problem. I’ll have to get a move on or I’ll be pushing 90 before the next one.” Friedman, who has produced some of the biggest commercial theatre hits of recent years including The Ferryman and Harry Potter and the Cursed Child, said she had known Stoppard for years. “I’ve always been badgering him, saying: ‘When you do your next play, please can I produce it’. She said she was amazed when he asked “in a jokey way” for six tickets to Harry Potter, offering to write a play in return. She told him it seemed “like quite a good deal … he was as good as his word”. A new play by Stoppard, who has written more than 30, from his debut Rosencrantz and Guildenstern Are Dead to The Real Thing and Jumpers, is always a big deal. “He is without question our greatest living playwright and alongside two or three others the greatest playwright of the 20th and 21st century,” said Friedman. “Just look at his body of work. He is one of the great minds, one of the great thinkers of our time. “He has worked solidly for a year on this play but it’s been a play that’s been gestating with him for many years.” Friedman said both she and Stoppard loved the idea of opening in a “great, grand playhouse”. She added: “It is a beautiful, epic, sweeping play that is going to sit like a gleaming jewel in the West End, it is a remarkable play, it’s a personal play.” In what way it is personal, audiences will have to wait and see. “There’s so much I want to say but don’t feel I can just yet,” she said. “It will feel very relevant, very timely, very pertinent.” Stoppard has written about the “charmed life” he feels he has led. He was born Tomas Straussler in 1937 in Moravia, now part of the Czech Republic, and in 1939 his parents fled the Nazis and moved to Singapore. In 1942, as the Japanese were about to invade, he and his mother and brother were put on a boat to Australia that was diverted and landed in Bombay (now Mumbai). His father was killed in Singapore. His mother married a British army officer, Kenneth Stoppard, in 1946 and after four happy years in India the family moved to England. Leopoldstadt, which begins previews at Wyndham’s theatre in January, takes its name from the old Jewish quarter of Vienna. A generation before 1900 Jewish people had been granted full civil rights by Emperor Franz Josef and hundreds of thousands of Jews sought sanctuary from pogroms in Leopoldstadt’s crowded tenements. The play has been described by producers as “an intimate drama with an epic sweep; the story of a family who made good”. Publicity material will quote Hermann, a factory owner: “My grandfather wore a caftan. My father went to the opera in a top hat, and I have the singers to dinner.” It continues: “It was not to last. Half a century later, this family, like millions of others, has rediscovered what it means to be Jewish in the first half of the 20th century. Leopoldstadt is a passionate drama of love, family and endurance.” Click here to read the article on The Guardian Up Up

Back to News & Press Consent to transfer to the Harold Pinter Theatre in May 2018 Monday, 12 March 2018 Directed by Roger Michell and originally co-produced and commissioned by Out of Joint , Consent will begin previews at the Harold Pinter Theatre on 18 May for a strictly limited 12-week run. Opening night will take place on 29 May with booking through to 11 August 2018. Tickets for this West End transfer - with over 14,000 priced at £25 or under - will go on public sale on Thursday 15 March 2018 at 10am. The cast includes Claudie Blakley, Stephen Campbell Moore, Heather Craney and Adam James with further casting to be announced. Set is by Hildegard Bechtler , with costumes by Dinah Collin, lighting by Rick Fisher , music by Kate Whitley , sound by John Leonard and casting by Amy Ball CDG . Nina Raine’s ‘blistering new play’ (New York Times), directed by Roger Michell, makes a triumphant and timely transfer to the Harold Pinter Theatre this May, following a sold out season at the National Theatre. Why is Justice blind? Is she impartial? Or is she blinkered? Friends take opposing briefs in a contentious legal case. The key witness is a woman whose life seems a world away from theirs. At home, their own lives begin to unravel as every version of the truth is challenged. This ‘tense, entertaining modern-day tragi-comedy’ (Daily Telegraph) takes a searing look at the law whilst putting modern relationships into the dock. Nina Raine ’s other plays include Tiger Country, Rabbit and Tribes as well as an adaptation of The Drunks by the Durnenkov Brothers. She was shortlisted for the 2004 Verity Bargate Award and awarded the 2006 Evening Standard and Critics’ Circle Awards for Most Promising Playwright for her debut play Rabbit. Tribes won the Drama Desk Award for Outstanding Play, the New York Drama Critics’ Circle Award for Best Foreign Play and the Off-Broadway Alliance Award for Best New Play and has been performed in eighteen different countries. Nina has been nominated for a Susan Blackburn Smith Award for Consent . Roger Michell ’s many productions include Waste, Landscape with Weapon, Honour, Blue/Orange, Under Milk Wood, The Homecoming and The Coup all for the National Theatre, Farewell to the Theatre and Some Sunny Day both for Hampstead Theatre, Rope for the Almeida Theatre, Tribes and Birthday both for the Royal Court, Betrayal, Old Times and My Night with Reg for the Donmar Warehouse, the latter transferring to the Apollo Theatre in the West End. Michell’s film credits include My Cousin Rachel, Le Week-End, Hyde Park on Hudson, Morning Glory, Venus, Enduring Love, The Mother, Changing Lanes, Persuasion, My Night With Reg, Titanic Town and Notting Hill. On television his credits include The Buddha of Suburbia, Downtown Lagos, The Lost Honour of Christopher Jeffries, Birthday, Ready When You Are, Mr Patel and Michael Redgrave – My Father. Claudie Blakley ’s theatre credits include Once in a Lifetime for the Young Vic, The Painkiller at the Garrick Theatre, Chimerica for the Almeida Theatre and in the West End, Rules for Living , The Cherry Orchard, Comedy of Errors, Attempts on Her Life and Rosencrantz & Guildernstern are Dead for the National Theatre, Macbeth and Lear for the Sheffield Crucible, Di and Viv and Rose and The Good Samaritan for the Hampstead Theatre, Love and Money for the Young Vic and Royal Exchange, All’s Well That Ends Well for the Royal Shakespeare Company, Kosher Harry for the Royal Court, The Lady from the Sea for the Almeida and Billy & the Crab for Soho Theatre. Her television credits include Grantchester, Silent Witness , The Driver, What Remains, The Night Watch, New Tricks, Nativity, Blue Geranium , Lark Rise to Candleford, Cranford Chronicles, Fallen Angel, Fear of Fanny, Vital Signs, Dirty Filthy Love and Inspector Linley Mysteries . Her film credits include Bright Star, London to Brighton, Severance, Pride and Prejudice, Gosford Park and The Cat’s Meow . Stephen Campbell Moore ’s theatre credits include Photograph 51 at the Noël Coward Theatre, Chimerica for the Almeida and in the West End, Berenice for the Donmar Warehouse, Clybourne Park in the West End, All My Sons at the Apollo Theatre, The History Boys for the National Theatre and on Broadway, Much Ado About Nothing and Antony and Cleopatra both for the Royal Shakespeare Company, A Midsummer Night's Dream at The Albery, Richard II and Coriolanus for the Almeida. His film credits include Goodbye Christopher Robin , How To Talk To Girls At Parties , The Lady in the Van , The Ones Below , Burnt , Moonwalkers, Man Up, Complicit, Johnny English Reborn, Season of the Witch, Sea Wolf, The Children, The Bank Job, Amazing Grace, The History Boys, A Good Woman and Bright Young Things . His television credits include The Child in Time, The Last Post, Stag, The Wrong Mans, The Go Between, Our Zoo, Hunted, Just Henry, Titanic, Sleepyhead, Pulse, Ben Hur, Lark Rise to Candleford, A Short Stay in Switzerland, Ashes to Ashes, Rough Crossings, Hustle, Wallis and Edward, He Knew He Was Right and Byron. Heather Craney originated the roles of Gayle and Laura in Consent for the National Theatre. Her other theatre credits includeThe Vote and Passion Play both for the Donmar Warehouse, Made in Dagenham at the Adelphi Theatre, Handbagged, Pink and You Me & Wii all for the Tricycle Theatre, I Like Mine with a Kiss at the Bush Theatre, Joe Guy at Soho Theatre, Sugar Mummies and Stoning Mary both for the Royal Court. For film, her recent credits include Child 44 , Dangerous Parking, Mark of Cain and Vera Drake which earned her a BAFTA Award nomination for Best Supporting Actress. On television her credits include Line of Duty, Life of Riley, Torchwood, In the Dark, Ahead of the Class, Holby City, Doctors, Silent Witness, Eastenders . Adam James is an award-winning actor who has worked extensively on stage and screen. Currently in Olivier nominated Girl from the North Country at the Noël Coward Theatre, Adam originated the role of Jake in Consent for the National Theatre, where his previous credits have included 13, Gethsemane and Blood and Gifts. He is recognisable on screen for his roles in Dr Foster, King Charles III, The Crimson Field, Hustle and Extras amongst others. Other theatre credits include An Enemy of the People for Chichester Festival Theatre, Bull for the Young Vic, Now or Later and My Child both for the Royal Court and King Charles III at the Almeida Theatre. His film credits include The Kill Team, Johnny English III, Hunter Killer, A Little Chaos, Last Chance Harvey, Mother of Tears and Road To Guantanamo . His more recent television credits include Home From Home, Eric, Ernie and Me, Endeavour, Grantchester and Coalition . Up Up

Back to Productions J'OUVERT – FILM Filmed on the stage of the Harold Pinter Theatre, J'Ouvert originated at Theatre 503 in a co-production with Bad Breed and Tobi Kyeremateng. A timely echo of Caribbean resistance across centuries, J’Ouvert is a joyful and fearless story of two best friends, battling to preserve tradition in a society where women’s bodies are frequently under threat. 2017. Carnival is here. The streets of Notting Hill are alive with history and amidst the soca, sequins and endless feathers, Jade and Nadine are fighting for space in a world that should be theirs. CAST ANNICE BOPARAI – Nisha GABRIELLE BROOKS – Nadine SAPPHIRE JOY – Jade ZUYANE RUSSELL – DJ CREATIVES YASMIN JOSEPH – Writer SONIA FRIEDMAN – Executive Producer IAN RICKSON – Executive Producer CHARLIE BATH – Executive Producer ANDREW FETTIS – Producer REBEKAH MURRELL – Stage Director RHODRI HUW – Director

Back to News & Press "All You Got To Do Is Dream" The First-Ever Newly Directed and Choreographed Broadway Revival of DREAMGIRLS Set to Dazzle Audiences in Fall 2026 Monday, 15 September 2025 Producers Sue Wagner , John Johnson , Sonia Friedman Productions , and LaChanze Productions announced today that the seminal, Tony Award®-winning musical Dreamgirls will return to New York in the Fall of 2026 in its first-ever newly directed and choreographed Broadway revival. With a book and lyrics by Tom Eyen and music by Henry Krieger , this new production will be directed and choreographed by five-time Tony Award nominee Camille A. Brown . To cast the central trio, ‘The Dreams’, the production is embarking on a worldwide talent search. Additional details will be revealed in the months ahead. Seeking talented women of all shapes and sizes, the auditions will take place in New York, Los Angeles, Chicago, Atlanta, Detroit, Miami, London, Toronto, Mexico City, Amsterdam, Rome and Paris. To sign up for additional news, please click here . Since its original Broadway premiere at the Imperial Theatre in 1981, Dreamgirls has been hailed as a seismic cultural event and one of the most electrifying musicals of all time. Directed and choreographed by Michael Bennett , the original production fused R&B, soul, and showbiz storytelling like never before, introducing now-legendary showstoppers, including “And I Am Telling You I’m Not Going,” “One Night Only,” and the title anthem “Dreamgirls.” That original production garnered 13 Tony Award nominations and won six, including Best Book of a Musical, Best Actor and Actress in Featured Roles, and launched the career of Jennifer Holliday —whose iconic Act I showstopper had audiences leaping to their feet mid-performance. In his rave review for The New York Times , Frank Rich famously declared, “When Broadway history is being made, you can feel it.” Its impact has endured for over four decades, inspiring generations of artists and winning devoted fans around the world through countless productions and the Academy Award®-winning film adaptation. Additional Dreamgirls news will be announced shortly. Up Up

Back to News & Press My favourite performance: Sonia Friedman Wednesday, 13 August 2025 Originally published in The Stage . Which productions most inspired, moved and delighted our leading theatremakers? West End producer Sonia Friedman chooses an unforgettable rehearsal performance by Harold Pinter of Krapp’s Last Tape. Krapp’s Last Tape, Royal Court Upstairs, London, 2006 In 1988, I’d recently started at the National Theatre where I was deputy stage manager on Mountain Language. It was my first experience of watching a writer direct his own work, and not just any old writer – this was Harold Pinter , the greatest living writer of the time. And he took me under his wing. I was a kid and he gave me one of the greatest compliments of my life. A DSM operates the show: it’s about timing and cues and Pinter is all about timing. He was with me in the box on the cans and he said to me: “You’re the most musical person I’ve ever worked with: you instinctively understand all the rhythms of my work. Thank you. I have no notes.” Two years before he died, when everyone knew he was very sick and very frail, I saw a dress rehearsal of him performing Samuel Beckett’s Krapp’s Last Tape . I was invited by Harold and Ian Rickson , the director, and I was one of very few people in the auditorium. It was a very difficult rehearsal because he hadn’t yet worked out how to operate his wheelchair properly. Because the character has to keep leaving the stage to get things, he kept banging into the walls and the fury, the frustration, the desperation was extraordinarily moving and overwhelmingly powerful. He was so fucking angry, as the character but also as himself: angry at his health, angry that he couldn’t do it, angry that the wheelchair wasn’t helping him... It was the man and the work and the play – a play about memory, time, loneliness, death, futility and art all meshed into one. It was, no question, the greatest thing I have ever seen. Afterwards, Ian asked me to talk to him. I went into the bar and he was on his own, still furious. And Harold Pinter furious was like no one else on the planet. But I wanted him to know what the experience had been for me, watching this genuinely great artist allow himself to be so frail and so unsentimental about coming to the end of his time. He was clearly grateful that I wasn’t remotely concerned about the wheelchair problems and that I had been so moved. The run was sold out so I never saw it again. But I didn’t need to. Nothing could have matched what I witnessed. Analysis – David Benedict Not even the 1958 first performance of Beckett’s solo memory play about mortality could have been better cast than Ian Rickson’s spellbinding, nine-performance-only revival in the 69-seat Royal Court Upstairs. At 76, Pinter was not only great casting because he began as an actor, but he and Beckett had been long-standing friends. They not only admired each other’s work but were also given to rattling around Paris and London together. And since both were famous for choosing words with immense consideration, it was unsurprising that Pinter’s performance revealed the weight and feeling underscoring every beat and word of the play. Glowing like a late-Rembrandt portrait under Paule Constable’s lighting on Hildegard Bechtler’s set, Pinter’s Krapp was driven not just by barely suppressed rage, but there was also humour timed to perfection to ratchet up the tension. Unforgettable. Mercifully, the show was filmed and is available on YouTube. Up Up

Back to News & Press The Almeida Theatre, Sonia Friedman Productions and Annapurna Theatre are joined by LuckyChap in Presenting the Transfer of the Sell-Out, Critically Acclaimed and Award-Winning Almeida Theatre Production of 1536 Wednesday, 28 January 2026 ★★★★★ “Funny, saucy, and totally gripping” The Daily Mail ★★★★ “Tremendous central performances from Siena Kelly, Tanya Reynolds and Liv Hill.” The Standard ★★★★ “Central to the play’s success is its phenomenal trio of leads.” Independent SMART. SCRAPPY. SAVAGE. Reprising their critically acclaimed roles, following a sold-out run at the Almeida Theatre in 2025 are Liv Hill (Three Girls – BAFTA Award nomination for Best Supporting Actress) , Siena Kelly (Black Mirror, Adult Material – BAFTA Award nomination for Best Supporting Actress) , and Tanya Reynolds (Sex Education, A Mirror - Olivier Award nomination Best Actress In A Supporting Role). They will once again captivate audiences with their “outstanding performances " (The Telegraph) as Jane, Anna and Mariella respectively, with their chemistry described as “electric and achingly brittle ” (The Independent). Further casting will be announced in due course. The LuckyChap team read Ava Pickett’s script and Margot Robbie , who approached Sonia Friedman to discuss being involved with the production, said “at LuckyChap, we’re always drawn to bold, female-driven stories, and Ava’s brilliant play is exactly that. We’re absolutely thrilled to be coming on board as co-producers for its West End transfer. The show is fearless, witty and emotionally resonant, and it gives voice to women whose stories still feel timely today. Bringing 1536 to the West End is an incredibly exciting next chapter, and we’re honoured to help champion this phenomenal piece of art.” Hailed as the one of the best theatre shows of 2025 by The Guardian, The I Paper, Time Out, The Stage, and WhatsOnStage and defined as one of the most anticipated productions of 2026 by the Radio Times and The New Statesman, 1536 , the “electrifying” (The Standard) historical drama with a modern edge will run from 02 May to 01 August 2026 at the Ambassadors Theatre. This must-see new play is “effortlessly funny, bold and ballsy” (The Guardian). Directed by Lyndsey Turner (Chimerica ), this “razor-sharp, darkly comic and blisteringly relevant ” (The Independent) play explores the dynamics of female friendship in a world stacked against women. 1536 is writer Ava Pickett ’s first play, which won her the 2024 Susan Smith Blackburn Prize, the award for Best Writer at the 2025 Stage Debut Awards, and a special commendation from The George Devine Award. She is currently co-writing, alongside Baz Luhrmann, his Jehanne d'Arc film. Kings don’t kill their wives, right? Tudor England. A field in Essex. Three women hurry to their childhood meeting place, thirsty for gossip from London. Word spreads of a clash between King Henry VIII and his Queen, Anne Boleyn. And closer to home, another rumour begins to catch fire. As these women begin to see echoes of the royal drama in their own rural lives, a tide of violence threatens their very existence, and they realise the royal scandal could cost them everything. The creative team for 1536 includes; Director: Lyndsey Turner ; Set and Costume Designer: Max Jones ; Lighting Designer: Jack Knowles ; Sound Designer: Tingying Dong ; Composer and Arranger: Will Stuart ; Movement and Intimacy Director: Anna Morrissey ; and Casting Director: Amy Ball CDG. 1536 is produced in the West End by the Almeida Theatre, Sonia Friedman Productions, Annapurna Theatre and LuckyChap. Up Up

Back to News & Press Funny Girl extends booking at the Savoy Theatre until 8th October 2016 Friday, 5 February 2016 Due to unprecedented demand, the critically acclaimed production of Funny Girl , which is fast selling out its run, extends booking for a further 4 weeks until 8 October 2016. Tickets for the extension of Michael Mayer ’s “exhilarating embrace of a production – Independent” starring Olivier and BAFTA award-winning actress and “phenomenal talent – Independent” Sheridan Smith as Fanny Brice go on sale from 10am on 8 February. “Sheridan Smith is one of British Theatre’s truly golden performers – a versatile star who thrills with her ability to be simultaneously touching and hilarious. Here she’s on glorious form. ” Evening Standard With music by Jule Styne (whose musical Gypsy recently completed its award-winning run at the Savoy Theatre, starring Imelda Staunton), lyrics by Bob Merrill and book by Isobel Lennart , the Broadway smash which skyrocketed Barbra Streisand to stardom, is revived with book revisions by Harvey Fierstein . Sheridan Smith plays Fanny Brice, who rose from being a Brooklyn music hall singer to become one of Broadway's biggest stars under producer Florenz Ziegfeld. 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", “I’m the Greatest Star” and "Don't Rain on My Parade", this brand new production promises to be the must-see musical of 2016. Sheridan Smith plays Fanny Brice. She has previously won two Olivier Awards, the first for her leading role as Elle Woods in Legally Blonde at the Savoy, and the second for Flare Path at the Theatre Royal Haymarket. Other stage work includes A Midsummer Night’s Dream directed by Michael Grandage (Noel Coward), Hedda Gabler (Old Vic), Tinderbox (Bush Theatre), Little Shop of Horrors (Menier Chocolate Factory and Duke of York’s Theatre), and Into the Woods (Donmar Warehouse). For her television work, she won a BAFTA for her performance in ITV’s Mrs Biggs . She has twice been nominated for an International Emmy, for Mrs Biggs and Cilla , for which she won the National TV Award and received a second BAFTA nomination. Other television includes The C Word , Inside Number 9 , Black Work , The 7:39 , The Scapegoat , Jimmy McGovern’s Accused , Jonathan Creek , Gavin and Stacey , Two Pints of Lager and a Packet of Crisps , Love Soup and The Royle Family . Her film work includes The Huntsman (to be released in 2016), Quartet , Powder Room , The Harry Hill Movie , Tower Block , and Hysteria . Michael Mayer directs. His West End credits include Spring Awakening (Lyric Hammersmith and Novello Theatre) and Thoroughly Modern Millie (Shaftesbury Theatre). For Broadway his work includes Hedwig and the Angry Inch (Tony Award nomination for Best Director), On a Clear Day You Can See Forever , American Idiot (Drama Desk Award for Best Director of a Musical), Spring Awakening (Tony Award for Best Direction of a Musical), Thoroughly Modern Millie (Drama Desk Award for Best Direction of a Musical) and You're a Good Man Charlie Brown (Drama Desk Award nomination for Best Direction of a Musical). For television, his work includes Smash and Alpha House , and for film his credits include A Home at the End of the World , Flicka and currently in post-production, Chekhov's The Seagull . He made his Metropolitan Opera debut with a celebrated new production of Rigoletto . Choreography is by Lynne Page , with set design by Michael Pavelka , costume designer by Matthew Wright , lighting design by Mark Henderson and sound designer by Richard Brooker , the musical supervisor is Alan Williams and orchestrations are by Chris Walker . Up Up