Search this site

Back to News & Press A further 250,000 seats to be released for Harry Potter and the Cursed Child Thursday, 28 July 2016 Tickets are priced from £15 per part and for every performance there will be 300 tickets at £20 or less per part. Harry Potter and the Cursed Child , the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage, began previews in June 2016 in London’s West End at the Palace Theatre. Based on an original new story by J.K. Rowling , Jack Thorne and John Tiffany , Harry Potter and the Cursed Child is a new play by Jack Thorne , directed by John Tiffany with movement by Steven Hoggett , set by Christine Jones , costumes by Katrina Lindsay , music & arrangements by Imogen Heap , lighting by Neil Austin , sound by Gareth Fry , illusions & magic by Jamie Harrison , music supervision & arrangements by Martin Lowe and casting by Julia Horan . A second set of access performances are also announced today. On Wednesday 11 October 2017 both the matinee (Part One) and evening performance (Part Two) will be audio described and on Saturday 14 October 2017 the matinee (Part One) and evening performance (Part Two) will be captioned. Tickets for these performances will go on sale in March 2017. For patrons with physical access needs call 0330 333 4410 (please note, there are no general ticket sales on this number) or email CursedChildAccess@nimaxtheatres.com Harry Potter and the Cursed Child is one play presented in two parts. Both parts are intended to be seen in order on the same day (matinee and evening) or on two consecutive evenings. On Thursdays there will be an evening performance of Part One and on Fridays an evening performance of Part Two. On those days tickets to each part can be bought together or separately. Tickets for Wednesday matinee and Wednesday evening performances can also be bought together or separately. The regular performance schedule is as follows - Monday – no performance, Tuesday – no performance, Wednesday - 2pm Part One & 7.30pm Part Two, Thursday – 7.30pm Part One, Friday – 7.30pm Part Two, Saturday – 2pm Part One & 7.30pm Part Two, Sunday – 1pm Part One & 6.30pm Part Two. Every Friday, The Friday Forty takes place at 1pm when 40 tickets are released for every performance the following week for some of the very best seats in the theatre. Subsequent ticket releases take place each Friday for performances the following week. Priced at £40 (£20 per part) tickets will secure a seat for both Part One and Part Two on consecutive performances. Customers will be selected at random for the opportunity to buy tickets online and will be able to purchase a maximum of two tickets for both Part One and Part Two in one transaction. To ensure that as many people as possible have the chance to access these tickets, they will only be available to buy online. www.harrypottertheplay.com/ticket-information Returned and other late-release tickets may also become available at short notice. These are not guaranteed, but any tickets that do become available will be sold on a first-come-first-served basis, online or in person at the Palace Theatre box office at full price. Harry Potter and the Cursed Child is produced by Sonia Friedman Productions , Colin Callender and Harry Potter Theatrical Productions . Up Up

Back to News & Press Olivier Award nominations 2020 announced Tuesday, 3 March 2020 Today, the Olivier Award nominations were announced and Sonia Friedman Productions productions and co-productions are nominated in a wide variety of categories. FIDDLER ON THE ROOF Best Actor in a Musical – Andy Nyman Best Actress in a Musical – Judy Kuhn Best Actor in a Supporting Role in a Musical – Stewart Clarke Best Musical Revival Best Costume Design – Jonathan Lipman Best Director – Trevor Nunn Best Original Score or New Orchestrations Best Choreography – Jerome Robbins and Matt Cole ROSMERSHOLM Best Revival Best Lighting Design – Neil Austin Best Sound Design – Gregory Clarke Best Set Design – Rae Smith Best Actress – Hayley Atwell UNCLE VANYA Best Lighting Design – Bruno Poet Best Set Design – Rae Smith Best Actor – Toby Jones Best Director – Ian Rickson LEOPOLDSTADT Best New Play Best Actor in a Supporting Role – Adrian Scarborough THE DOCTOR Best New Play Best Actress – Juliet Stevenson BABY REINDEER Outstanding Achievement in Affiliate Theatre The Olivier Awards 2020 ceremony will take place on 5th April at the Royal Albert Hall. Up Up

Back to News & Press Full cast announced for the West End transfer of Fiddler on the Roof Tuesday, 26 February 2019 Joining Andy Nyman (Tevye) and Judy Kuhn (Golde) to complete the West End company of Trevor Nunn ’s critically acclaimed production of Fiddler on the Roof are Nicola Brown (Chava), Harriet Bunton (Hodel), Dermot Canavan (Lazar Wolf), Stewart Clarke (Perchik), Joshua Gannon (Motel), Matthew Hawksley (Fyedka), Louise Gold (Yente), and Molly Osborne (Tzeitel), as well as Miles Barrow , Sofia Bennett , Philip Bertioli , Lottie Casserley , Elena Cervesi, Lia Cohen , Talia Etherington , Shoshana Ezequiel , Isabella Foat, Fenton Gray , James Hameed , Adam Linstead , Adam Margilewski , Robert Maskell , Benny Maslov , Robyn McIntyre , Gaynor Miles , Ellie Mullane , Tania Newton , Craig Pinder , Valentina Theodoulou and Ed Wade . The production transfers to the reconfigured Playhouse Theatre from 21 March for a limited run - with over 25,000 tickets at £20 or less across the run. The production, which opens on 27 March, with previews from 21 March, and is booking until 15 June, is currently running at the Menier, where it completes its sell-out run on 9 March. Direct from its sold-out run at the Menier Chocolate Factory, Tony and Olivier award-winning director Trevor Nunn’s ‘exuberant revival’ (Daily Telegraph) of the classic Broadway musical Fiddler on the Roof transfers to the West End for a strictly limited run. The Playhouse Theatre will be specially transformed into an immersive space for this ‘shiveringly intimate chamber musical about family’ (The Times). Old traditions and young love collide in this joyous and timely celebration of life. Tevye’s daughters’ unexpected choice of husbands opens his heart to new possibilities, as his close-knit community also feel winds of change blowing through their tiny village. Featuring the iconic score including ‘Tradition’, ‘Matchmaker, Matchmaker’, ‘Sunrise, Sunset’ and ‘If I Were a Rich Man’, and featuring original choreography from Tony Award-winning Jerome Robbins alongside new choreography by Matt Cole, Fiddler on the Roof ‘bursts from the stage’ (Financial Times), bringing new life to one of the most beloved musicals of all time. Up Up

Back to News & Press The Shark is Broken announces Broadway transfer Tuesday, 25 April 2023 Sonia Friedman Productions and Scott Landis are delighted to announce that the smash-hit play THE SHARK IS BROKEN will make waves on Broadway this summer after critically acclaimed runs at the Edinburgh Festival Fringe and on London's West End. A new Olivier Award-nominated comedy by lan Shaw and Joseph Nixon , THE SHARK IS BROKEN imagines what happened on board "The Orca" when the cameras stopped rolling during the filming of Stephen Spielberg 's blockbuster, JAWS. Co-writer Ian Shaw (War Horse ) will also star in THE SHARK IS BROKEN , making his Broadway debut in the role he created in Edinburgh and on the West End, portraying his father Robert Shaw who played "Quint" in JAWS . Casting for the roles of Roy Scheider and Richard Dreyfuss will be announced at a later date. Directed by Guy Masterson , THE SHARK IS BROKEN begins performances on Tuesday, July 25, 2023, at the John Golden Theatre (252 West 45th Street), and will officially open on Thursday, August 10, 2023, for a strictly limited 16-week engagement. FADE IN: The open ocean, 1974. Production on JAWS is delayed...again. The film's lead actors - theatre veteran Robert Shaw and young Hollywood hotshots, Richard Dreyfuss and Roy Scheider-are crammed into a too-small boat, entirely at the mercy of foul weather and a faulty mechanical co-star. Alcohol flows, egos collide, and tempers flare on a chaotic voyage that just might lead to cinematic magic...if it doesn't sink them all. From the JAWS of defeat, came a Hollywood victory. Tickets are on sale now for THE SHARK IS BROKEN at Telecharge.com (212.239.6200) and range from $49 - $119 (including $2 facility fee) during the specially priced preview performances. The playing schedule for THE SHARK IS BROKEN is as follows: Monday - Saturday at 8pm, with matinees on Saturday at 2pm. Please note: There will be an added 2pm matinee on Wednesday, August 2and Wednesday, August 9. Beginning Friday, August 11, the performance schedule is as follows: Tuesday- Friday at 7pm, Saturday at 8pm, with matinees on Wednesday and Saturday at 2pm, and Sunday at 3pm. Please note: There will be no matinee on Sunday, August 13. THE SHARK IS BROKEN includes scenic and costume design by Duncan Henderson , lighting design by Jon Clark , sound design and original music are by Adam Cork , video design by Nina Dunn , with casting by Jim Carnahan Casting . The smash-hit of the 2019 Edinburgh Festival Fringe, THE SHARK IS BROKEN was steering a course to transfer to London's West End but was postponed due to the pandemic. The "intoxicating combination of behind-the-scenes gossip and contemplation of the nature of popular art” (The Stage ★★★★) opened at the West End's Ambassadors Theatre in 2021 where it garnered critical acclaim and an Olivier Award nomination for Best Comedy Play, and by popular demand extended its limited run into 2022. Up Up

Back to News & Press The Inheritance releases new block of tickets through to June 2020 Tuesday, 17 December 2019 The new block of tickets is available for purchase at www.telecharge.com , by calling 212-239-6200 or by visiting the Barrymore Theatre . The Inheritance is performed five times a week – on Wednesdays, Saturdays, and Sundays at 1pm and Thursday and Fridays at 7pm. A second chapter that continues the story, The Inheritance Part 2 , is performed three times a week – on Wednesdays, Saturday and Sunday evenings at 7pm. Audience members do not need to purchase tickets to both plays. Up Up

Back to Productions A VIEW FROM THE BRIDGE – BROADWAY This production began performances on 28th December 2009. It officially opened on 24th January 2010 and closed on 4th April. In A VIEW FROM THE BRIDGE , Miller's most passionate drama, Schreiber will play Eddie Carbone, a Brooklyn longshoreman obsessed with his 17-year-old niece Catherine, played by Scarlett Johansson. When Catherine falls in love with a newly arrived immigrant, Eddie's jealousy erupts in a rage that consumes him, his family, and his world. Tony® Award-winner Liev Schreiber and Golden Globe nominee Scarlett Johansson , in her Broadway debut, starred in Arthur Miller 's A VIEW FROM THE BRIDGE directed by Gregory Mosher on Broadway at the Cort Theatre (138 West 48th Street). Performances began Monday, December 28, 2009 with an official opening on Sunday, January 24, 2010. CAST LIEV SCHREIBER – Eddie SCARLETT JOHANSSON – Catherine JESSICA HECHT – Beatrice MICHAEL CRISTOFER – Alfieri MORGAN SPECTOR – Rodolpho COREY STOLL – Marco CREATIVES ARTHUR MILLER – Playwright GREGORY MOSHER – Director JOHN LEE BEATTY – Set Designer JANE GREENWOOD – Costume Designer PETER KACZOROWSKI – Lighting Designer SCOTT LEHRER – Sound Designer TOM WATSON – Hair and Wig Designer

Back to Productions BOEING BOEING – BROADWAY This production began on 4th May 2008 and closed on 4th January 2009. In Boeing-Boeing, an architect living in Paris ( Whitford ) has been successfully juggling three flight attendant fiancées ( Gershon , Hahn and McCormack ) with his housekeeper (Baranski) reluctantly playing romantic air traffic controller as they fly in and out of his swank bachelor pad. But when an old school pal ( Rylance ) visits, things get rather turbulent. Schedules change, flights are delayed and chaos ensues in this whirl of mayhem and matchmaking. Winner of two Tony Awards: BEST REVIVAL and BEST ACTOR IN A PLAY (MARK RYLANCE ) Winner of two Drama Desk Awards: BEST REVIVAL and BEST ACTOR (MARK RYLANCE ) Christine Baranski , Mark Rylance , Bradley Whitford , Gina Gershon , Kathryn Hahn and Mary McCormack star in the London smash Boeing-Boeing. Marc Camoletti 's classic sixties comedy of errors now playing at Broadway's Longacre Theatre, directed by Matthew Warchus . . The London production was just honoured with two 2008 Oliver Award nominations: Best Revival and Best Actor in a Play, Mark Rylance . CAST CHRISTINE BARANSKI – Berthe MARK RYLANCE – Robert GREG GERNAMM – Bernard GINA GERSHON – Gabriella KATHRYN HAHN – Gloria MISSI PYLE – Gretchen CREATIVES MARC CAMOLETTI – Playwright BEVERLEY CROSS & FRANCIS EVANS – Translators MATTHEW WARCHUS – Director ROB HOWELL – Designer HUGH VANSTONE – Lighting Designer CLAIRE VAN KAMPEN – Original Music SIMON BAKER – Sound Designer

Back to News & Press Royal Court Theatre Announces 70th Anniversary Season including JOHN PROCTOR IS THE VILLAIN Tuesday, 28 October 2025 Today the Royal Court announces its 70th anniversary programme: honouring the past, celebrating the present, and shaping the future of theatre. The announcement details an entire year of programming for 2026, with 12 productions across the venue’s two historic stages, alongside new national projects and partnerships to drive investment and ambition for the next decade of new writing in the UK. JERWOOD THEATRE DOWNSTAIRS will host the European premiere of John Proctor is the Villain directed by Tony Award-winner Danya Taymor , direct from its smash-hit Broadway run. Royal Court Theatre , Wagner Johnson Productions , Wessex Grove , Sonia Friedman Productions , Runyonland and John Mara Jr present: John Proctor is the Villain By Kimberly Belflower Directed by Danya Taymor Friday 20 March - Saturday 25 April 2026 Jerwood Theatre Downstairs Press Night: Thursday 26 March 2026 ‘One day, maybe, the new world we were promised will actually be new…’ Five young women running on pop music, optimism, and fury are about to shed light on the darkest secrets in their small town. A story about girlhood, power, and questioning the narratives we’ve been taught. Tony Award-winner Danya Taymor (The Outsiders ) directs Kimberly Belflower ’s bitingly funny, fresh take on Arthur Miller’s The Crucible. Danya Taymor and Kimberly Belflower say: “We are thrilled and honored to bring John Proctor is the Villain to the iconic Royal Court Theatre where so many brilliant and audacious artists have created. It feels like special witchcraft that Arthur Miller’s The Crucible also made its English debut at the Royal Court exactly 70 years ago, and we can’t wait to present our production on the very same stage.” Up Up

Back to Productions THE JUNGLE This production began performances on 26th March and closed on 19th May 2018. ★★★★★ An immersive, powerful experience. A deeply moving piece of theatre. Financial Times Meet the hopeful, resilient residents of the Jungle – the short-lived, self-governing society that emerged within a sprawling refugee camp in Calais, France. Join the residents over freshly-baked naan and sweet milky chai at the Afghan Café. Take a seat where men, women and children fleeing war and persecution created a world offering warm hospitality, amidst squalor and danger. ★★★★★ Beautifully orchestrated. Wonderfully humane and illuminating. The Independent The heart-stopping stories of those who inhabited this desolate patch of land in France roar back to life in this shockingly intimate and wildly acclaimed production that plunges us directly into its subject matter. Hailed by critics as “thrilling...ravishing...devastating” (New York Times ) and “a significant event in which theatre shakes hands with the world” (The Sunday Times ), The Jungle is a once-in-a-lifetime event not to be missed. After taking London and New York by storm, The Jungle arrives at the Curran, transforming the traditional proscenium theater into Miriam Buether ’s award-winning set design. To accommodate this incredibly unique staging, the Curran will be completely transformed and — in the process — the capacity will be reduced to an intimate 600 seats. A National Theatre and Young Vic co-production with Good Chance Theatre present ”THE JUNGLE ” by Joe Murphy and Joe Robertson . Directed by Stephen Daldry and Justin Martin . ★★★★★ A significant event in which theatre shakes hands with the world The Sunday Times CAST AMMAR HAJ AHMAD ALEXANDER DEVRIENT TREVOR FOX YASIN MORADO JONATHAN NYATI JOHN PFUMOJENA RACHEL REDFORD DOMINIC ROWAN MOHAMED SARRAR MILAN TAJMIRI BEN TURNER NAHEL TZEGAI CREATIVES JOE MURPHY – Playwright JOE ROBERTSON – Playwright STEPHEN DALDRY – Director JUSTIN MARTIN – Director MIRIAM BUETHER – Designer CATHERINE KODICEK – Costume Designer JON CLARK – Lighting Designer PAUL ARDITTI – Sound Designer JOHN PFUMOJENA – Musical Direction/Composition

Back to Productions THE HOME PLACE This production began performances on 25th May and closed on 13th August 2005. 'Brian Friel's latest play, The Home Place, shows time running out for a 19th century Anglo - Irish landlord in Donegal. The politics of home rule are creeping upon the landowners, and the consequences are allowed to reverberate in the music of the drama and the humanity of the characters. Financial Times Writing of a class rarely experienced in the theatre. Sunday Telegraph Sonia Friedman Productions , Tulchn/ Barnter Productions and Spring Sirkin present The Gate Theatre Dublin production of “THE HOMEPLACE ”. A new play by Brian Friel . A must see new play. Financial Times CAST TOM COURTENAY – Christopher Gore DERBHLE CROTTY – Margaret O'Donnell NICK DUNNING – Richard Gore ADAM FERGUS – Con Doherty MICHAEL JUDD – Johnny MacLoone BRENDA LARBY – Mary Sweeney LAURA JANE LAUGHLIN – Sally Cavanagh HUGH O'CONOR – David Gore CREATIVES BRIAN FRIEL – Playwright ADRIAN NOBLE – Director PETER MCKINTOSH – Set & Costume Designer MARK HENDERSON – Lighting Designer

Back to News & Press Harry Potter and the Cursed Child returns 14 October 2021 Tuesday, 6 July 2021 The producers of Harry Potter and the Cursed Child , Sonia Friedman Productions , Colin Callender and Harry Potter Theatrical Productions are delighted to confirm that the original two-part multi award-winning production will resume performances at the Palace Theatre in London on 14 October 2021. After over a year and a half of shutdown due to the pandemic, rehearsals for the West End production will begin this August. Tickets for the West End production of Harry Potter and the Cursed Child are currently available for performances at the Palace Theatre until 27 March 2022 and remain priced from £15 per part, and for every performance there are over 300 tickets at £20 or less per part. Jamie Ballard , who is returning to the title role of Harry Potter, said on behalf of the entire Company: “We are all so excited to be coming back to the magical world of Harry Potter and the Cursed Child and have utterly missed being at the beautiful Palace Theatre as a family doing what we love. There is nothing quite as special as being able to share that unique experience with our wonderful audiences. It will be an absolute joy for us to perform for them once again and to welcome them back to our very own Hogwarts!” Producers Sonia Friedman and Colin Callender said: “Re-opening Harry Potter and the Cursed Child Parts One and Two in the West End and being part of the return of British Theatre makes us both happy and proud. To be back at the original home of Harry Potter and the Cursed Child - the mothership - with our incredibly talented and committed company and welcoming back our audiences after such a devastating and prolonged closure will be emotional and thrilling for all of us. The world premiere of Harry Potter and the Cursed Child in 2016 at London’s Palace Theatre was such an extraordinary, historic moment in British theatre and it was just the beginning of the most incredible and unexpected journey for our show. It’s an exceptional local and global success story and we are so grateful to everyone who has come along for the ride, particularly those who will see us re-open in October. We would like to thank all of our audience members and ticket holders for the unwavering loyalty, passion and love they have poured into our show. This has helped keep our spirits going and our industry alive these past months. We are incredibly excited to bring the original, record-breaking, two-part play event back to London with this chapter promising to be just as astonishing as when we first opened - if not more so - as we will never again take for granted live theatre and the shared experience. It’s an absolute privilege and honour to say we’ll see you soon.” 19 years after Harry, Ron, and Hermione saved the wizarding world, they’re back on a most extraordinary new adventure – this time, joined by a brave new generation that has only just arrived at the legendary Hogwarts School of Witchcraft and Wizardry. Prepare for spectacular spells, a mind-blowing race through time, and an epic battle to stop mysterious forces, all while the future hangs in the balance. Joining Jamie Ballard as Harry Potter are Susie Trayling as Ginny Potter and Dominic Short who plays their son Albus Potter. Thomas Aldridge returns as Ron Weasley with Michelle Gayle as Hermione Granger and Phoenix Edwards as their daughter Rose Granger-Weasley. Also returning to play Draco Malfoy is James Howard with Luke Sumner as his son Scorpius Malfoy. Further casting will be announced at a later date. The original production of Harry Potter and the Cursed Child , one play presented in two parts, is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage. The critically acclaimed production received its world premiere in July 2016 at the Palace Theatre in London. The most awarded new play in theatre history, Harry Potter and the Cursed Child has won 24 major theatre awards in the UK and is the most awarded play in the history of the Olivier Awards, winning a record-breaking nine awards including Best New Play. The production has also won 25 major US awards with six Tony Awards including Best Play. Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne, directed by John Tiffany with movement by Steven Hoggett, set by Christine Jones, costumes by Katrina Lindsay, music & arrangements by Imogen Heap, lighting by Neil Austin, sound by Gareth Fry, illusions & magic by Jamie Harrison, music supervision & arrangements by Martin Lowe, and casting by Julia Horan CDG. The regular performance schedule is now as follows – Monday, Tuesday and Thursday – no performance; Wednesday, Friday and Saturday - 2pm Part One & 7pm Part Two; Sunday – 1pm Part One & 6pm Part Two. Harry Potter and the Cursed Child is produced by Sonia Friedman Productions , Colin Callender and Harry Potter Theatrical Productions. In addition to the return of the original London production, Harry Potter and the Cursed Child is currently playing at the Princess Theatre Melbourne. Performances plan to resume in November 2021 at the Lyric Theater, New York followed by productions at the Curran Theater, San Francisco in January 2022, the Mehr! Theatre, Hamburg in December 2021, the Ed Mirvish Theatre, Toronto in the summer of 2022 and the TBS Akasaka ACT Theater in Tokyo in the summer of 2022. The New York, San Francisco and Toronto productions will be returning in a newly staged, one show experience. Details of all productions of Harry Potter and the Cursed Child can be found at HarryPotteronstage.com Up Up

Back to News & Press Sonia Friedman comments on the Chancellor's announcement on Thursday 24th September 2020 Friday, 25 September 2020 Theatre has been viable for thousands of years. Yesterday’s announcement from the Chancellor that our industry is not viable (whatever that means) represents an almighty blow and is, frankly, a huge insult to the theatre industry, one of this country’s most financially successful and emotionally essential sectors of the economy. If the Government feels confident it can discard theatre and the entire freelance workforce from its immediate, urgent concerns, then it has quite brazenly announced its willingness to discard the mental health of our nation. Our creatives, actors, musicians and technical teams were ready and willing to work under challenging and changing circumstances. Why does this Government refuse to see what we are worth and what we offer the country? Less than three weeks ago, theatres were encouraged to back to business as usual as part of Operation Sleeping Beauty. Now they have left the entire industry high and dry, without the means to retain a workforce that can’t return en masse until theatres reopen in full - to say nothing of the tens of thousands of freelance artists ineligible for any income support whatsoever. With mass ‘Moonshot’ testing miles away, new restrictions in place for six months, and still no insurance scheme to safeguard socially distanced performances, fully re-opening remains some way off – but the chancellor’s implication that our businesses are unviable is outrageous. In reality, the Government is relying on our viability to drive its economic recovery by drawing people back into towns and city centres throughout the UK. As an example of our "viability", in tourism surveys, ‘Theatre’ is ranked second only to ‘Heritage’ as the reason quoted for international tourists choosing to visit the UK. Theatre drives inward investment, generates intellectual property that is licensed all over the world, and, as noted by the Chancellor, plays a major role Britain’s soft power. Theatre has proved itself a British success story domestically and internationally, generating £6 for every £1 of funding. The West End as an ecosystem brings £5 billion to London's economy alone. We’re not just viable, we’re one of the most valuable, innovative and essential industries on the planet, but without sector specific support to cover our temporary crisis, we are being abandoned by a government content to throw in the towel. It’s entirely illogical: its own £1.57 billion package will end up paying for the very redundancies it is seeking to avoid and, as far as I’m aware, won't touch the sides in terms of helping industry freelancers. At the very least, the government needs to provide proper support to our workforce now, publish clear guidance on the public health conditions and safety measures required for us to resume performances, and underwrite the cost of insurance. In return, they can ensure the return of our sector - worth £7 billion to the UK economy - is at the heart of the nation’s recovery from this crisis. Up Up