Back to News & Press BBC Arts Editor Will Gompertz interviews Sonia Friedman on BBC Radio 4 Wednesday, 6 August 2014 BBC Arts Editor Will Gompertz meets the cultural entrepreneurs for his four part series Zeitgeisters. Listen again here . Up Up

Back to News & Press Harry Potter and the Cursed Child to open in Australia in 2019 Sunday, 22 October 2017 Performance dates and ticketing details will be announced soon. Visit HarryPotterThePlay.com to sign up to the mailing list and receive ticketing information and news. Victorian Premier Daniel Andrews said, “Exclusive to our region, this award-winning production will arrive in Victoria after its world premiere in London’s West End and a highly anticipated opening on Broadway. To secure a production of this calibre is a testament to Melbourne’s standing as an arts and cultural capital and leading global city for theatre. We encourage all Victorians, and our friends from across the country, Asia and the world, to join us in welcoming Harry Potter and the Cursed Child to Melbourne. ” Producers Sonia Friedman and Colin Callender said, “When we embarked on this journey, it was an objective to ensure we could get the production to Australia as soon as logistically possible. You can’t ever assume a new play is going to have a further life, but we knew that if Harry Potter and the Cursed Child did have a life beyond London and Broadway, that the next stop would be here. “The Harry Potter stories have millions of fans across the globe, and so we’re very happy and proud that we’re able to bring our beautiful production to Australia, where we know a whole new audience will experience the eighth story. Melbourne is a fantastic city with such wonderful culture and heritage, and so we’re thrilled that the gorgeous Princess Theatre will be Cursed Child’s next home.” 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 . The production 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. Harry Potter and the Cursed Child 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 where it continues to play to sold out houses. Harry Potter and the Cursed Child has won 22 major theatre awards in the UK and is the most awarded production in the history of Britain’s prestigious Olivier Awards, winning a record-breaking nine awards earlier this year including Best New Play and Best Director. The play will open on Broadway in April 2018 at the Lyric Theatre in New York. It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband, and father of three school-age children. While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places. Harry Potter and the Cursed Child is 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 and music supervision & arrangements by Martin Lowe . International Casting Consultant is Jim Carnahan and Australian casting by Janine Snape . Executive Producer of the Australian production is Michael Cassel. 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 Sonia Friedman on taking Mean Girls to the stage: ‘It’s women who do things’ Wednesday, 26 June 2024 Interview with The Times. Article by Dominic Maxwell. Original article here. Her latest West End show hasn’t even opened yet but Sonia Friedman is already back in the rehearsal room for the one that comes next. Mind you, this is par for the course for this wildly successful British producer with homes in east London and Manhattan. As her eldest sister, Maria, once said of her: “She can hold ten worlds in her head.” We meet at a theatre in west London, where that day’s world has been Fangirls , a smash-hit musical in its native Australia. She is not long back from Stratford-upon-Avon, where her playwright boyfriend, Joe Murphy, 25 years her junior, has just opened a show for the RSC, Kyoto . Just before that she was in New York, picking up nine Tony awards. Four were for her sister’s revival of Stephen Sondheim’s Merrily We Roll A long , including one for its star Daniel Radcliffe. Five were for Stereophonic , an unstarry but talk-of-the-town three-hour play about a Fleetwood Mac-like band recording their new album. She reveals that there are plans for it to come to London. She’s thrilled, but then she has been here before. Her shows have won 48 Tonys and 63 Oliviers. Here in London, where she started out working for the National Theatre in the late 1980s, she has Harry Potter and the Cursed Child , Stranger Things: The First Shadow , The Book of Mormon and, opening this week, Tina Fey’s musical version of her 2004 film Mean Girls . Jez Butterworth’s The Hills of California will head to Broadway in September. At the same time Friedman has Lesley Manville and Mark Strong coming to the West End in Oedipus , and Mark Rylance and Succession’s J Smith-Cameron in Juno and the Paycock . Mean Girls , which opened on Broadway in 2018, would have opened in London in 2021 had the pandemic not intervened. The break has improved the show, Friedman, 59, says. “They’ve done quite a lot of work to it, it’s almost half an hour shorter, and audiences are really connecting with it.” Fangirls is also heavily revised from the Australian version: new set, some new songs. Both that show and Mean Girls will have a largely female appeal but then ticket-buying is led by women anyway — even, she says, for her more “male” shows such as The Book of Mormon or Stereophonic . She chuckles. “I think it’s women who get on and do things.” She should know. She never takes holidays, has never had a nap. She won’t go to bed until she at least knows that the curtains have gone up safely on her New York shows. I can’t speak for what she is like thrashing out a deal with a theatre owner or handling her staff of 39, but in interview Friedman always manages to be loquaciously straight-talking. Mean Girls and Fangirls tap into young women’s need to find themselves. She knows the feeling. She grew up the youngest of four, who more or less fended for themselves after their violinist father left the family. The siblings were forever making up stories, singing and dancing and playing music. Then, after her siblings left home when she was ten, she had problems at school before a local authority grant sent her to a liberal boarding school. “I had that need to escape, to feel part of a tribe. You’re at an age where you’ve got your own fantasies, you want to grow up, you want to feel valid, and Yve Blake, who wrote Fangirls , is very clear that we should not laugh at girls who have these teenage crushes. We don’t laugh at the boys who have to go to Arsenal every week come what may. It’s the same thing.” Friedman only produces work that she wants to see herself. “But as I get older, it gets harder. I’m trying to stay young and fearless in the decisions I make, because some of the stories I’m interested in aren’t necessarily going to be mainstream. And that’s about my taste and my age.” So she was delighted that Stereophonic took off so stratospherically. “I took a big punt on it, so it’s reassuring when the gut instinct is still there. “If I overthink things, it makes me go, ‘I don’t know how to produce any more.’ There are so many minefields producing now, so many areas that are complicated culturally, I don’t want to go into details, but how do I stay true to who I am as the world changes around me?” She had been due to produce the Father Ted musical until its co-writer, Graham Linehan, became a divisive figure over his abrasive campaigning for women’s rights. She says she won’t stand in the way of it being produced elsewhere. She sees Merrily We Roll Along as another punt. Nonetheless, while its debut in 1981 was a flop, Maria’s revival (first seen in London in 2012) has picked up Harry Potter on its way back to Broadway. How significant was Radcliffe to its success? “Very significant, but he had to be really good for it to be as special as it is. But also … it’s beyond theatre. Every now and then I produce something like that. Jerusalem was beyond theatre.” Butterworth’s play, starring Rylance as a former motorcycle daredevil living in the woods, was “beyond theatre” simply because it was so great. “Seeing it was like a religious experience.” Merrily is more tangled: a show that travels backwards through its characters’ lives, it has made her and Maria look back at their lives; how Maria helped Sonia in their difficult childhoods; how Sonia helped Maria when she got breast cancer. “So as we stand at the back of the theatre now, holding hands … You look at a show like that and you can’t not track your own life through it.” Lest this all make Friedman sound like a full-time dreamer, no, she’s as interested in business as she is in show. “I don’t think you can be a successful producer without understanding the numbers, but the money side of it should never lead the decisions you take. “I’ve never done it for the money. If I want to do a piece of work, though, I have to understand the basics. What theatre should it be in? If you put it in the wrong space because money is dictating things, it can go wrong. So I find numbers creative. I do find all of that quite exciting.” Would that explain, then, why the Netflix spin-off sci-fi spectacular Stranger Things: The First Shadow is playing in the relatively small (970-seat) Phoenix Theatre while Harry Potter is in a 1,400-seater? It’s complicated, she says. The Phoenix was free when they needed a theatre, and it’s in a basement: “We sort of didn’t want a shiny theatre for that piece. But I would probably like 200 more seats.” It’s tight both to make the numbers work; it’s tight even to fit the set in. “So when we go to New York with it [in 2025] we will work on it. It’s definitely the most difficult thing I’ve ever produced, but on Broadway it’s going to be even more complex.” Stranger Things is not easy money, then, but it’s still a substantial success. (Reports that there are plans for stage sequels are “nonsense”.) How is trade in general, though? If I’d asked her at the start of the year, she’d have been bullish. “But I am a bit concerned. May was really tough, and nobody can quite figure out why.” Her shows bounced back in style straight after theatres reopened in earnest in 2021. “Pretty much everything I did sold out, recouped, couldn’t get seats. It was amazing.” Now, though, the cost of living crisis and political uncertainties and months of train strikes “are beginning to have their pinch”. Despite some eye-catching top seat prices that can reach above £200, seat prices have fallen in real terms. Meanwhile, costs have gone up. “More than 20 per cent since the pandemic, which is an alarming number. It can be the difference between a show working and a show not working. So it was great coming back, but we need to play to very high percentages of audiences.” This year the government agreed to extend theatre tax relief, which makes investing in new shows more attractive. The new government, she insists, will keep that. “I mean, they have to, it’s what is making our industry viable, it’s what is making investment possible, without it the whole infrastructure will crumble.” What else would she like from the (we’ll assume) Labour government? She has had meetings with Keir Starmer and Rachel Reeves. “There is no money, we know that. And so it is very hard for the arts to argue for more money. So I ask them, what can you do for us given that we know there is very little money? “Now I don’t work in the subsidised sector, so I am not going to talk about the Arts Council and how appalling that whole system is — it’s outrageous the way the Arts Council is telling people to spend their money. “But the question is, what can make a fundamental change? And for me it’s about schools. It’s about the curriculum, it’s about kids having theatre, music, access to these. Making sure they can see a show a year.” That still costs money. “But I think it’s possible.” And she argues that what she calls the tourism tax — in 2020 Rishi Sunak abolished the “VAT RES” scheme whereby overseas visitors to London could buy goods duty-free — is having a negative impact. “I think we will see its impact this summer. Because of Brexit and how difficult it is get into Britain from the rest of Europe. When you’ve got this tourism tax on top of it … So I will be lobbying to get rid of it.” The last time I sat down to interview Friedman was in 2011, when she expressed a concern that, if she had a Mamma Mia! -style megahit, she might lose her edge. Is the Harry Potter show her Mamma Mia! then? Another chuckle. “It’s not actually because it’s really expensive. It was probably the most expensive show ever … before Stranger Things . It wasn’t the easy path: it’s a five and a half hour play. It’s doing fine. I’m doing fine. But it’s expensive to run and maintain and replicate.” Nonetheless, it’s good for business, for brand Friedman, surely? “Totally. Because people have seen that you can take a piece of work that has a giant mainstream appeal and make a work of art out of it. I think it’s a work of art. And the best thing is we are now doing it in schools.” If Friedman ever wonders why she is still spending 17 hours a day working, she says, seeing a trial version in Hoboken, New Jersey, of the two-hour school version of Harry Potter and the Cursed Child is the answer. “It was one of the most magical evenings of my life. I went, ‘OK, that’s why I’m doing this.’ “Theatre,” she says, “allows you to be OK with being different.” Recently a friend of the family, a girl, has been bullied at school. “Girls can be really mean to each other. And she’s been coming to see Mean Girls . And she feels OK, because she goes, ‘Oh, it’s not just me. It happens.’ So if you can put something on stage that helps the people you love, you go, well, maybe I can help other people as well. And nothing can feel better than that.” The conversations with Labour “have been good so far … Keir Starmer gets it”. What he gets, she thinks, is not just theatre’s financial utility, but its role in a civil society, its ability to foster empathy. “It’s like, ‘Here is this point of view. You don’t have to agree with it but what do you think?’ So I am hoping kids will have access to the arts so they can go, ‘It’s OK if we don’t agree.’” Mean Girls is at the Savoy Theatre, London WC2, to February 16, meangirlsmusical.com . Fangirls is at the Lyric Hammersmith, London W6, July 13 to August 24, lyric.co.uk Up Up

Back to Productions ARCADIA – BROADWAY This production began performances on 26th February and closed on 19th June 2011. See it you should. ‘Arcadia’ is propelled by genuine, panting passion. A terrific play. The New York Times ARCADIA is set in April 1809 in a stately home in Derbyshire. Thomasina, a gifted pupil, proposes a startling theory, beyond her comprehension. All around her, the adults, including her tutor Septimus, are preoccupied with secret desires, illicit passions and professional rivalries. Two hundred years later, academic adversaries Hannah and Bernard (Lia Williams and Billy Crudup) are piecing together puzzling clues, curiously recalling those events of 1809, in their quest for an increasingly elusive truth. A ravishing revival. Variety ARCADIA , Tom Stoppard ’s “dazzling masterpiece, a piece of theatrical heaven” (The Daily Telegraph), returns to New York this spring for a limited engagement in an acclaimed new production directed by five-time Tony Award nominee David Leveaux. One of the best plays of my theatergoing life. The New Yorker CAST MARGARET COLIN – Lady Croom BILLY CRUDUP – Bernard Nightingale RAÚL ESPARZA – Valentine Coverly GLENN FLESHLER – Captain Brice GRACE GUMMER – Chloë Coverly EDWARD JAMES HYLAND – Jellaby BYRON JENNINGS – Richard Noakes BEL POWLEY – Thomasina Coverly TOM RILEY – Septimus Hodge NOAH ROBBINS – Gus Coverly/Augustus Coverly DAVID TURNER – Ezra Chater LIA WILLIAMS – Hannah Jarvis CREATIVES TOM STOPPARD – Playwright CORIN BUCKERIDGE – Music DAVID LEVEAUX – Director JODI MOCCIA – Choreographer HILDEGARD BECHTLER – Set Designer GREGORY GALE – Costume Designer DONALD HOLDER – Lighting Designer DAVID VAN TIEGHEM – Sound Designer NAOMI DONNE – Make-Up Designer DAVID BRIAN BROWN – Hair Designer

Back to Productions WHOSE LIFE IS IT ANYWAY? This production began performances on 25th January and closed on 30th April 2005. Kim Cattrall plays intelligent and sexy sculptor Claire Harrison, who is forced to contemplate her future following a serious road accident. Left with only the use of her sharp mind, wit and indomitable spirit, she can make us laugh - and often does - she could make us cry, but she doesn't want to. What she does want is to be heard and to reclaim the decisions about her own life and death. Whose Life Is It Anyway? places the individual at the centre of one of the most complex medical and moral issues of our times - do we have the right to choose how we want to live and when we want to die? Originally seen in London in 1978 with Tom Conti, the production subsequently transferred to Broadway and was then re-written for Mary Tyler Moore. Brian Clark 's newly updated version of his award-winning play now invites contemporary audiences to consider some of the most challenging and controversial questions they may ever be asked. Kim Cattrall , best known for her portrayal of Samantha Jones in the international award-winning Sex and the City , leads a cast including Janet Suzman and Ann Mitchell . Sir Peter Hall , one of the world's most distinguished directors, will direct the production. CAST KIM CATTRALL – Claire Harrison JANET SUZMAN – Mrs Justice Millhouse ANN MITCHELL – Sister Anderson WILLIAM CHUBB – Dr Emerson AMITA DHIRI – Helen Hill ALEXANDER SIDDIG – Dr Scott JOTHAM ANNAN – John RACHEL BAVIDGE – Margret Boyle EMMA LOWNDES – Kay Sadler CREATIVES BRIAN CLARK – Playwright PETER HALL – Director LUCY HALL – Designer PAUL PYANT – Lighting GREGORY CLARKE – Sound Design JOE HARMSTON – Associate Director PATSY RODENBURG – Voice Coach

Back to News & Press All About Eve now showing on NT at Home Thursday, 20 January 2022 Gillan Anderson (A Streetcar Name Desire ) and Lily James (Mama Mia! ) lead in All About Eve . Margo Channing. Legend. True star of the theatre. The spotlight is hers, always has been. But now there’s Eve. Her biggest fan. Young, beautiful Eve. The golden girl, the girl next door. But you know all about Eve...don’t you? Directed by Ivo van Hove (Hedda Gabler, A View From The Bridge ) and captured from London’s West End. All About Eve lifts the curtain on a world of jealousy and ambition, and asks why our fascination with celebrity, youth and identity never seems to get old. Up Up

Back to News & Press The Inheritance nominated for three The Stage Debut Awards Wednesday, 7 August 2019 The Stage Debut Awards nominees have been announced today. Matthew Lopez has been nominated for Best Creative West End Debut for The Inheritance . Also nominated are The Inheritance cast members Andrew Burnap & Samuel H. Levine in the Best West End Debut category. The Stage Debut Awards 2019, in association with Access Entertainment, will take place at the Brewery in London on 15 September. Sonia Friedman Productions are sponsoring the award for Best Writer. Click here to read the full list of nomineees. Up Up

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