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Back to News & Press Evening Standard Power List 2024 Tuesday, 19 November 2024 Sonia Friedman has shaped the West End in the last decade like no other producer, moving effortlessly from blockbuster crowd-pleasers (The Book of Mormon , Mean Girls , Harry Potter and the Cursed Child , Stranger Things: The First Shadow ), to championing plays – both classic and new. Her current production slate in London includes Juno and the Paycock at the Gielgud Theatre starring Mark Rylance and J Smith Cameron ; and Robert Icke’s Oedipus at the Wyndham’s Theatre starring Mark Strong and Lesley Manville . Add to that, a new stage adaptation of The Shining , and a huge slate of new shows in development or coming soon. The Evening Standard says: “Friedman is the most influential theatre producer in the city. From Harry Potter and the Cursed Child to a critically acclaimed adaptation of Stranger Things, her company has put on more than 200 shows since 2002. These have won more than 300 major awards — including the Evening Standard Theatre Award for Best Play on five occasions.” Full article here. Up Up

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Back to Productions FANGIRLS This production began performances on 13th July and closed on 24th August 2024 as part of the Lyric Hammersmith's 2024 season. ★★★★★ Combining the acid wit of ‘Six’, the rebel streak of ‘Matilda‘ and the gooey heart of ‘Everybody’s Talking About Jamie’, Yve Blake’s new musical will inspire outsized feelings and ardent devotion The Independent FANGIRLS , written and composed by Yve Blake and directed by Paige Rattray , will close the season in a six-week run from 13 July – 24 August . The multi-award-winning Australian pop musical phenomenon makes its UK premiere in a brand-new production co-produced with Sonia Friedman Productions. Edna is in love with Harry. But she’s a 14-year-old misfit and he’s a singer in the biggest boyband in the world. FANGIRLS is the embodiment of the rush of first love; an effervescent, adrenaline-fuelled, electrifying night out. ★★★★★ An extraordinary, heartfelt show that also embraces the ridiculous WhatsOnStage Get ready for an unmissable show that pulses with the soaring adrenaline of a first crush and feels like the best pop concert you’ve never been to… Meet Edna: she's 14, she’s a mistfit, and she's in love with Harry. There's just one problem: Harry’s in the world’s biggest boy band, has 38 million fans, and doesn't know she exists. When Harry’s band announces a tour stop in Edna's hometown of Sydney, Australia, she knows this is her destiny – her one chance to meet him. But how on EARTH will she get Harry's attention?! And exactly how far is she prepared to go in the name of love? If you think this is just a story about loving a boy band... think again. FANGIRLS is a thrilling and subversive musical comedy about the danger of underestimating teenage girls. After multiple sell-out runs across Australia, including the Sydney Opera House, this brand new production of the multi-award-winning, pop musical phenomenon FANGIRLS is about to take the UK by storm. ★★★★★ Fangirls has everything that you could want from modern musical theatre Broadway World CAST MIRACLE CHANCE (SHE/HER) – Brianna JASMINE ELCOCK (SHE/HER) – Edna MAC GILL (HE/SHE/THEY) – Greta / Ensemble (Swing / Dance Captain) THOMAS GRANE (HE/HIM) – Harry MAX JAMES HODGE (HE/HIM) – Pat / Ensemble (cover Salty / Harry) TERIWUE JARRETT (HE/HIM) – Salty DEBBIE KURUP (SHE/HER) – Caroline MARY MALONE (SHE/HER) – Jules GRACIE MCGONICAL (SHE/HER) – Lily EVE NAOMI DE LEON ALLEN (THEY/THEM) – Dom / Ensemble (cover Jules / Brianna) LENA PATTIE JONES (SHE/HER) – Ash / Ensemble (cover Edna / Lily) NICKY WONG RUSH (HE/THEY) – Odette / Ensemble (Assistant Dance Captain) CREATIVES YVE BLAKE – Book, Music and Lyrics PAIGE RATTRAY – Director DAVID FLEISCHER – Production Designer EBONY WILLIAMS – Choreographer ASH J WOODWARD – Video Designer JESSICA HUNG HAN YUN – Lighting Designer TONY GAYLE – Sound Designer ZARA STANTON – Vocal Arranger and Orchestrator DAVID MURATORE – Music Producer ALEX SARMIENTO – Associate Choreographer LAURENCE STANNARD – Associate Musical Director

Back to News & Press Locking down Leopoldstadt: what happened when the West End closed overnight Sunday, 14 June 2020 Tom Stoppard’s Leopoldstadt was just beginning its eighth sold-out week at Wyndham’s theatre in London’s West End when the order came through that it was shutting down. Greeted as a late-period masterpiece – and possibly the final play – of a leading playwright who had waited until his 80s to investigate his Jewish background, it was a huge production to match the scale of the history it charted, following a prosperous Viennese family from 1899 to 1955, with opening and closing tableaux that revealed just how annihilating the intervening years had been. Though it was not intended to offer a topical reflection on the antisemitism that has been tearing the left apart in the UK over the past few years, its debates about the limits of assimilation hit a nerve, and audiences poured in. “I thought this was the tail end of interest in the Holocaust, but as a matter of fact it had become a sort of hotspot. I didn’t write about more recent events, but it was part of the consciousness that the audience brought to the play,” reflects Stoppard. This consciousness that, for all that it was set in the past, the play was telling an important and topical story, was passionately shared by the 43-strong cast, more than two-thirds of whom were themselves Jewish, who were determined to carry on for as long as they could as the closure of public spaces swept across the globe. Though the West End was emptying, Leopoldstadt’s audiences kept turning up – increasing numbers of them in face masks. When the decision to shut down was finally taken, the company went off to a local pub to await further instructions, recalls producer Sonia Friedman, “and all we could say to them was: ‘You have to go home’”. If you want to understand just how devastating the Covid-19 crisis has been to the world of entertainment, you need look no further than the week that Friedman will never forget. On the afternoon of Wednesday 11 March, her production of Harry Potter and the Cursed Child was midway through a performance at San Francisco’s Curran theatre when the city’s mayor announced a ban on all events involving more than 1,000 people. “For better or worse we made the decision to keep going but shut down in the evening after part two. There had been a state of emergency in California from early March and we’d been watching sales haemorrhage,” says the producer, whose 11 productions running around the world at the time included five of the hit JK Rowling play – in Germany, Australia, the US and London. The following afternoon New York closed all its Broadway theatres, taking down a further three of Friedman’s shows. On Friday, the German production of Harry Potter was shut down on the final day of previews in Hamburg. On Sunday, Melbourne theatres closed, taking the Australian production with it, and on Monday 16 March – “by this point in acute crisis mode” – Friedman took the preemptive step of heeding Boris Johnson’s “advice” that all UK entertainment outlets should close, and shut down her five remaining productions. A couple of cast members had already gone into self-isolation after developing fevers. “I was in my London office, wearing a mask, with some of my staff, and we were all in a state of shock,” Friedman recalls. “I announced that, even though we hadn’t been given a mandate [the full lockdown only happened on 23 March], I was closing everything until further notice.” A press release was scrambled and a squad of associate producers sent out to break the news to each theatre, while Friedman sat in her London HQ fielding panic calls. Besides the 11 shows that were already open, she had seven more in production. Nearly three months on, the shock has transformed into the passionate determination that has made Friedman one of the world’s most successful theatre producers. She abandoned her London home before official lockdown to stay with her writer partner, Joe Murphy, and their two dogs in a Hampshire cottage rented to them by Tom Stoppard’s wife, Sabrina Guinness. For the first eight or nine weeks, given the number of shows she had suspended and “the absolute tumult of chaos and uncertainty” it had created in so many time zones, Friedman only managed three or four hours sleep a night. “I’ve been trying to do what I can to save my industry and my people, talking constantly with my staff, theatre owners, producers and investors, but no one has any answers.” Only now has a working group been set up in the UK between the Department for Digital, Culture, Media and Sport (DCMS) and UK theatre’s two main umbrella bodies to try to plot a practical course for survival. If none is found, the industry has warned, 70% of UK venues will have run out of cash by the end of the year. The first casualties have already been announced, with Southampton’s Nuffield and Leicester’s Haymarket theatres going into administration last month. “For the first weeks we kept quiet, which was quite right, because it was all about health and care workers, then we had to wait for them to sort out sport. Theatre always comes last,” sighs Friedman, “but more people go to at least one show every year than go to all league football matches put together.” The figures are startling: the UK has some 1,300 theatres around the country employing some 290,000 workers, from actors to administrators, stage technicians to front-of-house staff. A paper sent to the DCMS last month by the Society of London Theatre and UK Theatre points out that in 2018, their members sold tickets worth £1.28bn. The theatre’s value to the London economy, where nearly half of all UK performances take place and tourists make up a quarter of audiences, is estimated to be £5bn a year. And Friedman’s portfolio of closed shows is testament to the export value of this dynamic British industry. But the crisis facing commercial producers is particularly acute, because they have no state subsidy, and a global pandemic did not fall within the terms of their insurance policies. In a telling coincidence, Leopoldstadt was being staged in a theatre, Wyndham’s, that opened in 1899, the same year as Stoppard’s dynastic history begins. In London, as in the Vienna of the play, the late 19th century was a period of optimism that produced many of the ornate and costly playhouses that are now lying dormant. As Friedman points out, it’s costing more than £30,000 a week to keep each West End theatre closed. In the best of times they need to average at least 65% ticket sales at full price just to break even, but this doesn’t take into account restart costs, which are likely to raise that to at least 75%, making physical distancing of audiences impossible without game-changing state support. With current Arts Council emergency funding due to cease in September, theatre lobbyists say: “The impact of this pandemic represents the greatest existential threat to the British theatre industry since the closures of playhouses which ended the golden age of Jacobean theatre in 1640.” For Friedman, Leopoldstadt was an act of faith and love, and a belief in the ability of the commercial theatre to go beyond the usual crowd-pleasers. “It was hugely ambitious and one of the biggest plays I’ve ever produced, with a larger cast than Harry Potter or Jez Butterworth’s The Ferryman.” Though some reviewers complained that the sheer volume of information was overwhelming, she adds that “it’s safe to say that it’s right up there as one of the biggest hits I’ve ever produced: it was one of the greatest honours of my career, and profoundly moving for me and the people who saw it.” Offered the choice between refunds and seats when – and if – the show reopens, 45% of those who had booked have opted to stick with it. Theatre is such a people-centred industry that its resumption poses particular problems, and return plans will have to be carefully tailored to the profile of each show. The first of Friedman’s shows to reopen will probably be Harry Potter in Australia, where measures to contain the pandemic have been considerably more successful than in Europe and the US. “We’re aiming for September, and I think it’ll be a test case for the world,” says the producer. Since audiences for Leopoldstadt are generally older than those for other West End shows such as Harry Potter or The Book of Mormon, it will probably make a later return – but so long as the company still wants to do it, and the audience still wants to see it, return it will, she promises. And from London, all being well, it will go on to New York. Keeping faith with a vision for a post-Covid world is hard but crucial, Friedman insists. While her days are spent lobbying and problem-solving with the half of her 40-strong core staff who have not been furloughed, the hours between 11pm and 2 or 3am are devoted to “what I call my future: every day I do something positive to imagine there’s something on the other side of this, other than resuming the shows at hand.” The potential of the crisis as a source of future themes and plotlines is not lost on her. “We exist in a world of stories in our theatre and this story isn’t credible yet we’re living it,” she says. “I keep telling people, ‘this is history, guys’, it’s going to be discussed for centuries. We’re dealing with something so monumentally complex that the biggest brains in the world are only just beginning to come to terms with what needs to be done.” As a theatre producer it pays to be Teflon-coated. “I’ve always been quite good in a crisis,” she says, “I’m not going to give up until I’m done, and if I’m done the rest of the industry is going to be done too, because until then I’m sure as hell going to be still standing.” Meanwhile the venerable Wyndham’s theatre slumbers on, its grand Viennese apartment set swathed in ghostly plastic sheeting, waiting for the great awakening. Up Up

Back to News & Press Further casting announced for Uncle Vanya Friday, 18 October 2019 Sonia Friedman Productions today announced further casting for Conor McPherson ’s (The Weir, Girl from the North Country ), new adaptation of Uncle Vanya directed by Ian Rickson (Jerusalem, The Seagull ). Rosalind Eleazar (The Personal History of David Copperfield, Deep Water, The Starry Messenger ), Aimee Lou Wood (Sex Education, Downstate ), the Emmy Award-winning Anna Calder-Marshall (LOVE, Evening at the Talk House, Male of the Species ), the Olivier and Tony-award nominated Dearbhla Molloy (The Ferryman, Dancing at Lughnasa, Juno and the Paycock ), Peter Wight (The Birthday Party, Hamlet, The Red Lion ) and Olivier Award-nominated Ciarán Hinds (Translations, Game of Thrones, Girl from the North Country ) will perform alongside the previously announced Toby Jones and Richard Armitage . The production will run for sixteen weeks at the Harold Pinter Theatre from 14th January 2020 with Opening Night on Thursday 23rd January 2020. Tickets are on sale now. In the heat of summer, Sonya ( Aimee Lou Wood ) and her Uncle Vanya ( Toby Jone s) while away their days on a crumbling estate deep in the countryside, visited occasionally only by the local doctor Astrov ( Richard Armitage ). However, when Sonya’s father Professor Serebryakov ( Ciarán Hinds ) suddenly returns with his restless, alluring, new wife Yelena ( Rosalind Eleaza r) declaring his intention to sell the house, the polite facades crumble and long repressed feelings start to emerge with devastating consequences. Olivier Award-winner Conor McPherson ’s stunning new adaptation of Anton Chekhov’s masterpiece, Uncle Vanya , is a portrayal of life at the turn of the 20th century, full of tumultuous frustration, dark humour and hidden passions. Critically acclaimed director Ian Rickson returns to Chekhov for the first time since his landmark production of The Seagull in 2007, reuniting with BAFTA and Olivier Award-winner Toby Jones (The Birthday Party ) alongside Richard Armitage , who returns to the UK stage six years after his Olivier Award-nominated performance in The Crucible . Uncle Vanya is the eleventh collaboration between Ian Rickson and Sonia Friedman Productions , with previous productions including Rosmersholm, Jerusalem, The River, Betrayal and The Children’s Hour . Uncle Vanya is designed by Rae Smith , with lighting by Bruno Poet , music by Stephen Warbeck , sound by Ian Dickinson and casting by Amy Ball CDG . unclevanyaplay.com Up Up

Back to Productions HARRY POTTER AND THE CURSED CHILD This production began performances on 7th June 2016 with an official opening night on 30th July 2016. ★★★★★ British theatre hasn’t known anything like it for decades. A triumph. The Daily Telegraph Harry Potter and the Cursed Child is currently playing at: The Palace Theatre, West End The Lyric Theatre, Broadway Mehr! Theatre, Hamburg TBS Akasaka ACT Theater, Japan U.S Tour The Netherlands The production will be at The Circus Theatre, Netherlands in their 2026/2027 season. 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. ★★★★★ A theatre production of immense wonder. The Independent Based on an original new story by J.K. Rowling , Jack Thorne and John Tiffany , Harry Potter and the Cursed Child , a new play by Jack Thorne received its world premiere in London’s West End at the Palace Theatre in 2016. Since then, the production has gone on to open or announce in the following cities: The Lyric Theatre, New York Princess Theatre, Melbourne Curran, San Francisco Mehr! Theatre, Hamburg Ed Mirvish Theatre, Toronto TBS Akasaka ACT Theater, Japan The Netherlands Written by Jack Thorne and directed by Olivier and Tony award winner John Tiffany , 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, bringing together some of the most exciting talent working in the theatre today. Harry Potter and the Cursed Child is produced by Sonia Friedman Productions , Colin Callender and Harry Potter Theatrical Productions . ★★★★★ For once the so-called theatrical event of the year really is just that. Evening Standard CAST West End Cast Broadway Cast North American Tour Cast Hamburg Cast Tokyo Cast Netherlands Cast CREATIVES J.K. ROWLING – Original Story JACK THORNE – Original Story & Playwright JOHN TIFFANY – Original Story and Director STEVEN HOGGETT – Movement Director CHRISTINE JONES – Set Designer KATRINA LINDSAY – Costume Designer IMOGEN HEAP – Composer & Arranger NEIL AUSTIN – Lighting Designer GARETH FRY – Sound Designer JAMIE HARRISON – Illusions and Magic MARTIN LOWE – Music Supervisor & Arranger

Back to Productions INK This production began performances on 9th September 2016 and closed on 9th January 2018. ★★★★★ A play for today. The blazingly talented James Graham has penned a super, soaraway smash. Daily Telegraph Fleet Street. 1969. The Sun rises. A young and rebellious Rupert Murdoch asks the impossible and launches The Sun’s first editor’s quest: to give the people what they want. No matter the cost. ★★★★ A gripping piece of theatre The Guardian Following a sell-out season at the Almeida, Ink , written by James Graham (This House ) and directed by Rupert Goold (King Charles III ), transfers to the Duke of York’s Theatre for a strictly limited season. With a cast featuring Bertie Carvel (Doctor Foster, Matilda ) and Richard Coyle (The Associate, The Lover ), this ruthless, red-topped new play leads with the birth of this country’s most influential newspaper. ★★★★ Rupert Goold’s production pulses with energy Evening Standard CAST OLIVER BIRCH RACHEL CAFFREY BERTIE CARVEL PEARL CHANDA JONATHAN COY RICHARD COYLE GEOFFREY FRESHWATER JACK HOLDEN JUSTIN SALINGER SOPHIE STANTON TIM STEED TONY TURNER RENE ZAGGER NATALIE LAW – Ensemble ANDREW MCDONALD – Ensemble JONNY MCPHEARSON – Ensemble OWEN OLDROYD – Ensemble JOEL SAMUELS – Ensemble CREATIVES JAMES GRAHAM – Playwright RUPERT GOOLD – Director BUNNY CHRISTIE – Designer NEIL AUSTIN – Lighting Designer ADAM CORK – Sound and Composition JON DRISCOLL – Video LYNNE PAGE – Choreography and Movement Direction ANNE MCNULTY CDG – Casting REBECCA FRECKNALL – Associate Director

Back to Productions DEALER'S CHOICE This production began performances on 6th December 2007 and closed on 29th March 2008. This is it. This is the play that will remind you why we go to the theatre. Unmissable. Daily Telegraph When a stranger joins the regular poker game at Stephen's restaurant, the stakes are high and winning has its price. An explosive and hilarious evening unfolds as father and son are pitted against each other and friendships are tested to breaking point. This brilliant revival of Patrick Marber’s drama is about poker players, but really it’s about obsession; how it drives and torments you, saves or destroys you. Samuel West’s masterly Menier production boasts a 24-carat cast. Sunday Times The Menier Chocolate Factory 's record-breaking, sold-out production of Patrick Marber 's play, directed by Samuel West , transferred to Trafalgar Studios for a West End season. Following huge critical acclaim and a sold-out season at the Menier Chocolate Factory, Dealer's Choice transferred to the Trafalgar Studios in London's West End for a strictly limited season from 6 December. Actor-Director Samuel West (former artistic director of the Crucible Theatre , Sheffield) returns to London to direct the first major London revival of Patrick Marber 's debut play Dealer's Choice . The play premiered at the National Theatre and received the 1995 Evening Standard Award for Best Comedy and the Writer's Guild Award for Best West End Play. Marber 's other work includes Closer (both the stage play and the screenplay) and the screenplay for the Oscar-nominated film Notes on a Scandal , starring Judi Dench and Cate Blanchett . An extraordinary cast includes Samuel Barnett (The History Boys ; Mrs Henderson Presents ); Ross Boatman (8 series of London's Burning ); Roger Lloyd Pack (Only Fools and Horses ; The Vicar of Dibley ; Harry Potter ); Jay Simpson (Foyle's War ; Primeval ; Rome ); Malcolm Sinclair (The History Boys ; V for Vendetta ; Casino Royale ) and Stephen Wight (Don Juan in Soho ). A beautifully pitched production by Samuel West Financial Times CAST SAMUEL BARNETT – Carl ROSS BOATMAN – Sweeney ROGER LLOYD PACK – Ash JAY SIMPSON – Frankie MALCOLM SINCLAIR – Stephen STEPHEN WIGHT – Mugsy CREATIVES PATRICK MARBER – Playwright SAMUEL WEST – Director TOM PIPER – Designer NEIL AUSTIN – Lighting Designer GARETH OWEN – Sound Designer TERRY FAVIES – Composer

Back to Productions OEDIPUS – BROADWAY Following a sell-out, five-star run at the Wyndham's Theatre, this production transferred to Broadway's Studio 54 in November 2025 and ran until February 2026. ★★★★★ 'There will not be a more powerful production in the UK this year. It is electric' Susannah Clapp, The Observer Oedipus won the following Olivier Awards 2025: Best Revival Best Actress – Lesley Manville Oedipus won the following Critic's Circle Awards 2025: Best Director – Robert Icke Best Actor – Mark Strong Best Actress – Lesley Manville Behind every great man is a great woman. Election night. The polls predict a landslide victory. Everything is about to change. Starring the internationally renowned, multi-award-winning Mark Strong and Lesley Manville, Sophocles’ epic tragedy is transformed into an essential, explosive human thriller. ★★★★★ 'Robert Icke's retelling is riveting from beginning to end’ The Guardian After his revelatory Oresteia , visionary director Robert Icke (1984, The Doctor ) reimagines another Ancient Greek tragedy, bringing the secrets of the past bursting into the present. Following hit runs at International Theatre Amsterdam, the Edinburgh Festival, and the Wyndham’s Theatre on London's West End, Oedipus is coming to Broadway for a strictly limited season this November. For more information and to sign up, click here . ★★★★★ 'Oedipus has never looked sharper, slicker or more modern' Mail on Sunday CAST MARK STRONG – Oedipus LESLEY MANVILLE – Jacosta JOHN CARROLL LYNCH - Creon TEAGLE F. BOUGERE - Driver SAMUEL BREWER - Teiresias ANI MESA-PEREZ - Lichas, U/S Antigone BHASKER PATEL - Corin OLIVIA REIS - Antigone JORDAN SCOWEN - Eteocles JAMES WILBRAHAM - Polyneices ANNE REID - Merope BRIAN THOMAS ABRAHAM - Ensemble, U/S Corin, U/S Teiresias, U/S Driver DENISE CORMIER - Ensemble, U/S Jocasta, U/S Merope KARL KENZLER - Ensemble, U/S Oedipus, U/S Creon OLIVER ROWLAND-JONES - Ensemble, U/S Polyneices, U/S Eteocles, U/S Lichas CREATIVES ROBERT ICKE – Director HILDEGARD BECHTLER – Set Design WOJCIECH DZIEDZIC – Costume Design NATASHA CHIVERS – Lighting Design TOM GIBBONS – Sound Design TAL YARDEN – Video Design JULIA HORAN CDG – Casting Director

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

Back to Productions STEREOPHONIC – BROADWAY This production began performances on 3 April 2024 with an official opening on 19 April 2024. Stereophonic is the most Tony-nominated play of all time. Already a must-see American classic. A staggering, ingeniously entertaining achievement. New York Times Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough. In Stereophonic, Adjmi invites the audience to immerse themselves—with fly-on-the-wall intimacy—in the powder keg process of a band on the brink of blowing up. A brilliant piece of must-see Broadway. Stereophonic is not to be missed. Don't wait. Tickets will be hard to get. Chicago Tribune In his Critic’s Pick review, Jesse Green of The New York Times exclaimed, “The play, Adjmi’s best so far, is as rich and lustrous as they come. You could even call it platinum,” while praising Aukin’s “relentlessly compelling production.” Jackson McHenry of New York Magazine enthused, “If you’ve recently tried to sate yourself with imitation-crab rock-history dramatizations, you’ll find that Stereophonic is, refreshingly, the real thing.” And David Cote of The Observer, lauded Stereophonic “an instant classic”. Theatrical solid gold. All the tiny details, wild rhythms, and clever hooks add up to a brave, breathtaking work. The result: A classic. Variety CAST Reprising their highly lauded performances, casting includes: WILL BRILL – Reg ANDREW R. BUTLER – Charlie JULIANA CANFIELD – Holly ELI GELB – Grover TOM PECINKA – Peter SARAH PIDGEON – Diana CHRIS STACK – Simon CREATIVES DAVID ADJMI – Playwright DANIEL AUKIN – Director WILL BUTLER – Music DAVID ZINN – Scenic Designer ENVER CHAKARTASH – Costume Designer JIYOUN CHANG – Lighting Designer RYAN RUMERY – Sound Designer JUSTIN CRAIG – Music Director ALAINE ALLDAFFER – Casting TAYLOR WILLIAMS – Casting

Back to News & Press Sonia Friedman will executive produce The Dresser for BBC Two Wednesday, 19 November 2014 The Dresser will be executive produced by Sonia Friedman for Sonia Friedman Productions, Colin Callender for Playground Entertainment and Ben Stephenson for the BBC. Sir Richard Eyre will direct the evocative portrait of theatre life backstage, commissioned by BBC Drama and BBC Arts for BBC Two. Inspired by Ronald Harwood’s own experiences as dresser to distinguished actor-manager Sir Donald Wolfit and set against the backdrop of World War II. The play explores the tempestuous relationship between ailing actor-manager 'Sir' (Anthony Hopkins) who runs a troupe of traveling Shakespearean players and his devoted dresser Norman (Ian McKellen) as they struggle to hold together their touring company. Up Up