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  • J'Ouvert Nominated for Best Play at the Black British Theatre Awards

    Back to News & Press J'Ouvert Nominated for Best Play at the Black British Theatre Awards Wednesday, 13 October 2021 The nominees have been unveiled for this year's Black British Theatre Awards, celebrating the best in Black British Talent. Congratulations to Yasmin Joseph, Rebekah Murrell, the cast and entire creative team on their nomination for Best Play for J’Ouvert at the Harold Pinter Theatre. The BBTAs, now in their third year, will announce winners next month: returning to the elegance of the Old Finsbury Town Hall, home of its inaugural ceremony, on Sunday 21 November 2021. Up Up

  • Mean Girls musical movie announced and Broadway production recoups capitalization

    Back to News & Press Mean Girls musical movie announced and Broadway production recoups capitalization Thursday, 23 January 2020 Producers of the Broadway hit Mean Girls announced today that the musical is now set to be adapted to a major motion picture from Paramount Pictures. It has also been confirmed that the Broadway production has recouped its capitalization. The producers are now in final discussions for Mean Girls to bow in London’s West End in late Spring of 2021. More details to be announced soon. Mean Girls is playing at the August Wilson Theatre (245 West 52nd Street, NYC), where it has broken multiple box office records, and across the US on a National Tour. For more information, visit . Producer Lorne Michaels said, “It has been a joy to work on Mean Girls and to watch it go from film, to musical, and now to musical film. I am very proud that Tina’s story and characters continue to resonate with new generations. We are all excited to continue to work with Sonia Friedman and her team as we prepare for London.” Tina Fey , writer of Mean Girls on screen and stage, said, “I’m very excited to bring Mean Girls back to the big screen. It's been incredibly gratifying to see how much the movie and the musical have meant to audiences. I've spent sixteen years with these characters now. They are my Marvel Universe and I love them dearly.” Said Elizabeth Raposo , President of Production for Paramount Pictures, “We’re thrilled to be bringing this iconic property back to the big screen in musical form, and look forward to sharing the Mean Girls world with longtime fans as well as a new generation of burn book enthusiasts.” Produced by Lorne Michaels , Stuart Thompson , Sonia Friedman , and Paramount Pictures , Mean Girls features a book by nine-time Emmyâ Award winner Tina Fey , based on her screenplay for the film, music by three-time Emmyâ Award winner Jeff Richmond , and lyrics by two-time Tony Awardâ nominee Nell Benjamin . Tony Awardâ winner Casey Nicholaw directs and choreographs. Cady Heron may have grown up on an African savanna, but nothing prepared her for the wild and vicious ways of her strange new home: suburban Illinois. How will this naïve newbie rise to the top of the popularity pecking order? By taking on The Plastics, a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung. The Broadway cast of Mean Girls is currently led by Erika Henningsen as Cady Heron, Reneé Rapp as Regina George, Krystina Alabado as Gretchen Wieners, Kate Rockwell as Karen Smith, Barrett Wilbert Weed as Janis Sarkisian,Grey Henson as Damian Hubbard, Catherine Brunell as Mrs. Heron / Ms. Norbury / Mrs. George, Cheech Manohar as Kevin Gnapoor, Rick Younger as Mr. Duvall and Cameron Dallas as Aaron Samuels (through February 9th only). The cast also includes Aaron Alcaraz , Darius Barnes , Stephanie Lynn Bissonnette , Maria Briggs , Collins Conley , Cailen Fu , Devon Hadsell , Curtis Holland , Sasha Hollinger , Olivia Kaufmann , Brittany Nicholas , Pascal Pastrana , Becca Petersen , Drew Redington , Jake Swain , Riza Takahashi , Daryl Tofa , Teddy Toye , Bria Jené Williams , Gianna Yanelli and Iain Young . Mean Girls (Original Broadway Cast Recording) , produced by Atlantic Records , is now available. Up Up

  • Theatre stands on the brink of ruin

    Back to News & Press Theatre stands on the brink of ruin Wednesday, 20 May 2020 British theatre is on the brink of total collapse. All the performing arts – theatre, dance, opera, comedy, theatre in education, Christmas pantomime, community shows – are facing the real possibility of complete obliteration. I know it sounds melodramatic. It beggars belief – but it is a statement of fact. Without an urgent government rescue package, 70 per cent of our performing arts companies will be out of business before the end of this year. More than 1,000 theatres around the country will be insolvent and might shut down for good. The loss is inconceivable. What we take for granted has taken generations to create. It would be irrecoverable. We need our government to step up and step in – sharpish. There is no time to waste. Imagine the next six months. One by one, our arts and cultural organisations will have to spend their reserves until there is nothing left. They will have no alternative but to enter administration: the Young Vic in November, Shakespeare’s Globe and the Old Vic shortly after. Southampton has already lost its producing theatre, the Nuffield. Others could soon follow: Bristol, Edinburgh, Leeds, Sheffield. Unless there is intervention, we’ll watch the Royal Shakespeare Company close down, the Royal Opera House and Sadler’s Wells, even the National Theatre itself: all will be gone by December. All West End theatres will be mothballed. Dark. We cannot let this happen. Theatre is my life – my company has shut down and suspended over 18 productions globally in the past 10 weeks – but I know very well that theatre is not alone in the struggle against this historic crisis. It is not a special case, but the problem it is facing is a unique case and painfully simple. Since shutting their doors in mid-March, theatre companies have had virtually no income at all. The business of commercial and subsidised theatres is built on box-office revenue. Everything else is extra. We’ve no other means of earning money. Theatre can’t offer takeaways. It can’t shift its business online, welcome though the streaming of our shows has been. Arts and cultural organisations have lost 95 per cent of their income. Theatre has been hit hardest of all. The three-month shutdown has meant £330 million of income lost. As of now, we’re staring at a closure lasting six to nine months. It could even be a year or more. Costs carry on regardless, of course, even reduced to the bare minimums. Basic overheads alone are patently unsustainable without income. It costs £30,000 a week to keep a West End playhouse closed. The National is losing millions every month. Many theatres missed out on insurance claims. All have watched advance ticket sales fall away. Reserves are already running dangerously low. Only the Government’s brilliant job-retention scheme has kept our industry afloat this far – and the second it stops, theatres will sink. I am pleased to hear of the appointment of Neil Mendoza as Commissioner for Cultural Recovery and Renewal and hope his arrival will mark the beginning of a swift and productive dialogue between government and the arts sector. This damage is not just limited to theatre buildings. Across the country, commercial theatre productions have closed. Without assistance, many of these productions will not reopen. Even large-scale, long-running hits are at risk. Regional theatres dependent on income from tours will lose the very shows that might help them survive. We know the lockdown will not last for ever, but when it ends theatre’s problems don’t disappear. To put it bluntly, theatre is incompatible with social distancing. It just doesn’t stack up. Putting to one side the problems of staging plays (imagine keeping Romeo and Juliet two metres apart), social distancing would limit theatres to selling one seat in six. Most theatres need to sell 60 per cent of seats just to survive. The shortfall is not sustainable. If we want theatres to re-open, they will, for a time, until another solution is found, still need financial support. The economic logic of such support, long-term, is self-evident. Theatre makes this country far more than it receives in subsidy. Its value to London’s economy alone is roughly £5 billion a year. Restaurants and many kinds of retailers benefit from, some rely on, our audiences. Theatre adds £2 billion to the capital’s critical tourism sector. As we face an uncertain economic future, theatre can and must play its part in our recovery. But that’s not the true value of theatre. Imagine our cultural landscape without it. Imagine our country. The performing arts are part of the fabric of our lives. Nationwide, 40 per cent of households go to the theatre every year: family outings to pantos, school trips to Shakespeare, the free-for-all of the Edinburgh Fringe, the largest arts festival anywhere on the planet. Britain’s theatres draw annual audiences of 34 million – twice that of the Premier League. Our theatre makers are world-class and world-leading. British-born shows have spread around the world, from Broadway to Beijing. Theatre is a broad church – big-budget musicals to rural tours, large-scale community shows to cutting-edge performance art. Together they provide the key pipeline for talent, feeding Britain’s burgeoning television and film industries. Phoebe Waller-Bridge of Fleabag, and John Boyega of Star Wars; Oscar winners Sam Mendes and Danny Boyle; Marianne Elliott, Phyllida Lloyd and Stephen Daldry – multiple Olivier and Tony award winners – all cut their teeth on stage. Lose theatre and we lose a launch pad that is second to none. But theatre is also far more than the shows on its stages. Arts organisations are woven deep into our society. They play a huge and, often, central role in local communities. They are beacons of civic life, public spaces open to all, where youth groups, tea dances, spoken word sessions and education programmes can take place. Across the country, theatre companies reach out to all manner of people, from Clean Break’s work with female prisoners to Slung Low’s management of a working men’s club in Leeds. Theatres are the buildings that bring us together – and if anyone ever doubted the necessity of that, the current lockdown surely provides a rebuttal. Our stages will hold the stories that help us collectively process what this country has been through. Theatres will play a huge part in helping our society – our nation – to heal. Like never before all these organisations are vulnerable. They are inextricably interconnected: a cross-country network of artistic collaboration. Once gone, British theatre is lost for good. An ecosystem as intricate and evolved as ours, shaped over 70 years, is beyond price. It cannot be rebuilt from scratch. As of now, without support, it is in grave danger. Protecting and preserving what we have will cost far, far less than reconstructing it from the ruins. It is time to act. Up Up


    Back to Productions BENEFACTORS This production began performances on 25th June and closed on 28th September 2002. ​ ​ Spanning a period of 15 years, this moving, funny and dazzlingly written piece explores the intricate interactions of two neighbouring couples. Jane and David are successful, apparently happy professionals while Sheila and Colin seem more insecure and isolated. All of their lives, however, are about to change. ​ ​ This brand new production of Michael Frayn 's Olivier Award-winning play BENEFACTORS reunites the creative team behind The Royal National Theatre's smash hit production of his record breaking comedy Noises Off. BENEFACTORS charts four people's private and public journeys, set against the ever changing landscape of modern Britain. ​ ​ CAST SYLVESTRA LE TOUZEL – Jane ADEN GILLET – David NEIL PEARSON – Colin EMMA CHAMBERS – Sheila CREATIVES MICHAEK FRAYN – Playwright JEREMY SAMS – Director ROBERT JONES – Designer TIM MITCHELL – Lighting Designer JOHN LEONARD – Sound Designer ANNA LINSTRUM – Associate Direction


    Back to Productions A DAY IN THE DEATH OF JOE EGG This production began performances on 25th September 2001 and closed on 26th January 2002. ​ ​ ​ ​ Sonia Friedman for the Ambassador Theatre Group and Adam Kenwright presnt “A DAY IN THE LIFE OF JOE EGG ” by Peter Nichols . ​ ​ CAST CLIVE OWEN/EDDIE IZZARD – Bri VICTORIA HAMILTON – Sheila ELIZABETH HOLMES-GWILLIM/SEOPHIE BLEASDALE – Joe JOHN WARNABY – Freddie ROBIN WEAVER – Pam PRUNELLA SCALES – Grace CREATIVES PETER NICHOLS – Playwright LAURENCE BOSWELL – Director ES DEVLIN – Designer ADAM SILVERMAN – Lighting Designer FERGUS O'HARE – Sound Designer

  • The Inheritance is nominated in the 2020 Drama Desk Awards

    Back to News & Press The Inheritance is nominated in the 2020 Drama Desk Awards Monday, 20 April 2020 The Inheritance has received a total of six nominations in this year’s Drama Desk Awards: Outstanding Play The Inheritance, by Matthew Lopez Outstanding Actor in a Play Kyle Soller, The Inheritance Outstanding Featured Actor in a Play Paul Hilton, The Inheritance Outstanding Featured Actress in a Play Lois Smith, The Inheritance Outstanding Director of a Play Stephen Daldry, The Inheritance Outstanding Sound Design for a Play Paul Arditti and Christopher Reid, The Inheritance The 65th Annual Drama Desk Awards will take place on Sunday, May 31 and winners will be revealed online instead of at the annual Town Hall ceremony. Additional details on the digital ceremony will be released at a later date and we will let you know as soon as they become available. The full list of nominees can be accessed on the Drama Desk website at the address below. Up Up


    Back to Productions THE FERRYMAN This production began performances on 24th April and closed on 20th May 2017. ★★★★★ A play crackling with life The Times “Vanishing. It’s a powerful word, that. A powerful word.” Rural Northern Ireland, 1981. The Carney farmhouse is a hive of activity with preparations for the annual harvest. A day of hard work on the land and a traditional night of feasting and celebrations lie ahead. But this year they will be interrupted by a visitor. ★★★★★ Butterworth and Mendes deliver shattering tale of passion and violence The Guardian Jez Butterworth’s The Ferryman , directed by Sam Mendes , won widespread critical acclaim during its run at the Jerwood Theatre, Royal Court from 24 April until 20 May 2017. The play, produced by Sonia Friedman Productions , Neal Street Productions and Royal Court Theatre Productions , was the fastest-selling show in the Royal Court’s history. ★★★★★ It has the feel of unearthed, instant classic The Independent CAST ELISE ALEXANDRE – Mercy Carney SOPHIA ALLY – Honor Carney BRÍD BRENNAN – Aunt Maggie Far Away PADDY CONSIDINE – Quinn Carney TURLOGH CONVERY – Lawrence Malone DARCEY CONWAY – Mercy Carney GRACE DOHERTY – Honor Carney LAURA DONNELLY – Caitlin Carney FRA FEE – Michael Carney TOM GLYNN-CARNEY – Shane Cocoran STUART GRAHAM – Muldoon JOHN HODGKINSON – Tom Kettle GERARD HORAN – Father Horrigan CARLA LANGLEY – Shena Carney DES MCALEER – Uncle Pat CONOR MACNIELL – Diarmaid Corcoran ROB MALONE – Oisin Carney MICHAEL MCCARTHY – Declan Corcoran DEARBHLA MOLLOY – Aunt Pat XAVIER MORAS SPENCER – Declan Corcoran CLARA MURPHY – Nunu Carney ANGEL O'CALLAGHAN – Nunu Carney EUGENE O'HARE – Frank Magenns GENEVIEVE O'REILLY – Mary Carney NIALL WRIGHT – JJ Carney CREATIVES JEZ BUTTERWORTH – Writer SAM MENDES – Director ROB HOWELL – Designer PETER MUMFORD – Lighting Designer NICK POWELL – Composer and Sound Designer

  • Tom Burke and Hayley Atwell to star in Duncan Macmillan's adaptation of Rosmersholm directed by Ian Rickson at the Duke of York's Theatre

    Back to News & Press Tom Burke and Hayley Atwell to star in Duncan Macmillan's adaptation of Rosmersholm directed by Ian Rickson at the Duke of York's Theatre Friday, 1 February 2019 Henrik Ibsen ’s classic examination of a country in state of political flux has been adapted by Duncan Macmillan (People, Places and Things, 1984, Every Brilliant Thing ). The sharply prescient play will be directed by Ian Rickson (Jerusalem, The Birthday Party, Translations ), with set and costumes by Rae Smith , lighting by Neil Austin , music by Stephen Warbeck , sound by Gregory Clarke and casting by Amy Ball CDG . ‘‘Now I see that love is selfish. It makes you a country of two. At war with the rest of the world.” An election looming. A country on the brink. A rabid press baying for blood. At the centre of the storm is Rosmersholm, the grand house of an influential dynasty. This is where the future will be decided by John Rosmer – a man torn between the idealised hope of the future and the ghosts of his past. The role of John Rosmer will be played by Tom Burke who was recently seen on the London stage in The Deep Blue Sea at the National Theatre and Reasons to Be Happy at Hampstead Theatre. He is best known for playing the lead role in Strike , the BBC television adaptation of the Cormoran Strike novels by JK Rowling, published under the pseudonym Robert Galbraith. Other notable television roles include Athos in the BBC series The Musketeers and Dolokhov in the BBC literary-adaptation miniseries War and Peace . His latest film, The Souvenir , premiered at this year’s Sundance Festival. Hayley Atwell will play the role of Rebecca West. A prolific actress across stage, TV and film, her most recent theatre work includes Measure for Measure at the Donmar, Dry Powder at Hampstead Theatre and The Pride at Trafalgar Studios. She won great acclaim for her performances in the BBC adaptations of Howards End and The Long Song last year. Widely known as Peggy Carter in the Marvel Cinematic Universe and subsequent TV series Agent Carter , she also starred in The Duchess , Kenneth Branagh’s Cinderella and most recently Christopher Robin . Her latest film Blinded by the Light , directed by Gurinder Chadha and based on the book by Sarfraz Manzoor premiered at Sundance 2019. Further casting will be announced soon. Rosmersholm is the tenth collaboration between Sonia Friedman Productions and director Ian Rickson following celebrated West End productions of Harold Pinter’s The Birthday Party, Old Times and Betrayal , and Jez Butterworth’s Jerusalem (West End and Broadway), The River (Broadway) and Mojo (West End). He also worked with SFP on productions of The Children’s Hour (West End) and Electra at the Old Vic and The Seagull on Broadway. Rickson was artistic director of the Royal Court from 1998 to 2006. His recent stage productions include Translations, Evening at the Talk House and The Red Lion (National Theatre), The Goat, or Who Is Sylvia? (West End), Against (Almeida Theatre) and The Nest (Lyric Belfast/Young Vic). Duncan Macmillan is an award-winning writer and director who previously collaborated with Sonia Friedman Productions on the West End and Broadway run of 1984 , which he co-adapted/co-directed with Robert Icke. His other plays include People Places and Things which enjoyed huge success in London and New York, Lungs, Every Brilliant Thing, 2071 (co-written with Chris Rapley), The Forbidden Zone and most recently City of Glass adapted from Paul Auster’s novel. Rosmersholm will play at the Duke of York’s Theatre from April 24th, with an opening night of May 2nd. The run will end of July 20th. Tickets are on sale from Friday 1st February at 1pm with 20% of all tickets available at £25 or less. Up Up


    Back to Productions UNCLE VANYA This production opened on 14th January and closed 15th March 2020. ★★★★★ An exquisite production. Perfection. The Guardian In the heat of summer, Sonya ( Aimee Lou Wood ) and her Uncle Vanya ( Toby Jones ) 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 Eleazar ) declaring his intention to sell the house, the polite facades crumble and long-repressed feelings start to emerge with devastating consequences. ★★★★ Ian Rickson’s striking revival. Such compassion, such life. The Times Olivier Award-winner Conor McPherson ’s stunning new adaptation of the Anton Chekhov 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 stage six years after his Olivier Award-nominated performance in The Crucible. 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 . Don’t miss this astonishing combination of creative talent as they breathe new life into the treasured Chekhov classic. We’re thrilled that this production is now available for schools and universities to watch via DigitalTheatre+. ★★★★ This is a Vanya for our times. Evening Standard CAST TOBY JONES – Vanya RICHARD ARMITAGE – Astrov ROSALIND ELEAZAR – Yelena AIMEE LOU WOOD – Sonya ANNA CALDER-MARSHALL – Nana DEARBHLA MOLLOY – Grandmaman PETER WRIGHT – Telegin CIARÁN HINDS – Professor Serebryakov CREATIVES Adapted by CONOR MCPHERSON IAN RICKSON – Director RAE SMITH – Designer BRUNO POET – Lighting Designer STEPHEN WARBECK – Composer IAN DICKENSON – Sound Designer AMY BALL CDG – Casting Director


    Back to Productions THE PIANO LESSON This production began performances on 19th September 2022 and closed on 29th January 2023. Samuel L. Jackson is mesmerizing. The Hollywood Reporter A battle is brewing in the Charles household. At the centre lies the family’s prized heirloom piano. On one side, a brother plans to build the family fortune by selling it. On the other, a sister will go to any length to keep it and preserve the family history. Only their uncle stands in between. But even he can’t hold back the ghosts of the past. Danielle Brookes's firey defiance is riveting/ New York Post August Wilson ’s Pulitzer Prize-winning masterwork THE PIANO LESSON returns to Broadway in the event of the season, starring Academy Award® winner Samuel L. Jackson , Screen Actors Guild Award® nominee John David Washington , and Tony® and Emmy® nominee Danielle Brooks , directed by Tony nominee LaTanya Richardson Jackson . THE PIANO LESSON is the play for now. It reaches into the souls of the present, revealing startling truths about how we perceive our past—and who gets to define our legacy. John David Washington is spectacular. The Wrap CAST SAMUEL L. JACKSON – Doaker Charles JOHN DAVID WASHINTON – Boy Willie DANIELLE BROOKS – Berniece TRAI BYERS – Avery APRIL MATTHIS – Grace RAY FISHER – Lymon MICHAEL POTTS – Wining Boy CREATIVES AUGUST WILSON – Playwright LATANYA RICHARDSON JACKSON – Director BEOWULF BORITT – Set Designer TONI-LESLIE JAMES – Costume Designer JAPHY WEIDEMAN – Lighting Designer SCOTT LEHRER – Sound Design COOKIE JORDAN – Wigs, Hair and Make-Up JEFF SUGG – Projection Design ALVIN HOUGH JR – Music & Music Direction THOMAS SCHALL – Fight Director KATE WILSON – Dialect Coach CALLEERI JENSEN DAVIS – Casting OTIS SALLID – Choreograoher

  • Team

    OUR TEAM SONIA FRIEDMAN Producer Since 1990, Sonia Friedman CBE has developed, initiated, and produced over 190 new productions, and together with her company, she has won 61 Olivier Awards, 39 Tonys, and 3 BAFTAs. In 2019, Sonia was awarded ‘Producer of the Year’ at the Stage Awards for a record-breaking fourth time. In 2018, Friedman was also featured in TIME 100, a list of Time Magazine’s 100 Most Influential People in the World. In 2017, she took the number one spot in ‘The Stage 100’, becoming the first number one in the history of the compilation not to own or operate West End theatres and the first solo woman for almost 20 years. ​ Prior to forming SFP, Sonia spent three years as the producer for the Ambassador Theatre Group. Before joining ATG she was the producer and co-founder of Out of Join t, now one of Britain's leading theatre companies. From 1989 to 1993 she was a producer at the National Theatre, specialising in touring productions and theatre for young people. DIANE BENJAMIN Executive Director Diane joined SFP in 2005, initially as General Manager before assuming the position of Executive Director in 2012. Before that, she had spent four years as Business Affairs Manager at the Ambassador Theatre Group, having previously established and overseen the National Theatre’s Contracts Department from 1987 until 2001. PAM SKINNER Executive Producer Pam Skinner joined Sonia Friedman Productions in 2007 and has since been privileged to work closely on many of its award-winning plays and musicals both in London and on Broadway including; La Cage Aux Folles, Legally Blonde, The Book of Mormon, Merrily We Roll Along, Sunny Afternoon, Shakespeare In Love, Bend It Like Beckham, Funny Girl and Dreamgirls. As Executive Producer for Sonia Friedman Productions, she oversees the multi-award-winning Harry Potter and the Cursed Child worldwide. PRODUCTION ROS BROOKE-TAYLOR Executive Producer Prior to joining SFP, Ros has been General Manager at the Almeida Theatre, The Old Vic and Associate Producer at the National Theatre. DAVID ADKIN General Manager David joined SFP in 2023 having previously run his own producing and general management company as well as working with organisations including Robert Fox Limited, The Old Vic, Theatre Royal Stratford East, Theatre Royal Bath and The Donmar Warehouse. NICK MORRISON General Manager Nick joined SFP in 2023, following six years at the Donmar Warehouse, where he was Lead Producer of productions including the UK premières of Next to Normal and The Band’s Visit. Prior to this, he worked at Fiery Angel in production and business affairs. Nick graduated from the University of Cambridge with a degree in Law. CHARLIE BATH Associate Producer Charlie worked at Hampstead Theatre from 20212-2015, before joining SFP in 2015. Over the past eight years, Charlie has worked on productions in London, New York, Toronto, and on tour in the UK, as well as on several of SFP’s hybrid TV/theatre productions for the BBC. MAX BITTLESTON International Associate Producer Max joined SFP in 2014 and for over half a decade worked across a wide variety of different productions in the London, New York and San Francisco. Between 2019 and 2021, Max worked as a Producer for the award-winning 59 Productions, where he led design teams creating a number of unique digital presentations combining art and technology. Max re-joined SFP in 2021. Prior to 2014, Max worked as an independent Producer with shows at the Finborough, the Arcola and the Whitstable Playhouse. DAVID NOCK Associate Producer David started his theatre career at the Royal Court Theatre in 2009 before moving to SFP in 2011. AZERA JONES Associate Producer Azera joined SFP in 2018, she previously worked at the Arcola Theatre, the Ambassador Theatre Group and, most recently as Executive Administrator at the Donmar Warehouse, after assisting Kate Pakenham. Prior to this, she studied Theatre Studies at Lancaster University. AIMEE HULME Associate Producer Prior to joining in SFP, Aimee worked for eighteen years in Company and Stage manager on various productions in the West End and Internationally, including Harry Potter and the Cursed Child, Leopoldstadt and Fiddler on the Roof. ALEXANDRA BERMINGHAM Production Coordinator Prior to joining SFP, Alexandra has worked as a freelance Production Assistant at theatres such as Southwark Playhouse, Charing Cross Theatre, and the Cork Opera House. Alexandra graduated in 2018 with a BA (Hons) in English Literature and Drama with a minor in French Language and Culture from University College Cork (National University of Ireland). AVA MILLARD Production Coordinator Ava joined SFP in 2024, having most recently worked at Runaway Entertainment and before that, Adam Blanshay Productions. She studied Screenwriting at New York Film Academy and Writing and Producing Comedy for Channel 4 at the National Film and Television School. JARRED TED PAGE Production Coordinator Jarred joined SFP in 2024, having most recently worked as Production Coordinator on the London production of Mamma Mia! The Party. Prior to this he worked in TV production on shows including Channel 4’s Hunted. Jarred was also a Production Assistant at David Ian Productions. ANYA WINFUL Production Coordinator Prior to joining SFP, Anya was Production Assistant and Personal Assistant to Nick Starr and Tim Levy at The Bridge Theatre. Anya graduated from The Liverpool Institute for Performing Arts with a degree in Management of Music, Entertainment, Theatre and Events and was the 2022 recipient of the Anthony Field Producer Prize. BETH KELLY Production Assistant Beth studied English at the University of Cambridge, where, amongst multiple other productions, she was responsible for the first amateur UK production of Richard Greenberg’s The Dazzle, as well as producing a sold-out run of Macbeth. Prior to joining SFP, she worked as an administrative assistant in the railway engineering industry. MENGFEI LIU Production Assistant Originally from China, Mengfei studied Creative Industries at Auckland University of Technology in New Zealand and worked as an Assistant Talent Agent. She moved to London in 2019 to study Museum and Gallery Studies at Kingston University. Prior to joining SFP, she was the Production Administrator at the Young Vic. EMI STANIASZEK Production Assistant Emi studied Medieval and Modern Languages (French) at the University of Oxford, working at stock exchange group Euronext Paris on her year abroad and graduating in 2021. Before SFP, she was an assistant talent agent and was a member of the Go Live Theatre Projects Youth Forum for eight years. MACIEK ZDOBYLAK Production Assistant Maciek studied English Language and Literature at King’s College London. After graduating, he worked as a talent agent’s assistant for 4 years, before moving into the world of producing. Prior to joining SFP, he was a Production Assistant at the Young Vic. LEWIS NYANYO Office and Production Assistant Lewis graduated from the University for the Creative Arts with a BA (Hons) in Acting and Performance. Lewis joined SFP in 2022, initially as the Office Assistant before expanding his role and joining the production team in 2023. RONI BRUNO Company Liaison Coordinator Roni graduated at Laine Theatre Arts and performed in shows that included Starlight Express, Jesus Christ Superstar, and Little Shop Of Horrors. Roni, a Mental Health First Aider, has since developed a career in wellbeing, providing additional support at SFP productions to encourage motivation and good mental and physical health. DEVELOPMENT IMOGEN BRODIE Head of Creative Development Before joining SFP, Imogen was Director of Taking Part, at the Young Vic for 7 years. Before that she was the Director of Theatre at the BRIT School of Performing Arts. NICOLA MOSS Creative Development Producer Nicola joined SFP in 2022. She’s previously worked at Trafalgar Entertainment, Nick Grace Management, and most recently as Assistant Producer at Headlong. She graduated from the University of York in 2018 with a degree in Theatre: Writing, Directing and Performance. KAT PIERCE Creative Development Producer Kat joined SFP in 2021 as Production-Coordinator. Before working at SFP, Kat was Production and Development Assistant at Runaway Entertainment. Kat was a Trainee Performing Arts Producer at the Roundhouse and before that worked at Northern Stage. JACK BRADLEY Dramaturg Jack Bradley joined SFP in 2007. He was Literary Manager at the National Theatre from 1994-2006 advising on the repertoire for Richard Eyre, Trevor Nunn and Nicholas Hytner. From 1989-1994 he worked in new play development at the Soho Theatre. MATT TRUEMAN Creative Associate After a decade as a theatre critic and arts journalist, writing for a range of publications that included The Guardian, The Financial Times and Variety, Matt joined the Creative Development team at SFP in October 2019. He also sits on the board of the British American Drama Academy. SALES, TICKETING & MARKETING KRISTA TUCHSCHERER Chief Marketing Officer Krista is the global marketing lead on Harry Potter and the Cursed Child, and Stranger Things: The First Shadow. Prior to joining in November 2020 she was a Senior Account Director at AKA, working across numerous clients spanning musicals, plays, events and exhibitions, both in the West End and internationally. SOPHIE BEATTIE Sales and Ticketing Director Sophie has worked in the performing arts ticketing industry for the last 14 years, most recently working at The Old Vic as the Head of Box Office. She has been nominated twice as SOBOM’s Box Office Manager of the Year in both 2017 and 2018. MADISON LYMER International Sales and Revenue Director Originally from Canada, Madison joined SFP in 2021. She holds degrees from Queen’s University and Goldsmiths in Global Development and Arts Politics respectively. Previous roles include Business Development Manager at VAULT Creative Arts, where she is currently a trustee, and Producer for the Festival of Live Digital Art. CORDELIA MILLER Senior Marketing Manager Corey was the Resident Casting Associate at The 5th Avenue Theatre until 2022 and an Account Executive at AKA from 2014 - 2017. Prior experience includes Stage Management at A.C.T. San Francisco and California Shakespeare Theater. She is a graduate of Cornish College of the Arts with a BFA in Stage Management and Original Works. ELLIE SHORE Senior Marketing Manager, Harry Potter and the Cursed Child Ellie began her journey at LIPA followed closely by some freelance projects with ATG, Arcola Theatre, and SOLT/West End Live before joining GoLive. Following a wonderful seven years with the charity, Ellie joined Dewynters before moving down the road to be with the SFP family, now working on all-things marketing for HPACC. AMEIRA YANNI Digital Marketing and Content Manager Ameira is a British-Egyptian content strategist, writer and creative. Before joining SFP, she had marketing and content experience in the dramatic arts, public sector and startup world. She graduated from the University of the West of England in 2020 with a degree in Drama and Creative Writing. BUSINESS AFFAIRS GINNY SENNETT Head of Business Affairs Prior to SFP, Ginny has worked as Literary Contracts Manager at the National Theatre, and as Business Affairs Manager at Casarotto Ramsay & Associates (Theatre Department) and Alan Brodie Representation. Ginny graduated from Warwick University with a degree in English Literature, then from Kings College London and RADA with an MA in Text and Performance. CHARLOTTE TOOKE Business Affairs Associate Charlotte joined the team in 2022 having previously worked as an Australian-qualified solicitor in London. CHARLIE BROSNAN Business Affairs Assisstant Charlie joined the team in 2024, having worked as an Operations Manager in Dublin. She is a graduate from Trinity College Dublin, and has previously worked in the Gielgud and Noel Coward theatres and interned with several theatre production companies in London and in Dublin. ADMINISTRATION CAOIMHIN CALLAN Exe ucutive Assistant to Sonia Friedman Caoimhin joined SFP in 2022 and has since supported Sonia Friedman directly on all productions and business matters worldwide. Previously, Caoimhin worked at the National Theatre, British Youth Music Theatre UK, and Glynis Henderson Productions. Caoimhin holds a joint BA degree from King’s College London and the University of California. SERGIO PRIFTIS Personal Assistant to Sonia Friedman Sergio comes from Athens, Greece. He trained at The Guildford School of Acting on an Onassis Foundation Scholarship. Sergio performed in the West End productions of Chicago, Legally Blonde & War Horse, and several UK tours including Disney’s Beauty and the Beast, & The Rocky Horror Show. He joined SFP in 2015 as Sonia’s PA after assisting Kathleen Turner and Lindsay Lohan. MÀIRI MASON Assistant to the Executive Director Màiri joined SFP following three years at Shakespeare’s Globe. She has previously worked across the theatre industry in New York and Toronto, and has extensive experience supporting both individuals and organisations. MAWIYAH KNIGHT Office Administrator Prior to working at SFP, Mawiyah completed her Master's in Creative Writing and Publishing, a joint program between Lincoln University and the Guardian Newspaper. As a graduate of Oxford University with a Creative Writing Diploma, Mawiyah was led to work as part of the 2019 production team for the televised Black Girls Rock Award show and the BGR Fest music festival. FINANCE JACK DINGLE Finance Director Jack joined Sonia Friedman Productions in 2023 as Finance Director having previously held a range of mid and senior finance positions at AMC Networks, Avalon Management Group and the Royal Opera House. Jack trained as a Chartered Accountant at Deloitte. STEPHANIE TATAR Finance Assistant Stephanie graduated from The Liverpool Institute for Performing Arts in 2021 with a first-class degree in Dance. Prior to joining SFP, she worked as a finance assistant in the hydrographic industry – aiding offshore wind farms and oil field decommissioning. NEW YORK TEAM MOLLY REISMAN Production Coordinator Molly Reisman joined SFP in 2022, working previously at New York’s La MaMa Experimental Theatre Club and Tectonic Theatre Project. Molly holds a Master's degree in musical Theatre Writing from NYU and a Bachelor’s degree in Acting & Business Entrepreneurship from Toronto Metropolitan University. Want to join our team? Take a look at our job opportunities page. MORE INFO


    Back to Productions THE SUNSHINE BOYS This production began performances on 27th April and closed on 26th July 2012. Danny DeVito delivers something close to a masterclass in his West End debut. Watching DeVito on stage is a privilege. Evening Standard Kings of comedy, Willie Clark ( Danny DeVito ) and Al Lewis ( Richard Griffiths ) aka The Sunshine Boys haven’t spoken to each other in years. When CBS call for the vaudevillian greats to be re-united for a nostalgic History of Comedy, past grudges resurface as they take centre stage once more. Ageing ailments aside, can this legendary double-act overcome their differences for one last show? Old rivalry and vintage hilarity abound in Neil Simon’s classic comedy of showbiz and friendship. Hilarious. Danny DeVito dazzles. It is a privilege to see him owning one of our stages. Magic. The Times Thea Sharrock directs Danny DeVito and Richard Griffiths as the ageing vaudevillian team Willie Clark and Al Lewis in Neil Simon ’s award-winning comedy, The Sunshine Boys . Designs by Hildegard Bechtler with lighting by Neil Austin and sound by Ian Dickinson for Autograph. Sonia Friedman Productions , Richard Willis , Tulchin Bartner Productions , Roger Berlind , Rupert Gavin in association with Olympus Theatricals and Scott & Brian Zeilinger present “THE SUNSHINE BOYS ”. A golden evening that is full of joy and sunshine. This pitch-perfect production shows Danny DeVito and Richard Griffiths at the top of their game. Daily Telegraph CAST In order of appearance DANNY DEVITO – Willie Clark ADAM LEVY – Ben Silverman RICHARD GRIFFITHS – Al Lewis WILLIAM MAXWELL – Patient/Understudy Willie PETER CADDEN – Voice of TV Director/Understudy Al/Understudy Patient NICK BLAKELEY – Eddite/Understudy Ben REBECCA BLACKSTONE – Miss MacKintosh JOHNNIE FIORI – Registered Nurse OLIVER STONEY – Understudy Eddie/Understudy TV Director CLEMENTINE MARLOEW-HUNT – Understudy Miss MacKintosh/Understudy Registered Nurse CREATIVES THEA SHARROCK – Director HILDEGARD BECHTLER – Designer NEIL AUSTIN – Lighting ADRIAN JOHNSTON – Music IAN DUCKINSON – Sound

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