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 News & Press Announcing Paddington - The Musical Tuesday, 12 December 2023 Marking the 65th anniversary of the publication of the first Paddington book, Sonia Friedman Productions , STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce the development of Paddington: The Musical (working title), adapted from the much-loved books written by Michael Bond , and the award-winning films by STUDIOCANAL and Heyday Films. With music and lyrics by founding member of McFly , Tom Fletcher, book by Jessica Swale and direction by Luke Sheppard , the musical is currently undergoing a period of development and workshops. The plan is to premiere the production in the UK in 2025, with further details including full creative team, casting and dates to be announced at a later stage. Sonia Friedman and Eliza Lumley said today, “It is a privilege to be creating a new musical about this gorgeous and beloved little bear with such a wonderful team. The magic of Paddington is that, through his wide-eyed innocence, he sees the very best in humanity, reminding us that love and kindness can triumph if we open our hearts and minds to one another. We cannot wait to bring Paddington, his antics, adventures and mishaps with the Brown family, and Michael Bond’s other treasured characters to the stage. We hope to inspire audiences of all ages with fun, beauty, joy, and all that Paddington stands for.” STUDIOCANAL CEO Anna Marsh comments, "We could not be more delighted to see our beloved Paddington take to the stage shepherded by a talented and visionary team in Sonia and Eliza. They have opened their hearts to show a deep understanding and passion for Paddington that will no doubt transpire on stage and ensure that his adventures, created by Michael Bond over 60 years ago, continue to charm audiences in such a new and innovative way." Michael Bond ’s first book A Bear Called Paddington was published on 13 October 1958 by William Collins & Sons (now Harper Collins ). Since its first publication, the Paddington Books series have sold more than thirty-five million copies worldwide and have been translated into over forty different languages, including Latin. Paddington has been adapted for television several times – first by the BBC in 1976, voiced by Michael Hordern; and most recently adapted by STUDIOCANAL. Paddington has enjoyed two successful big-screen outings, both by STUDIOCANAL and Heyday Films – Paddington released in 2014, and Paddington 2 in 2017, enjoying critical and commercial acclaim and being nominated for multiple BAFTAs. It was recently announced that the third film in the series, Paddington in Peru , will be released on 8 November 2024. Tom Fletcher is the writer/co-writer of ten number-one singles and is one of the UK’s bestselling authors for children. He has also written and composed live shows The Christmasaurus and There’s a Monster in Your Show . Jessica Swale is an Olivier Award-winning playwright whose recent work includes Summerland , Nell Gwynn and Blue Stockings . Award-winning director Luke Sheppard ’s work includes & Juliet , Just For One Day , The Little Big Things , RENT , and What’s New Pussycat ? Up Up

Back to News & Press Sonia Friedman has been ranked as the top producer in the Stage 100 2020 Thursday, 2 January 2020 On Sonia Friedman , The Stage said: By her own extraordinary standards, 2019 was a slightly subdued year for Friedman, who last topped this list in 2017. Still, even in a relatively quiet year, Friedman managed to pick up seven Olivier and six Tony awards for her shows, while continuing the global roll-out of arguably the world’s hottest theatre brand. Sonia Friedman Productions’ critically acclaimed stagings of Summer and Smoke and The Inheritance closed in January, going on to scoop best revival and best new play respectively at the Oliviers. Ivo van Hove’s All About Eve did not quite land with critics, but it did superb business, thanks in no small part to its starry cast, led by Gillian Anderson and Lily James. Trevor Nunn’s revival of Fiddler on the Roof, which SFP transferred from the Menier Chocolate Factory, ran pretty much throughout the year, joining the ever-present Harry Potter and the Cursed Child and The Book of Mormon in the West End, while Mormon also embarked on its first UK and European tour. But the artistic highlight of Friedman’s UK output in 2019 was Rosmersholm: this Rolls-Royce revival of a rarely staged Ibsen play was hailed by the Guardian’s Michael Billington as his number one show of the past year: “I’d rate this one of the best Ibsen productions I’ve ever seen,” he said. “Everything about this production felt right.” Rosmersholm served as a welcome reminder that high-quality, classical drama can still thrive in the West End (just about) and it was a great example of the kind of top-class commercial theatre in which Friedman specialises. Internationally, it was all go. Ink and The Ferryman both triumphed at the Tony Awards and were followed on Broadway by the transfer of The Inheritance. This epic play about three generations of gay men in New York did not quite receive the ecstatic notices it had enjoyed in the West End. It will be interesting to see how it fares at this year’s Tony Awards. Her other Broadway productions included Mean Girls and The Jungle – a decent indication of the staggering range of SFP’s output. Meanwhile, the worldwide roll-out of Harry Potter continued apace with the show opening in Melbourne and San Francisco. Hamburg and Toronto follow in 2020. Back in London, 2020 is shaping up to be an exciting year, with a new Tom Stoppard, Leopoldstadt, plus a new adaptation of Uncle Vanya, a transfer of the US production of To Kill a Mockingbird, and the Almeida’s The Doctor already all lined up for West End runs. But amid all these glittering achievements there was one dark cloud: 2019 was the year that Friedman and her colleagues said goodbye to Teddy, her beloved Bichon Frise dog – a Theatreland icon in her own right and well known as “the real boss of SFP”, who died in May. Up Up

Back to News & Press Dreamgirls announces further venues for its first ever tour of the UK Friday, 28 February 2020 Sonia Friedman Productions is delighted to announce further venues and dates for Dreamgirls ’ first ever UK tour. Following on from performances in 2020 in Bristol, Milton Keynes, Blackpool, Aberdeen, Edinburgh and Birmingham, Dreamgirls will continue to tour in 2021 to Sunderland, Hull, Nottingham, Liverpool, Norwich, Canterbury and Leeds. Featuring the classic songs ‘And I Am Telling You I'm Not Going’, ‘Listen’ and ‘One Night Only’, this sensational, multi-award winning new production of Dreamgirls had its critically acclaimed West End Premiere in December 2016 at London’s Savoy Theatre, 35 years on from opening on Broadway. Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit. In 2006, Dreamgirls was adapted into an Oscar® winning motion picture starring Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx. Casting for the Dreamgirls UK tour will be announced soon. This award winning production is Directed and Choreographed by Olivier® and Tony® Award winning Casey Nicholaw (The Book of Mormon, Mean Girls, Disney’s Aladdin and Something Rotten!), with Set and Costume Design by Tim Hatley , Lighting Design by Hugh Vanstone , Sound Design by Richard Brooker , Hair Design by Josh Marquette and Music Supervision by Nick Finlow . With Book and Lyrics by Tom Eyen and Music by Henry Krieger , with Additional Material by Willie Reale , the original Broadway production of Dreamgirls , Directed and Choreographed by Michael Bennett , opened in 1981 and subsequently won six Tony® Awards. The original cast recording won two Grammy® Awards for Best Musical Album and Best Vocal Performance for Jennifer Holliday’s ‘And I Am Telling You I'm Not Going.’ The Original London Cast Recording of hit West End musical Dreamgirls is available via Sony Masterworks Broadway . The UK Tour of Dreamgirls is produced by Sonia Friedman Productions , Greenleaf Productions , Fakston Productions , Rupert Gavin , Tulchin Bartner Productions , Griffin Dohr , Adam Blanshay Productions in association with 1001 Nights Productions , Eighth Sea Incorporated , Glass Half Full Productions . Up Up

Back to News & Press James Graham's new short film People You May Know is released today Thursday, 20 May 2021 “Future schoolchildren, studying the great pandemic of 2020, are going to be able to draw their own map of person to person contact. We have it all, it’s all stored: every human interaction, every footstep, every message.” FT Assistant Editor Janine Gibson said: “Our goal for FT Film is to continue to innovate and develop compelling stories. In collaborating with the arts world, journalists can learn new ways of communicating the real-world impact behind the facts we uncover. The results, as shown by this film, can be truly powerful.” Sonia Friedman said: “Drama, like journalism, exists to ask important questions of the contemporary world and one of those questions is our relationship to data. The advantages of our information age have rarely been as overt as in this extraordinary year, but as James Graham’s potent and unsettling theatrical short film People You May Know makes clear, they are not without disconcerting and complicated trade-offs. James is a writer with the keenest of moral compasses, and his astute dramatic eye – along with pinpoint performances by Lydia West and Arthur Darvill – brings a flush of feeling to the Financial Times’ rigorous journalistic enquiry.” Martin Tisné , Managing Director, Luminate , said: “The collective nature of data means people are more impacted by other people’s data than by data about them. As the film perfectly demonstrates: the energy readings on my thermostat, the video feed from my door bell, even my satnav routes - these impact all of us. In the era of machine learning, individual denial of consent is close to meaningless. The Covid pandemic has accelerated this datafication. Our societies urgently need collective as well as individual data rights to chart a new course for the digital future we want to see.” Watch here: https://www.ft.com/video/0685a4ba-7b0b-442b-b38e-3f73101a6943 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 News & Press FANGIRLS announces UK transfer Monday, 25 September 2023 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. Tickets go on sale from 6am on Wednesday 27 September at www.lyric.co.uk A Lyric Hammersmith Theatre and Sonia Friedman Productions co-production Book, Music and Lyrics by Yve Blake Directed by Paige Rattray Saturday 13 July - Saturday 24 August 2024 Production Designer David Fleischer ; Choreographer Ebony Williams ; Video Designer Ash J Woodward ; Lighting Designer Jessica Hung Han Yun ; Sound Designer Tony Gayle ; Vocal Arranger and Orchestrator Zara Stanton ; Music Producer David Muratore ; Associate Choreographer Alex Sarmiento ; Associate Musical Director Laurence Stannard . 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. ★★★★★ “This pop musical will probably change your life” – Time Out Australia ★★★★★ “Believe the hype. The FANGIRLS phenomenon is real!” – Limelight ★★★★½ “FANGIRLS is sure to become an iconic hit” – ArtsHub ★★★★ “A love letter to feeling so much you just have to scream” – Guardian Australia Sonia Friedman, co-producer of FANGIRLS said: “I have had the privilege of collaborating with the extraordinarily gifted Yve Blake since I first heard about the incredible success of FANGIRLS in Australia. It has been an inspirational, wonderfully energising journey thus far, and I am delighted to be working with the Lyric Hammersmith Theatre to bring this new production to London. Helmed once again by the brilliant Paige Rattray, this funny and life-affirming pop musical is an ode to love.” Alongside the premiere of FANGIRLS , we will also be launching the FANGIRLS FANCLUB to give a limited number of members a very special VIP experience. This one-off membership will unlock a suite of exclusive benefits including tickets to the FANCLUB Convention performance and party on 24 July 2024 , tickets to an ‘Inside the Rehearsal Room’ party, Goody Bag with signed merchandise and FANGIRLS FANZINE for sneak peaks. Up Up

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

Back to News & Press Further casting announced for Uncle Vanya Thursday, 17 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 News & Press Evening Standard's Influential List 2008 Friday, 6 March 2009 London's theatreland is a hotbed of talent, spawning endless stars and scripts for Broadway and Hollywood. Big musicals may dominate the West End and box office receipts, but straight drama continues to thrive. These are the key people who make this city the global capital of theatre. Sonia Friedman, Valiantly works against the trend by putting on new or very youthful plays in a West End where such things are regarded as risky. Friedman, sister of singer Maria, set up her own production firm in 2002 and has spread her tentacles to New York's Broadway. Recent hits include debut play That Face, written by 21-year-old Polly Stenham. Read full article here . Up Up

Back to News & Press Casting announced for Fun Home Tuesday, 10 April 2018 The production is produced in association with Sonia Friedman Productions , Fox Theatricals and Barbara Whitman . Casting for Small Alison, John and Christian will be confirmed at a later date. Fun Home , based on Alison Bechdel’s celebrated 2006 graphic novel, made a sensational debut at The Public Theater in New York in October 2013, followed by a triumphant Broadway run and a successful US National tour. Fun Home explores the memories of Alison’s uniquely complicated family at three different stages in her life - her volatile, brilliant, enigmatic father, mother and brothers – that connect with her in surprising new ways. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes. Choreography is by Danny Mefford , set and costume design by David Zinn , light by Ben Stanton , sound by Kai Harada , music supervision by Chris Fenwick , music direction by Nigel Lilley and casting by Julia Horan CDG . The Associate Director is Portia Krieger . The Jerwood Assistant Director is Leo J Skilbeck . This role is supported through the Jerwood Assistant Director Program at the Young Vic. This is the final show in David Lan ’s last season as Artistic Director of the Young Vic. Fun Home runs from 18 June – 1 September 2018 in the Young Vic’s Main House. Up Up

Back to News & Press New Cast Announced for To Kill a Mockingbird Monday, 10 October 2022 The new company begin performances from Monday 21st November 2022. Barry Diller and Sonia Friedman announced today that Matthew Modine and Cecilia Noble will lead the new company of the critically acclaimed production of Harper Lee ’s To Kill a Mockingbird – a new play by Aaron Sorkin , directed by Bartlett Sher , currently running at the Gielgud Theatre, West End. Matthew Modine ’s iconic portrayals in films such as Alan Parker’s Birdy , Louden Swain in Vision Quest , Stanley Kubrick’s Full Metal Jacket , and Dr. Martin “Papa” Brenner in the global phenomenon Stranger Things have cemented Matthew’s legacy in the entertainment industry. Cecilia Noble is a highly acclaimed stage and screen actress, nominated for two Olivier Awards and two Evening Standards Awards. Her extensive stage credits include Faith , Hope and Charity , Nine Night , Downstate and The Amen Corner at the National Theatre, and her television credits include Killing Eve , Teacher , Call the Midwife and Black Mirror . Anna Munden will play the pivotal role of Scout Finch, joined by Sam Mitchell as Jem Finch, and Ellis Howard as Dill Harris. Taking the role of Bob Ewell is Welsh stage and screen actor Jason Hughes . Matthew Modin e and Cecilia Noble are joined by Cheryl Burniston , Colin R Campbell (Mr Roscoe/Dr Reynolds), Jack Crumlin , Alan Drake , Max Ferguson , Phillipa Flynn , Ellis Howard (Dill Harris), Jason Hughes (Bob Ewell), Niamh James , Julie Legrand , Nigel Lister , Sam Mitchell (Jem Finch), and George Telfer . The new company will begin performances on 21 November, 2022. Remaining in the company are Harry Attwell (Mr. Cunningham/Boo Radley), Helen Belbin (Miss Stephanie/Dill’s Mother), Niall Buggy (Judge Taylor), John Hastings (Bailiff), Rebecca Hayes (Mayella Ewell), Simon Hepworth (Link Deas), Tom Mannion (Sheriff Heck Tate), Anna Munden (Scout Finch), Tiwai Muza , Itoya Osagiede , Jude Owusu (Tom Robinson), Oyin Oyija , David Sturzaker (Horace Gilmer), and Natasha Williams (Mrs Dubose’s Maid). Candida Caldicot (on organ), Ciyo Brown and Jack Benjamin (on guitar) also continue with the production. The current company, with Richard Coyle as Atticus Finch, will play their final performance on 19 November. The production is currently booking until 4 February, 2023. Up Up