Back to News & Press Whatsonstage Awards Nominations Announced Thursday, 1 December 2016 Best Actor in a Play, sponsored by Radisson Blu Edwardian Ian Hallard for The Boys in the Band Ian McKellen for No Man's Land Jamie Parker for Harry Potter and the Cursed Child Kenneth Branagh for The Entertainer Ralph Fiennes for Richard III Best Actress in a Musical, sponsored by The Hippodrome Casino Amber Riley for Dreamgirls Carrie Hope Fletcher for Chitty Chitty Bang Bang Devon-Elise Johnson for Half a Sixpence Glenn Close for Sunset Boulevard Sheridan Smith for Funny Girl Best Supporting Actor in a Play Anthony Boyle for Harry Potter and the Cursed Child Derek Jacobi for Romeo and Juliet Freddie Fox for Travesties Jonjo O'Neill for Unreachable Paul Thornley for Harry Potter and the Cursed Child Best Supporting Actress in a Play, sponsored by Tonic Theatre Jenna Russell for Doctor Faustus Meera Syal for Romeo and Juliet Noma Dumezweni for Harry Potter and the Cursed Child Poppy Miller for Harry Potter and the Cursed Child Vanessa Redgrave for Richard III Best Supporting Actor in a Musical, sponsored by Encore Radio Adam J Bernard for Dreamgirls Ian Bartholomew for Half a Sixpence Joel Montague for Funny Girl Trevor Dion Nicholas for Aladdin Tyrone Huntley for Jesus Christ Superstar Best New Play, sponsored by JHI Marketing The Comedy About A Bank Robbery The Flick Harry Potter and the Cursed Child Intelligent Homosexual's Guide to Capitalism with a Key to the Scriptures, or iHo The Mother Best New Musical, sponsored by Shine Creative Solutions Aladdin Dreamgirls Groundhog Day Half a Sixpence School of Rock Best Musical Revival, sponsored by R&H Theatricals Europe Funny Girl Jesus Christ Superstar Ragtime Show Boat Sunset Boulevard Best Direction Casey Nicholaw for Aladdin John Tiffany for Harry Potter and the Cursed Child Matthew Warchus for Groundhog Day Michael Mayer for Funny Girl Rachel Kavanaugh for Half a Sixpence Best Choreography, sponsored by Encore Radio Andrew Wright for Half a Sixpence Casey Nicholaw for Aladdin Casey Nicholaw for Dreamgirls Drew McOnie for Jesus Christ Superstar Peter Darling for Groundhog Day Best Costume Design Gregg Barnes for Aladdin Gregg Barnes for Dreamgirls Katrina Lindsay for Harry Potter and the Cursed Child Matthew Wright for Funny Girl Paul Brown for Half a Sixpence Best Set Design Bob Crowley for Aladdin Christine Jones for Harry Potter and the Cursed Child Lez Brotherston for Show Boat Miriam Buether for Wild Rob Howell for Groundhog Day Best Lighting Design, sponsored by White Light Charlie Morgan Jones for Little Shop of Horrors Hugh Vanstone for Groundhog Day Jack Weir for The Boys in the Band Natasha Katz for Aladdin Neil Austin for Harry Potter and the Cursed Child Best Video Design, sponsored by PRG XL Video Andrzej Goulding for Groundhog Day Finn Ross and Ash Woodward for Harry Potter and the Cursed Child Finn Ross for The Tempest (RSC) Laura Perrett for Murder Ballad Tal Yarden for Lazarus Up Up

Back to News & Press La Cage Aux Folles, A Little Night Music and A View From The Bridge nominated for Drama League Awards Monday, 19 April 2010 LA CAGE AUX FOLLES and A LITTLE NIGHT MUSIC have both received nominations in the Distinguished Revival of a Musical category. A VIEW FROM THE BRIDGE was nominated in the Distinguished Revival of a Play category. In the Distinguished Performance Award category, Kelsey Grammer (LA CAGE), Jessica Hecht (A VIEW FROM THE BRIDGE), Douglas Hodge (LA CAGE), Scarlett Johansson (A VIEW FROM THE BRIDGE), Angela Lansbury (A LITTLE NIGHT MUSIC) and Catherine Zeta-Jones (A LITTLE NIGHT MUSIC) all received nods. Liev Schreiber (A VIEW FROM THE BRIDGE) was also honoured although, as a previous winner of the award, is not eligible for consideration this year. The awards will be presented be presented at The 76th Annual Drama League Awards Ceremony and Luncheon on Friday, May 21, 2010 (noon) in the Grand Ballroom of the Marriott Marquis Hotel in Times Square (1535 Broadway at 46th Street). Up Up

Back to News & Press As rehearsals begin, full casting is announced for Harry Potter and the Cursed Child Friday, 26 February 2016 Joining Jamie Parker (Harry), Noma Dumezweni (Hermione) and Paul Thornley (Ron) are Nicola Alexis, Helen Aluko, Jeremy Ang Jones, Rosemary Annabella, Annabel Baldwin, Jack Bennett, Paul Bentall, Anthony Boyle, Zoe Brough, Sam Clemmett, Morag Cross, Cristina Fray, Rudi Goodman, Claudia Grant, James Howard, Christiana Hutchings, Lowri James, Chris Jarman, Martin Johnston, Bili Keogh, Chipo Kureya, James Le Lacheur, Helena Lymbery, Tom Mackley, Barry McCarthy, Sandy McDade, Andrew McDonald, Adam McNamara, Poppy Miller, Tom Milligan, Jack North, Alex Price, Stuart Ramsay, Nuno Silva, Cherrelle Skeete, Esther Smith, Nathaniel Smith, Dylan Standen and Joshua Wyatt who complete the casting for Harry Potter and the Cursed Child . The 42 strong company (including seven children who will alternate two roles) will be playing a variety of characters. Based on an original new story by J.K. Rowling , Jack Thorne and John Tiffany , Harry Potter and the Cursed Child is a new play by Jack Thorne , directed by John Tiffany . It will receive its world premiere in London’s West End at the Palace Theatre this summer and is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage. It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband and father of three school-age children. While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places. Harry Potter and the Cursed Child is one play presented in two parts. Both parts are intended to be seen in order on the same day (matinee and evening) or on two consecutive evenings. The first preview performance will take place at the Palace Theatre on 7 June 2016 as scheduled. Harry Potter and the Cursed Child is currently booking to 27 May 2017, with opening performances of Part One and Part Two on Saturday 30 July 2016. Harry Potter and the Cursed Child today also confirms the dates for its special access performances. On 18 January 2017 the matinee (Part One) and evening performance (Part Two) will be captioned and on 4 February 2017 both the matinee (Part One) and evening performance (Part Two) will be audio described. These performances will go on sale on Monday 29 February 2016. To book access performances, please call 0330 333 4410 (please note, there are no general ticket sales on this number) or email CursedChildAccess@nimaxtheatres.com , which are also contact details for patrons with physical access needs. Further special access performances will be confirmed at a later date. Harry Potter and the Cursed Child has movement by Steven Hoggett , set by Christine Jones , costumes by Katrina Lindsay , music by Imogen Heap , lighting by Neil Austin , sound by Gareth Fry , special effects by Jeremy Chernick , illusions by Jamie Harrison , music supervision by Martin Lowe and casting by Julia Horan . Harry Potter and the Cursed Child is produced by Sonia Friedman Productions , Colin Callender’s Playground Entertainment and Harry Potter Theatrical Productions . For more information on the cast and creative team visit the Harry Potter and the Cursed Child website here . Up Up

Back to Productions A FLEA IN HER EAR This production began performances on 2nd December 2010 and closed on 4th March 2011. A Flea in Her Ear makes a triumphant return... blissfully funny. The Independent When Raymonde Chandebise (Lisa Dillon) believes her husband, Victor Emmanuel (Tom Hollander) is having an affair, she and her old friend Lucienne devise what they believe is a simple plan to catch him out. However, their plan misfires when the letter they have sent sets in motion a myriad of confusion and suspicion, involving everyone from the servants to a member of the Spanish aristocracy. Tom Hollander mixes manic energy with moments of goggling incredulity… skillfully executed. Evening Standard The Old Vic and Sonia Friedman Productions present “A FLEA IN HER EAR ” by Georges Feydeau – Translation by John Mortimer . Impeccably cast... Richard Eyre’s frenetic, precise production is a delight. Time Out CAST TOM HOLLANDR – Victor Emmanuel Chandebise/Poche LISA DILLON – Raymonde FIONA GLASCOTT – Lucienne DI BOTCHER – Olympe JONATHAN CAKE – Romain Tournel OLIVER COTTON – Dr Francache WALTER VAN DYK – Herr Schwarz FREDDIE FOX – Camille Chandebise REBECCA NIGHT – Eugenie LLOYD HITCHINSON – Augustin Feraillon TIM MCMULLAN – Etienne Plucheux JOHN MARQUEZ – Carlos Homendides De Histangua WILLIAM MAXWELL – Baptistin MAGGIE SERVICE – Antoinette CREATIVES RICHARD EYRE – Director ROB HOWELL – Designer SUE BLANE – Costume Design MARK HENDERSON – Lighting GREGORY CLARKE – Sound

Back to News & Press The Stage 100 – 2014 Friday, 3 January 2014 It has been a remarkable year for Friedman, the highest riser in this year’s Stage 100. She is now firmly established as the West End’s – and, arguably, Broadway’s – key producer of ‘quality, serious theatre’. What made 2013 particularly special was that she also had her finger in the pie for the most successful new musical of the year, The Book of Mormon, and its most lauded – a revival of Sondheim’s Merrily We Roll Along. She was a co-producer on both. Her play output hasn’t slackened either, with a high-class revival of Harold Pinter’s Old Times, West End transfers of Almeida hits Chimerica and Ghosts, not to mention the US transfer of Mark Rylance’s Shakespeare double bill, which has been breaking house records on Broadway. This year will see her produce a stage adaptation of Tom Stoppard’s film Shakespeare in Love. It has the whiff of a sure-fire hit. Sonia Friedman Productions is a subsidiary of the Ambassador Theatre Group – an arrangement that seems to be working well for both parties, as Friedman helps supply product for many of ATG’s venues. Read full article here . Up Up

Back to News & Press Merrily We Roll Along announces "Rooftop Writers Initiative" Wednesday, 17 January 2024 The critically acclaimed, first-ever Broadway revival of Stephen Sondheim and George Furth ’s MERRILY WE ROLL ALONG is proud to announce the Rooftop Writers Initiative , in partnership with the Stephen Sondheim Foundation and American Theatre Wing’s Jonathan Larson Grant. The Rooftop Writers Initiative will select 100 young writers to receive two complimentary tickets to a special performance of MERRILY WE ROLL ALONG on Thursday, February 29, 2023, followed by a talkback with the cast. In honor of the Rooftop Writers Initiative , a percentage of proceeds from a special MERRILY WE ROLL ALONG pen sold at the Hudson Theatre merchandise stands and online will be donated directly to the Stephen Sondheim Foundation and American Theatre Wing’s Jonathan Larson Grant. For more information on the Rooftop Writers Initiative , including contest rules and conditions, and to submit for consideration, please visit https://merrilyonbroadway.com/writers . Established after his passing, the Stephen Sondheim Foundation is the largest single beneficiary of future royalties from Sondheim ’s work. It aims to aid emerging playwrights, composers, and lyricists working in the theatre during the early stages of their careers by assisting financially in the development and advancement of their careers. The American Theatre Wing’s Jonathan Larson Grants are awarded annually to exceptional, early-career musical theatre composers, lyricists, and librettists, or writing teams. Recipients are given a platform to amplify stories and free rein in the application of the grant – which serves as pivotal support to take their professional development to the next level and, in many cases, their work from creative concept to stage. The grants regularly serve as an indicator of who will be the next great theater-makers and culture-shapers, and past recipients include such luminaries as Pasek & Paul (Dear Evan Hansen ), Michael R. Jackson (A Strange Loop ), Shaina Taub (Suffs ), Chad Beguelin and Matt Sklar (The Prom, Elf ), Amanda Green (Bring it On, Mr. Saturday Night ), Nell Benjamin (Mean Girls, Legally Blonde ), Matt Gould (Lempicka, Invisible Thread ), Laurence O’Keefe (Heathers, Legally Blonde ), Dave Malloy (The Great Comet ), Nathan Tysen (Paradise Square ), Steven Lutvak (A Gentleman’s Guide ), Glenn Slater (Sister Act, School of Rock ), Joe Iconis (Be More Chill ), Kait Kerrigan (The Great Gatsby ), Bree Lowdermilk (The Mad Ones ), and more. Starring Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard, and Lindsay Mendez as Mary Flynn, MERRILY WE ROLL ALONG also features Krystal Joy Brown as Gussie Carnegie, Katie Rose Clarke as Beth Shepard, and Reg Rogers as Joe Josephson. The company currently includes Calvin James Davis , Max Rackenberg , Brady Wagner , Sherz Aletaha , Maya Boyd , Leana Rae Concepcion , Morgan Kirner , Ken Krugman , Corey Mach , Talia Simone Robinson , Amanda Rose , Jamila Sabares-Klemm , Brian Sears , Evan Alexander Smith , Christian Strange , Koray Tarhan , Vishal Vaidya , Natalie Wachen , and Jacob Keith Watson . MERRILY WE ROLL ALONG is directed by multi-Olivier Award® winner Maria Friedman , features music & lyrics by Stephen Sondheim , a book by George Furth , and is based on the original play by George S. Kaufman & Moss Hart . MERRILY WE ROLL ALONG officially opened on Tuesday, October 10, 2023. Up Up

Back to Productions THE SUNSHINE BOYS – L.A. This production began performances on 24th September and closed on 3rd November 2013. Theatrical gold dust. Richard Griffiths and Danny DeVito could wring comedy out of reading the telephone directory. Sunday Telegraph 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. Danny DeVito and Richard Griffiths raise the roof in The Sunshine Boys. Glowing performances. Joyous Revival The Guardian Center Theatre Group L.A.’s Theatre Company , Ahmanson Theatre , Mark Taper Forum , Kirk Douglas Theatre , Michael Ritchie (Artistic Director), Edward L. Rada (Managing Director), Gordon Davidson (Founding Artistic Director), by special arrangement with Richard Willis , Sonia Friedman Productions , Roger Berlind Tulchin Bartner Productions , Rupert Gavin , Darren Bagert/Martin Massman presents “THE SUNSHINE BOYS ” by Neil Simon , directed by Tha Sharrock . Danny DeVito and Richard Griffiths make a wonderfully ill-matched couple Metro CAST DANNY DEVITO – Willie Clark JUDD HIRSCH – Al Lewis JUSTIN BARTHA – Ben Silvermann GIBBY BRAND – Patient FRANK KOPYC – V.O. TV Director MATTHEW BOHRER – Eddie ANNIE ABRAMS – Miss MacKintosh JOHNNIE FIORI – Registered Nurse CREATIVES NIEL SIMON – Playwright THA SHARROCK – Director HILDEGARD BECHTLER – Set and Costume Designer NEIL AUSTIN – Lighting Designer ADRIAN JOHNSTON – Music CRICKET S MYERS – Sound Designer JIM CARNAHAN – Casting

Back to News & Press All My Sons extends its run at The Apollo Theatre Wednesday, 16 June 2010 Acknowledged as Arthur Miller’s first great success, this current production of ALL MY SONS starring David Suchet and Zoë Wanamaker with Stephen Campbell Moore, Daniel Lapaine and Jemima Rooper has been universally hailed by the critics. ‘A classic production never to be forgotten’ The Daily Telegraph ‘Howard Davies gets the best from a superb cast in his faultless revival‘ The Independent on Sunday ‘Mr Suchet is bewitching. This is a really remarkable performance’ The Daily Mail ‘Zoe Wanamaker is Outstanding’ The Daily Telegraph ‘Great drama is all-star masterclass’ The Times Up Up

Back to News & Press Merrily We Roll Along will transfer to Broadway Friday, 16 December 2022 Producers Sonia Friedman Productions , David Babani , Patrick Catullo and Jeff Romley announced today that the first-ever Broadway revival of Stephen Sondheim and George Furth 's Merrily We Roll Along will open in Fall 2023. The production is currently enjoying a critically acclaimed and completely sold-out run at New York Theatre Workshop through January 22, after its sold-out runs at London's Menier Chocolate Factory and the Olivier Award-winning West End transfer produced by Sonia Friedman Productions . Directed by Olivier Award® winner Maria Friedman , Merrily We Roll Along features music & lyrics by Stephen Sondheim , a book by George Furth , and is based on the original play by George S. Kaufman & Moss Hart. Merrily We Roll Along will star Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard, and Lindsay Mendez as Mary Flynn. Additionally, the production will feature Krystal Joy Brown as Gussie Carnegie, Katie Rose Clarke as Beth Shepard, and Reg Rogers as Joe Josephson. Dates, theatre, additional casting, and creative team will be announced soon. To receive the latest information on Merrily We Roll Along - including early access to tickets - please visit MerrilyOnBroadway.com . Up Up

Back to Productions FARINELLI AND THE KING This production began performances on 14th September and closed on 5th December 2015. ★★★★★ Mark Rylance leads a pitch-perfect production The Independent Set in eighteenth-century Spain, Claire van Kampen 's moving and mesmerising new play tells the intriguing true story of Farinelli, once the world’s most famous castrato and one of the greatest celebrities of his time, and his decision to trade fame and fortune in the opera-houses of Europe for a life of servitude at the court of King Philippe V. This enchanting new play explores the dynamics between Farinelli and the royal couple, featuring many of the exquisite arias first sung by Farinelli in the 1730’s. The Duke of York’s Theatre will be transformed for this sumptuous production, lit almost exclusively by the glow of candle-light and with live music played on Baroque instruments. ★★★★★ An evening that no theatre or music lover can afford to miss Sunday Express The Duke of York’s Theatre will be transformed as the magical and intimate atmosphere of the Sam Wanamaker Playhouse is brought to the West End with onstage seating, candles and live Baroque music played by six onstage musicians, led by Harpsichordist and Musical Director Robert Howarth . Shakespeare's Globe and Sonia Friedman Productions present the West End transfer of Claire van Kampen ’s critically acclaimed new play “FARINELLI AND THE KING ”. ★★★★★ Spellbinding, superbly staged production Mail on Sunday CAST SAM CRANE – Farinelli (Acting Role) IESTYN DAVIES – Farinelli (Singing Role) RUPERT ENTICKNAP – Farinelli (Singing Role) HUSS GARBIYA – Doctor Jose Cervi MELODY GROVE – Isabella Farnese COLIN HURLEY – Metastasio EDWARD PEEL – De la Cuadra MARK RYLANCE – King Philippe V of Spain CREATIVES CLAIRE VAN KAMPEN – Playwright JOHN DOVE – Director JONATHAN FENSOM – Designer

Back to Productions WHO'S AFRAID OF VIRGINIA WOOLF – DIGITAL This production was captured live for cinemas from the Harold Pinter Theatre, London. ★★★★ Imelda Staunton is at her magnificent best. A first-rate revival of an astonishing play. The Guardian Sonia Friedman Productions present Imelda Staunton (Gypsy, Vera Drake, the Harry Potter films), Conleth Hill (Game Of Thrones, The Producers), Luke Treadaway (A Street Cat Named Bob, The Curious Incident of the Dog in the Night-Time, The Hollow Crown) and Imogen Poots (A Long Way Down, Jane Eyre) in James Macdonald ’s critically acclaimed, 5 star production of Edward Albee ’s landmark play, captured live for cinemas from the Harold Pinter Theatre, London. ★★★★ James Macdonald’s blistering production. Intoxicatingly good. Imelda Staunton and Conleth Hill are superb. Financial Times In the early hours of the morning on the campus of an American college, Martha, much to her husband George’s displeasure, has invited the new professor Nick and his wife Honey to their home for some after-party drinks. As the alcohol flows and dawn approaches, the young couple are drawn into George and Martha’s toxic games until the evening reaches its climax in a moment of devastating truth-telling. ★★★★ A fierce revival. Conleth Hill is superb. Exquisite. Evening Standard CAST IMOGEN POOTS – Honey CONLETH HILL – George IMELDA STAUNTON – Martha LUKE TREADWAY – Nick KIRSTY WARK – Self: Introduction JAMES MACDONALD – Self: Production director CREATIVES EDWARD ALBEE – Writer JAMES MACDONALD – Director TIM VAN SOMEREN – Co-Director SONIA FRIEDMAN – Producer THOMAS SWAYNE – Associate Producer TOM PYE – Production and Costume Design IMOGEN KNIGHT – Choreography

Back to News & Press Sonia Friedman: Everyone in British theatre will need to work together to overcome this crisis Thursday, 26 March 2020 It’s a week since we shut down the West End in the most shocking way, and the world has changed beyond all estimation. We are waking up to a nationwide lockdown. It feels like an extended and terrifying episode of Black Mirror. None of this feels real. But it is. Our industry is coming to terms with a prolonged closure. That’s not in our nature. It is human nature to socialise, to come together, to commune – particularly in times of crisis. Some theatres stayed open throughout most of the Second World War, Broadway bounced back after 9/11. This time around, we had no option. Shutting our shows was the right thing to do. The only thing to do. Our industry has done the unimaginable this month. My company alone shut down or suspended 11 shows worldwide over the course of just five days, with more to come. All other organisations have had to do the same. Hundreds of thousands of shows, big and small, have come down in no time at all. The inconceivable quickly became inevitable. Of course, shows don’t just stop. They have to be shuttered safely. That took a herculean collective effort right across the board – from casts, stage management, crews and ushers to stage management teams overseeing depleted and confused companies. From venue staff welcoming anxious audiences to box-office workers issuing exchanges and refunds en masse. And then there’s the producing and admin teams who are having to go through the unbelievably complex and emotional process of closing down or suspending their productions against a backdrop of huge uncertainty and lockdown. Everyone has played a part in something truly historic, and the professionalism and dedication on show has been utterly inspiring to watch. We will need more. We know that many freelance and self-employed workers in the theatre will be in desperate need if further government measures are not put in place very soon to support them financially. British theatre will bounce back from this, but it will take time and it will need support. British theatre is facing a challenge like never before. In the commercial sector, our margins are very tight even in the best of times and we survive by the box office; with our productions shut, we are not only in limbo but in crisis. None of us know how long these closures will last. As an industry, we’re working this out in real-time and we are, frankly, facing only the first of many, many challenges to come. We will rise to them, but to do so, we will need to work together. British theatre will bounce back from this, but it will take time and it will need support. Ours is a resourceful and resilient art form, but just as shows don’t simply stop, they can’t simply start up again on the other side either. Our world has changed and it will not simply change back. Because, for theatre, an extended closure is not just a pause or a period of hibernation. We won’t be in a position to pick up where we left off. Normal service won’t resume straight away. The nature of our business means we can’t store stock to sell next summer or fire up production lines once this is over. Shows will need re-rehearsing and companies reforming. Audiences will need encouraging back into theatres and advances will have to be rebuilt. Tourism will take a long time to recover. All this as investors are being hit by a global slowdown. Theatre is not alone in facing challenges, but it is among this country’s greatest assets. The West End remains a major economic driver, contributing almost £800 million in revenue annually and generating more than £133 million in VAT alone. We are worth the support we will need to bring back in – not just from government, but from our audiences too, and from each other. We will all have to work together – producers and theatre owners, artists and agents, backstage and front-of-house staff – with the single objective to get our beloved industry back on its feet as soon as possible. In the wider social context, British theatre will have a huge part to play once this is all over. It will be a time to come together again, to celebrate our existence, to reflect, to entertain and escape. It will do its bit for a wider recovery. We are in the business of bringing people together. That is the very reason we’ve had to shut our doors temporarily and, in due course, we will need and value that all the more. The world may have changed, but people have not. Up Up