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 Sonia Friedman bags Producer of the Year hat-trick at the Stage Awards Friday 27 January 2017 Friedman accepted her award on the same day she was presented with her OBE, and used her speech to urge the sector to harness the power of the arts. "Right now, theatre, artists, creators and facilitators, this is our moment to try and make a difference. I think we can all agree the world is in crisis and it's our job right now to show the world how we can make a difference, and how we can push through and make change for the better. We are all in this together," she said. She added: "I feel a passionate responsibility to do the best work I can possibly do. I love what I do and everyone I work with with. I couldn't do it, I don't do it, without the artists and the creators. I am simply someone who has got the privilege and honour of working with them." The awards were presented on Friday 27th January 2016 at a ceremony held at the Theatre Royal Drury Lane in London, Up Up

Back to News & Press Sonia Friedman: Give us a break Sunday 11 November 2012 Anyone who has enjoyed a straight play in the West End over the past decade, perhaps with some well-judged star casting, will almost certainly have seen something from Sonia Friedman Productions. Catherine Tate and David Tennant in Much Ado about Nothing? Yes. Keira Knightley and Elisabeth Moss in The Children's Hour? Yup. Kristin Scott Thomas in Betrayal? That too. Friedman has, deservedly, become known as one of the premier purveyors of quality work in London's commercial theatre sector and as I sit in her cosy office above the Duke of York's theatre, looking at the framed production posters on the wall, I'm momentarily confused as to which of her current or future shows I'm here to talk about. Perhaps it's Pinter's Old Times, which opens in January, again starring Scott Thomas. Or the behemoth that is the multi-Tony-Award-winning musical The Book of Mormon, launching in February. But then Mark Rylance's face glowering from the poster of Jerusalem reminds me: it's a double bill of Shakespeare, with Rylance starring as both the titular Richard III and Olivia in Twelfth Night. Read full article here . Up Up

Back to News & Press The Book of Mormon 2014 casting update Thursday 9 January 2014 The cast of The Book of Mormon, at the Prince of Wales Theatre, London, continues to be led by Gavin Creel as Elder Price, Jared Gertner as Elder Cunningham and Alexia Khadime as Nabulungi. From 3 February 2014, the full cast will include Stephen Ashfield, Hugo Harold-Harrison , Kevin Harvey , and Chris Jarman, with Mark Anderson, Benjamin Brook, Daniel Clift, Christopher Copeland , Ashley Day, Keisha T Fraser , Patrick George, Nadine Higgin, Evan James, Aisha Jawando, Michael Kent, Sia Kiwa , Joshua Liburd , Daniel Mackinlay, David McMullan , Felix Mosse , Tanya Nicole-Edwards ,Terel Nugent, David O’Reilly, Lucy St. Louis, Ashley Samuels , Rhys Taylor , Kayi Ushe, Michael Vinsen and Tosh Wanogho-Maud. *Name in bold denotes new member of the cast for 2014. From South Park creators Trey Parker and Matt Stone and Avenue Q co-creator Robert Lopez, The Book of Mormon, winner of nine Tony Awards including Best Musical and the Grammy for Best Musical Theatre album, follows a pair of Mormon boys sent on a mission to a place that’s a long way from Salt Lake City. Book, Music and Lyrics are by Trey Parker, Robert Lopez and Matt Stone. Directed by Casey Nicholaw and Trey Parker, The Book of Mormon has choreography by Casey Nicholaw, set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt, sound design by Brian Ronan, orchestrations by Larry Hochman and Stephen Oremus and music supervision and vocal arrangements by Stephen Oremus. Up Up

Back to News & Press Harry Potter and the Cursed Child to be presented in two parts Thursday 24 September 2015 Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child, a new play by Jack Thorne will receive its world premiere in London’s West End at the Palace Theatre in the summer of 2016. Harry Potter and the Cursed Child, written by Jack Thorne and directed by Olivier and Tony award winner John Tiffany, is one play presented in two parts which are intended to be seen in order on the same day (matinee and evening) or on two consecutive evenings. On sale details as well as the performance schedule and further production information will be announced in the coming weeks. Patrons may sign up for priority access to tickets at the official production website only - www.HarryPotterthePlay.com Movement is by Steven Hoggett, with set designs 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 and musical supervision is by Martin Lowe. Harry Potter and the Cursed Child is produced by Sonia Friedman Productions, Colin Callender’s Playground Entertainment and Harry Potter Theatrical Productions. Up Up

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

Back to News & Press The Shark Is Broken announces West End run Wednesday 5 February 2020 Taking audiences behind-the-scenes of the iconic blockbuster Jaws, this is the 2nd production that SFP has announced at the Ambassadors Theatre this year. Co-written by Robert Shaw ’s son Ian, this brilliantly funny, deeply moving new play imagines what happened on board the Orca when the camers stopped rolling. Ian Shaw stars as his father Robert Shaw, alongside Demetri Goritsas as Roy Scheider and Liam Murray Scott as Richard Dreyfuss. Tickets are on general sale this Friday from £10. Over 500 tickets per week will be available at £27.50 or under. Cape Cod, 1974: shooting on JAWS has stalled. The film’s lead actors – Robert Shaw, Roy Scheider and Richard Dreyfuss – are stuck on a boat, frustrated by foul weather and a faulty mechanical co-star. Awash with alcohol and ambition, three great white sharks start to bare their teeth… The Shark is Broken reveals the hilarious and moving behind-the-scenes drama on one of Hollywood’s biggest blockbusters.Sonia Friedman Productions is delighted to announce its second production at the Ambassadors Theatre in 2020. After a sell-out, critically acclaimed premiere at the 2019 Edinburgh Fringe, Ian Shaw and Joseph Nixon’s brilliantly funny play will arrive in the West End from May 11th. Tickets will be on general sale from £10 this Friday. ★★★★ ‘Did I mention waves? Get ready for this play to make some. Do they need a bigger boat? Actually, I think they are going to need a bigger theatre — and soon.’ The Times ★★★★★ ‘This play packs plenty of bite.’ Metro ★★★★ ‘Something unexpectedly profound and emotionally serrated lurks below the apparently frothy surface of this dive behind the scenes of the making of JAWS.’ The Telegraph ★★★★★ ‘This play deserves a life beyond the Fringe; yes, they’re going to need a bigger theatre.’ The Arts Desk ★★★★ ‘An intoxicating combination of behind-the-scenes gossip and contemplation of the nature of popular art.’ The Stage 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 Imelda Staunton and Bessie Carter to star in Mrs. Warren's Profession directed by Dominic Cooke Thursday 9 January 2025 Mother and daughter Imelda Staunton and Bessie Carter will appear onstage together for the first time as Mrs Kitty Warren and Vivie Warren in a new production of George Bernard Shaw ’s Mrs. Warren’s Profession . Imelda Staunton and Dominic Cooke will renew their creative collaboration for Mrs. Warren’s Profession , following their previous work together on the smash-hits Hello, Dolly! and Follies . The production also reunites Imelda Staunton with producer Sonia Friedman after Who’s Afraid of Virginia Woolf ; and Dominic Cooke and Sonia Friedman after the multi-award-winning Clybourne Park . The production will open at the Garrick Theatre on 22 May, with previews from 10 May, and run until 16 August. Tickets will be on sale in early 2025, audiences are invited to sign up for pre-sale ticket access at mrswarrensprofession.com . Imelda Staunton said today “The new year felt like the perfect time to return to the stage in Mrs. Warren’s Profession , a play which asks ever pertinent questions about the role of women in society, and the choices they make for survival. I couldn’t be happier to be stepping into the rehearsal room with my very great friend and colleague Dominic; and my brilliant daughter Bessie. What a treat for 2025!” Dominic Cooke commented, “Although Mrs. Warren's Profession is over 120 years old, it still has the power to shock with its frank and provocative examination of the exploitative nature of society and the double standards applied to women. I have thoroughly enjoyed working with Imelda Staunton on Follies and Hello, Dolly! and I’m thrilled to collaborate with her for the first time on a play, especially alongside the super talented Bessie Carter. Additionally, I’m excited to reunite with Sonia Friedman after fifteen years. I can’t wait to bring this remarkable play and brilliant cast to London audiences in the spring.” Up Up

Back to News & Press A new Gershwin musical on Broadway: Nice Work If You Can Get It Sunday 19 June 2011 Three time Tony Award-winner Kathleen Marshall (Anything Goes, Pajama Game, Wonderful Town) will direct and choreograph the new musical comedy NICE WORK IF YOU CAN GET IT starring two-time Tony Award-winner Matthew Broderick (The Producers, How to Succeed in Business Without Really Trying, Brighton Beach Memoirs). The new musical will open on Broadway Spring, 2012 and will be produced by Roger Berlind, Sonia Friedman, Roy Furman and Scott Landis. With a book by two-time Tony Award-winner Joe DiPietro (last season’s Tony Award-winning Memphis, for which he won Tony awards for Best Book of a Musical and Best Original Score), NICE WORK IF YOU CAN GET IT features some of George and Ira Gershwin's most beloved songs as well as some unknown gems in the Gershwin catalog. This screwball romantic comedy takes place in the 1920s and centers around a wealthy playboy who gets mixed up with a hilarious trio of bootleggers. “I am beyond thrilled to get to work with Matthew Broderick again and to bring Matthew back to Broadway in his first musical since The Producers. The chance to do a new musical comedy with timeless songs by the Gershwin brothers is just heavenly" said Kathleen Marshall. Additional casting, venue and creative team will be announced shortly. Up Up

Back to News & Press Funny Girl London Cast Recording Now Available To Buy Thursday 4 August 2016 Sheridan Smith brings her unique vocals and phenomenal performance as Fanny Brice to the London cast recording of the critically-acclaimed West End production of Funny Girl , out today on Decca Records . Together with Darius Campbell and the London cast, Smith delivers her much lauded performances of some of the most iconic songs in film and theatre history, including ‎People, You Are Woman, I Am Man and Don't Rain on My Parade – perfectly captured on this recording for all to experience. BAFTA and multi Olivier Award-winner Sheridan Smith OBE has earned rave reviews for her sensational performance in the musical – with the Evening Standard declaring that she “triumphantly reinvents Brice for a new generation of musical theatre lovers”. This musical tells the fascinating and bitter-sweet life story of the Ziegfeld Follies star Fanny Brice, whose vocal talents and comedic ability saw her rise from Brooklyn music hall singer to Broadway star, and her tempestuous relationship with gambler Nicky Arnstein. With music by one of America’s all-time great songwriters, Jule Styne (‘Gentlemen Prefer Blondes’, ‘Gypsy’), lyrics by Bob Merrill and book by Isobel Lennart , the musical first opened on Broadway in 1964, transferring to London in 1966. Michael Mayer ’s new production of Funny Girl , produced by Sonia Friedman Productions, Scott Landis Productions and Chocolate Factory Productions ends its limited run at the Savoy Theatre on 8 October, following its record-breaking run at the Menier Chocolate Factory. It begins a UK tour at the Manchester Palace Theatre in February. 2016 marks the 50th anniversary of the original London production of ‘Funny Girl’, so what better way to celebrate the legendary musical than with a new album to capture the sound of the show – and its remarkable leading lady – for years to come. FUNNY GIRL – Tracklisting ACT 1 1. OVERTURE - Orchestra 2. IF A GIRL ISN’T PRETTY - Gay Soper, Marilyn Cutts, Valda Aviks, Maurice Lane, Joel Montague, Company 3. I’M THE GREATEST STAR - Sheridan Smith 4. CORNET MAN - Sheridan Smith, Philip Bertioli, Luke Fetherston 5. HIS LOVE MAKES ME BEAUTIFUL - Philip Bertioli, Sheridan Smith, Company 6. I WANT TO BE SEEN WITH YOU TONIGHT - Sheridan Smith, Darius Campbell 7. HENRY STREET - Valda Aviks, Marilyn Cutts, Gay Soper, Company 8. PEOPLE - Sheridan Smith 9. YOU ARE WOMAN, I AM MAN - Darius Campbell, Sheridan Smith 10. DON’T RAIN ON MY PARADE - Sheridan Smith ACT 2 11. SADIE, SADIE - Sheridan Smith, Darius Campbell, Company 12. WHO TAUGHT HER EVERYTHING SHE KNOWS? - Joel Montague, Marilyn Cutts 13. TEMPORARY ARRANGEMENT - Darius Campbell, Philip Bertioli, Luke Fetherston, Matthew Goodgame 14. RAT-TAT-TAT-TAT - Sheridan Smith, Company 15. WHO ARE YOU NOW? - Sheridan Smith, Darius Campbell 16. WHAT DO HAPPY PEOPLE DO? - Sheridan Smith, Company 17. THE MUSIC THAT MAKES ME DANCE - Sheridan Smith 18. FUNNY GIRL/FINALE - Sheridan Smith 19. BOWS - Orchestra, Company Music by Jule Styne , Lyrics by Bob Merrill Book by Isobel Lennart from an original story by Miss Lennart Revised Book by Harvey Fierstein Directed by Michael Mayer 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