Hugh Jackman Leads the Charge

If you’re wondering what sort of theatrical storm could possibly lure Hugh Jackman—Wolverine himself—back to the stage, you’ll find your answer in the synergy between Australia’s favourite showman and super-producer Sonia Friedman. Their new venture, cleverly dubbed Together, will see them blending starry ambition with first-rate theatrical craftsmanship. Perhaps best known for her groundbreaking West End and Broadway hits (we’re talking Harry Potter and the Cursed Child among others), Sonia Friedman isn’t the sort to shy away from creative challenges. Pair that bold spirit with Hugh Jackman’s decades of stage experience—from his Tony Award-winning turn in The Boy from Oz to triumphant runs in the West End—and you’ve got a recipe for high-profile, boundary-pushing theatre.

Together’s inaugural productions are set to premiere in repertory at Audible’s Minetta Lane Theatre in New York. While that may seem a world away from the bustle of Australian arts, the theatrical ripples are sure to reach us quickly. After all, with an audio release in the works, we won’t need to travel across the ocean to feel the resonance of these performances. It’s exactly the kind of forward-thinking approach that hints at an evolving global theatre landscape—one that embraces technology without sacrificing the immediacy and thrill of live performance.

Enter the Plays: SEXUAL MISCONDUCT OF THE MIDDLE CLASSES And CREDITORS

There’s a delicious sense of unpredictability about stage premieres in repertory. For the uninitiated, “in repertory” means the productions alternate performances, allowing audiences to catch two distinct plays on different nights. And these aren’t just any plays; they’re brimming with tension, psychological complexity, and a stellar line-up of talent.

First up is SEXUAL MISCONDUCT OF THE MIDDLE CLASSES, written by Hannah Moscovitch. If her name isn’t on your radar, it should be. Widely lauded for her sharp, provocative writing, Hannah Moscovitch is well-versed in unmasking the cultural and political undercurrents beneath interpersonal relationships. This play, running from 28 April to 18 June 2025, centres on the precarious relationship between a middle-aged novelist-slash-university professor (played by Hugh Jackman) and a 19-year-old student (portrayed by Ella Beatty). If your mind immediately leaps to ethical dilemmas and uncomfortable power balances, that’s precisely the point. Expect blistering dialogue that peels back layers of academic respectability to reveal something raw, messy, and possibly confronting.

The second show in this dynamic duo is CREDITORS, a new adaptation of August Strindberg’s psychological thriller. Strindberg’s works are famed for their emotional intensity, and this adaptation by Jen Silverman—a playwright known for edgy yet darkly humorous scripts—promises to be no exception. Starring Liev Schreiber (of Ray Donovan fame), Maggie Siff (best-known for Sons of Anarchy), and Justice Smith (you might recognise him from Jurassic World), it follows a struggling painter whose artistic fire is reignited by a mysterious stranger. The premise, dripping with tension and set against an isolated seaside hotel, conjures an atmosphere that Strindberg himself would likely revel in. CREDITORS will run from 10 May to 18 June 2025, overlapping neatly with SEXUAL MISCONDUCT OF THE MIDDLE CLASSES—so if you’re planning an extended theatrical holiday in New York, you could feasibly see both on consecutive nights.

A Match Made in Heaven

A collaboration between an A-list actor, a powerhouse producer, and a leading audio storytelling platform might strike you as unusual. But if the pandemic taught the theatre world anything, it’s that adaptability is paramount. Audible has already dabbled in theatre, offering recorded plays and live performances for those who can’t make it to a physical venue. In fact, data from Audible suggests a significant audience for spoken-word drama—millions globally tune in to narrative podcasts and audiobooks on a regular basis. Now, with the creative might of Sonia Friedman and Hugh Jackmanbehind it, we can expect these productions to attract a tidal wave of new listeners, possibly bridging the gap between mainstream entertainment and more experimental theatre.

Just imagine the potential reach: you could be in a remote suburb of Perth, a farm in the Blue Mountains, or even an apartment in London—plug in your headphones, queue up these dramas on Audible, and suddenly be transported to New York’s Minetta Lane Theatre. There’s something rather wonderful about that level of inclusivity. It might even mark the beginning of a new golden age for theatrical audio experiences, one in which live performance becomes more universally accessible than ever before.

One aspect I find particularly fascinating is the role of the intimacy coordinator, Ann James, in both productions. While intimacy coordinators have become increasingly visible in film and television, their presence in theatre—especially intimate, psychologically fraught plays—remains relatively recent. This behind-the-scenes role helps actors navigate potentially sensitive scenes (such as those in SEXUAL MISCONDUCT OF THE MIDDLE CLASSES) in a way that maintains consent, comfort, and artistic integrity. If that sounds a bit too “responsible and corporate” for an artistic endeavour, think again. Several leading studies highlight how clear boundaries and well-structured rehearsal protocols can actually enrich performances, allowing actors to fully commit to emotionally charged material without fear of overstepping personal comfort zones.

For the audience, it may be invisible. But from a practitioner’s standpoint, having an intimacy coordinator signals a production team intent on professional excellence and holistic care for their cast. And when you consider the intense psychological undercurrents of these plays—ranging from power imbalances in a professor-student relationship to the manipulative mind games in Strindberg’s work—it’s no surprise that the creative team wants everything to be executed with empathy, nuance, and safety at the forefront.

The Team Behind the Scenes

Stage productions are collaborative ecosystems, and these two plays boast an impressive roster of creatives. Co-scenic designers Brett J Banakis and Christine Jones will be shaping the physical environments, a task that requires balancing the practical needs of a theatre space with the unique demands of a show that’s eventually migrating to an audio format. Meanwhile, costume designer Ásta Hostetter will be kitting out the cast in ensembles that subtly reveal (or disguise) character intentions.

On the lighting side, Isabella Byrd is taking the reins, known for her ability to weave atmospheric lighting schemes that support the emotional topography of a play. Couple that with sound designer Mikaal Sulaiman, who’ll need to craft an aural world that stands on its own even after the sets are struck and the plays move to Audible, and you’ve got a veritable tapestry of talent. Rounding it all out is director Ian Rickson, revered for his work on JERUSALEM and a string of other envelope-pushing productions. His subtle yet rigorous directorial style suggests we can expect a heightened sense of reality that never slides into melodrama.

Technology Meets Theatre

These plays won’t just be ephemeral experiences fading once the final curtain drops. They’ll be captured and released on Audible, bringing a particularly modern spin to an ancient art form. Stage purists might worry that something is lost when a show transitions from a live environment to an audio recording. However, consider that radio plays were once a dominant entertainment medium, captivating millions with nothing but soundscapes, dialogue, and a healthy dash of audience imagination. With advanced recording techniques, the immediacy of great performances can be preserved—and, in some cases, amplified—through evocative audio design. Add to that the synergy of a top-notch cast, and you’ve a potential blueprint for theatrical experiences that can live beyond the constraints of time and place.

It’s all part of a broader push to make theatre more inclusive. Ticket prices, travel constraints, and limited run dates can often prevent fans from experiencing shows. Turning the production into an audio event—while no substitute for seeing the masterful Hugh Jackman in person—does expand the net. It invites more people to engage with the story, fosters global discussion, and could very well inspire new waves of audience members to seek out live theatre when circumstances allow.

Final Take

Whether you’re drawn in by Hugh Jackman’s star wattage, the dark allure of Strindberg’s classic drama, or simply the intriguing notion of theatre meeting technology, these two plays mark a milestone. It’s not every day that big names come together to produce something that straddles multiple platforms—live stage and audio—and does so with a fierce commitment to artistic integrity. The significance of these productions lies in their potential to shape the future of theatre, normalising hybrid models where stage and streaming form a cohesive partnership rather than an uneasy compromise. It’s a powerful statement: theatre can be for everyone, everywhere, whenever we crave that indescribable thrill.

So if you find yourself in New York this spring, seize the chance to see these plays under Ian Rickson’s direction at Minetta Lane Theatre. But if you’re halfway across the world—like I am—take heart: you won’t be left out for long. All it takes is a pair of headphones and an Audible account to join the conversation. The curtain may still fall at night, but the stories will reverberate far beyond the footlights, echoing through our earbuds and our imaginations. And that, dear reader, is the kind of theatrical magic we can truly call global.

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