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Rickson, who last worked with Jackman and Friedman on a Broadway production of Jez Butterworth’s The River in 2014, sums up Together’s mission in almost religious terms: “bringing [theater] back to the body and the word.” He likens what the company is attempting to the ensemble-driven work of the Actors Studio in its 1950s and ’60s heyday, when it spawned Marlon Brando and Sidney Poitier, or to the Federal Theater Project, which funded live theatre in the 1930s during the Depression. “These ensemble-driven initiatives were eventually wiped out,” Rickson goes on, but “actors long to be in community. This can be like a playful laboratory.” Earlier that morning, Friedman and Rickson had been in a sun-drenched rehearsal room on West 37th Street with Schreiber, Siff, and Smith, working on Silverman’s Strindberg. Creditors is a suspenseful love triangle that weaves love, sex, and revenge into a tantalizing Nordic knot. Rickson was leading a taut improv between Siff and Schreiber, who play exes, their tension velvet thick.Owls Sleepy Parliament Funny Shirt
The Creditors team would head down to Minetta Lane later that evening to see Jackman and Beatty run through their piece—exactly the kind of cross-pollination among actors that Together’s founders imagined on a fateful stroll in London’s Hyde Park in December 2020. “We all talked about what we wanted from our lives,” Friedman recalls of their meet-up at the peak of the pandemic. “That period provoked these very big questions about…what are we doing? We wanted to get back to something that we were all missing. And what we were missing was how we started.” They then agreed to form a new company shared equally between Jackman and Friedman, with Rickson directing. This back-to-basics approach may be unexpected coming from Friedman, whose theatrical juggernauts include Harry Potter and the Cursed Child on Broadway and the recently opened Stranger Things: The First Shadow. Her shows have won a total of 48 Tony Awards, most recently for 2024’s revival of Merrily We Roll Along, directed by her sister, Maria. But perhaps there is no one better suited to pose a counterpoint to Broadway’s bloat than someone who has been minding its bottom line for as long, and as winningly, as she has. “On Broadway, plays cost $8 million and musicals cost $25 to $30 million, so ticket prices are hiked up,” Friedman explains. “We felt New York was the right place to kick this off.”
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