Olivier Award, 1997, Art, Best New Comedy, Producer
Tony Award, 1998, Art, Best play, Producer
Olivier Award, 2001, The Play What I wrote, Best Comedy, Producer
Olivier Awards, 2006, Heroes, Best New Comedy, Producer
Olivier Award, 2008, God Of Carnage, Best New Play, Producer
TMA Award, 2009, Brief Encounter, Best Touring Production, Producer
Tony Award, 2009, God of Carnage, Best Play, Producer
Dafydd Rogers is a theatre producer known for a number of award winning plays produced in the UK and internationally.[2][3]
and for his commitment to making theatre as accessible and affordable as possible.[4][5][6] He is a long-standing board member of the Society of London Theatre and the UK Theatre Association.[7]
Early life and education
Dafydd Rogers was born in London. He attended St Paul's School Barnes, on a McAlpine scholarship. At St. Paul's he was vice Captain of school, Rowing 1st VIII (competing twice at Henley Royal Regatta) and Secretary of Boats, Rugby 1st XV, President of Literary Society, and Lupton Divinity Prize Winner. Rogers subsequently spent a year in Peru working on construction projects in brick and traditional adobe in Lima and Ayaviri. In 1988, Rogers attended King's College London to read theology.[8] At KCL he was Captain of Boats.[citation needed]
Rogers' first job in theatre was at the Aldwych Theatre. He was an usher in the evening and sat on stage door in the mornings. Shows held there while he was there included Big Friendly Giant, Cotton Club and The Rise and Fall of Little Voice.
In January 1993, he moved to the Royal Court Theatre in Sloane Square to be the theatre manager. He started Single's Nights and introduced pre-show events with playwrights and authors.[10]
In September 1995, he was made general manager of the Shaftesbury Theatre in the West End. In October 1996, he was made the general manager of the Playhouse Theatre in the West End.
Rogers and David Pugh were introduced by a mutual friend Andrew Welch who thought that they would work well together; for twenty-three years they were probably[speculation?] the most successful independent duo producing in the UK.[11]
Their production of the musical The Blues Brothers played in London's West End for four separate seasons, toured throughout the world for fifteen years and was nominated for The Olivier Award for Best Entertainment.
in 2007, Rogers and Pugh produced Equus in London's West End, which starred Griffiths and Daniel Radcliffe and played a sell-out season at the Gielgud Theatre.[16]
Roger and Pugh's production of Calendar Girls by Tim Firth, opened in 2009 in London's West End and became the most successful UK touring play of the time, grossing over 35 million pounds and winning the WhatsOnStage Theatre Award
On 2 February 2013, Rogers and Pugh's production of a new play adaptation of the film The Full Monty by its original writer, Simon Beaufoy, opened at the Lyceum Theatre, Sheffield to critical success[23] and followed by a tour of the UK and Ireland which continued through until May 2019 having won the UK Theatre Award for Best Touring Production.[24]
Rogers and Pugh's new musical The Girls, by Gary Barlow and Tim Firth was tried out at Leeds Grand Theatre and The Lowry Theatre, Manchester.[25] The Girls opened in London's West End, where it ran for six months and now, retitled Calendar Girls The Musical, the production embarked on a 60-week national tour.[26]
The Band, the Take That musical, written by Tim Firth and co-produced by Rogers and Pugh and Take That, opened at Manchester Opera House in September 2017[27] and toured successfully throughout the United Kingdom until March 2019, including a season at the Theatre Royal Haymarket in London's West End. This musical became the movie Greatest Days on which Pugh and Rogers were executive producers.[28]
Just prior to the COVID-19 pandemic, Rogers and Pugh produced a highly acclaimed production of Willy Russell's Educating Rita, which was curtailed by lockdown.[29] This proved to be the last production they produced together.
From 2020 to 2023 Rogers was executive director of the Cambridge Arts Theatre, brought in to manage operations during and after the COVID-19 pandemic as well as strategising the future capital plan.[30]