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New season announced at the Finborough Theatre

Blue Print by Julia Pascal
Blue Print by Julia Pascal

Blue Print by Julia Pascal

The Finborough Theatre’s summer season features two world premieres from female playwrights – a new play written and directed by the first woman ever to direct at the National Theatre, and a debut play from a brand new American dramatist – alongside another classic Finborough rediscovery from one of the greatest theatrical figures of the 19th century, unseen in London for over 120 years. We also bring you the eleventh consecutive year of our annual celebration of new writing, Vibrant 2019 – A Festival of Finborough Playwrights, giving us a chance to share with you just a few of the exceptional writers we have developed, nurtured and championed over the last year.

The season opens with the world premiere of playwright and director Julia Pascal’s award-winning Blueprint Medea, a gripping new drama loosely inspired by Euripides’ Medea, which connects the classical to the contemporary to explore eternal questions of passion, war, cultural identity, women’s freedom, sex, family and love. Blueprint Medea plays 21 May-8 June 2019.

In its first London production in over 120 years, our season continues with After Dark; or, A Drama of London Life by Dion Boucicault, based on Les Oiseaux de Proie by Eugène Grangé and Adolphe d’Ennery. Written in 1868, the year that the Finborough Theatre’s building was constructed, After Dark; or, A Drama of London Life is a classic Victorian melodrama, but is also startlingly contemporary with a thrilling climax on the London Underground, and its sympathetic portrayal of London’s homeless community. It plays 12 June-6 July 2019.

Playing alongside After Dark; or, A Drama of London Life, our annual celebration of new writing Vibrant 2019 – A Festival of Finborough Playwrights returns for its the eleventh consecutive year, playing on Sunday and Monday evenings and Thursday matinees between 16 June-4 July 2019. This year’s Vibrant includes the winner of this year’s ETPEP Award in association with the Finborough Theatre which has awarded £8000 to a new playwright who works in another job in theatre, alongside stunning new plays from many Finborough Theatre favourites.

Rounding off our summer season is another world premiere, Lunatic 19’s – A Deportational Road Trip, by a new American playwright, Tegan McLeod, playing 9 July-3 August 2019. With coruscating humour and caustic observation, Lunatic 19’s captures the human stories at the heart of the current debate about migration and refugees.

Finborough Theatre Artistic Director Neil McPherson says: “Our new season features two world premieres alongside another of my rediscoveries from Victorian drama – with a play written in 1868, the very year that the Finborough Theatre building was constructed. And Vibrant 2019 – A Festival of Finborough Playwrights, our annual festival of new writing, returns for its eleventh consecutive year.

The Finborough Arms, our pub home, was taken over by an entirely new management and extensively refurbished at the end of last year, and now offers a wide menu of traditional pub favourites, all cooked on the premises. We both look forward to welcoming you.”

For full information, please visit www.finboroughtheatre.co.uk – Neil McPherson, Artistic Director

May to August 2019 | Press Nights and Photocalls

Tuesday, 4 May – Saturday 8 June 2019

The world premiere

BLUEPRINT MEDEA

Written and Directed by Julia Pascal.
Press Nights: Thursday, 23 May 2019 and Friday, 24 May 2019 at 7.30pm.

Photocall: Tuesday, 21 May 2019 at 1.00pm-1.30pm.

Wednesday, 12 June – Saturday, 6 July 2019

The first London production in over 120 years
AFTER DARK; OR, A DRAMA OF LONDON LIFE

by Don Boucicault. Based on Les Oiseaux de Proie by by Eugène Grangé and Adolphe d’Ennery. Directed by Phil Wilmott

Press Nights: Wednesday, 19 June 2019 and Thursday, 20 June 2019 at 7.30pm

Photocall: Tuesday, 9 July 2019 at 1.00pm-1.30pm.

Tuesday, 9 July – Saturday, 3 August 2019

The world premiere

LUNATIC 19’S – A DEPORTATIONAL ROAD TRIP

by Tegan McLeod. Directed by Jonathan Martin.

Press Nights: Thursday, 11 July 2019 and Friday, 12 July 2019 at 7.30pm

Photocall: Tuesday, 9 July 2019 at 1.00pm-1.30pm

Prices for Blueprint Medea

Prices for Week One – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews £14 all seats.

£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.

£14 tickets for residents of the Royal Borough of Kensington and Chelsea on the first Saturday evening, when booked online only.

Prices for Weeks Two and Three – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

Prices for After Dark; or, A Drama of London Life and Lunatic 19’s – A Deportational Road Trip 

Prices for Weeks One and Two – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews for After Dark (11-18 June) £15 all seats. Previews for Lunatic 19’s (9 and 10 July £14 all seats.

£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.

£14 tickets for residents of the Royal Borough of Kensington and Chelsea on the first Saturday evening, when booked online only.

Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

Prices for Vibrant 2019 – A Festival of Finborough Playwrights

Sunday and Monday evenings at 7.30pm. Thursday matinees at 3.00pm.

All tickets £5.

New season announced at the Finborough Theatre

The Finborough Theatre’s Spring season features three stunning rediscoveries, all unseen in London for many years – a heart-breaking play set against the backdrop of apartheid South Africa by Athol Fugard; a hit British musical of the 1960s from the composer of Oliver!, Lionel Bart; and our third rediscovery from neglected Ulster playwright St John Ervine.

The season opens with the first UK production for 35 years of A Lesson from Aloes by Athol Fugard, a devastating story of betrayal and mistrust set against the backdrop of apartheid. Directed by actor, writer and director Janet Suzman and with lighting by the legendary Mannie ManimA Lesson from Aloes plays 27 February–23 March 2019.

Our acclaimed ‘Celebrating British Music Theatre’ series returns with the first professional London production for more than 50 years of Lionel Bart and Alun Owen’s musical Maggie May, a celebration of working class life in 1960s Liverpool, full of classic Lionel Bart musical numbers. Directed by recent nominee for the OffWestEnd Award for Best Director Matthew IliffeMaggie May plays 27 March-20 April 2019.

The season culminates with the first London production for over 75 years of Jane Clegg by St John Ervine, a 1913 tale of one woman’s escape from an abusive relationship, originally compared by critics to A Doll’s House. Jane Clegg is the third rediscovery from St John Ervine at the Finborough Theatre, following the huge success of his play Mixed Marriage in 2011. Directed by renowned West End director David Gilmore, Jane Clegg plays 23 April-18 May 2019.

Alongside our season of rediscoveries, we also continue our profound commitment to new writing. Playwright Hannah Morley has just been announced as one of the six winners of the Channel 4 Playwrights’ Scheme to spend a year with us as Playwright in Residence. The Finborough Theatre is now the only unsubsidised theatre ever to be awarded the Channel 4 Playwrights Scheme bursary eleven times. And we are also delighted to announce this year’s ETPEP Award 2019, a playwriting prize for new UK playwrights who work in the theatre industry, run by the Experienced Theatre Practitioners Early Playwriting Trust (ETPEP) in association with the Finborough Theatre. The winner will receive a prize of £8,000, a development relationship with the Finborough Theatre, and a staged reading performance of the winning play as part of our acclaimed new writing festival, Vibrant – A Festival of Finborough Playwrights, celebrating its eleventh consecutive year in 2019. Full details are available on our website.

Finborough Theatre Artistic Director Neil McPherson says: “Our new season features rediscoveries from renowned playwrights from South Africa and Northern Ireland, alongside a classic 1960s British musical. We also continue our commitment to new writing with an opportunity for brand new writers currently working elsewhere in theatre to win an £8000 award for a new play. At the end of last year, the Finborough Arms, our pub home, was taken over by an entirely new management and extensively refurbished, and will also shortly offer a wide menu, with all food cooked on the premises. We look forward to welcoming you.”

– Neil McPherson, Artistic Director

Tuesday, 27 February – Saturday, 23 March 2019

The first London production for 35 years

A LESSON FROM ALOES

by Athol Fugard. Directed by Janet Suzman.

Press Nights: Tuesday, 5 March and Wednesday, 6 March 2019 at 7.30pm     Photocall: Wednesday, 27 February 2019 at 1.00pm–1.30pm

Wednesday, 27 March – Saturday, 20 April 2019

The first professional London production for over 50 years

MAGGIE MAY

Music and Lyrics by Lionel Bart. Book by Alun Owen. Directed by Matthew Iliffe.            Press Nights: Friday, 29 March 2019 and Saturday, 30 March 2019 at 7.30pm

Photocall: Thursday, 28 March 2019 at 1.00pm-1.30pm

Tuesday, 23 April – Saturday, 18 May 2019

The first London production for over 75 years

JANE CLEGG

by St John Ervine. Directed by David Gilmore.

Press Nights: Thursday, 25 April 2019 and Friday, 26 April 2019 at 7.30pm

Photocall: Tuesday, 23 April 2019 at 1.00pm–1.30pm

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book online here

No booking fees on online, personal or postal bookings

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.)

Lines are open Monday – Saturday 10.00am-6.00pm

PERFORMANCE TIMES AND PRICES
Tuesday to Saturday evenings at 7.30pm. Saturday and Sunday matinees at 3.00pm.

Prices for A Lesson From Aloes and Jane Clegg
Prices for Weeks One and Two 
– Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on the first Saturday evening, when booked online only.
Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.


Prices for Maggie May
Prices for Weeks One and Two 
 £20, £18 concessions, except Tuesday Evenings £18 all seats, and Friday and Saturday evenings £20 all seats. Previews (26-27 March 2019) tickets £14 all seats.

£10 tickets for Under 30s for performances from Tuesday to Sunday the first week until Sunday 2 October when booked online only.

£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday 30 March 2019 when booked online only.

Prices for Weeks Three and Four  £25, £20 concessions, except Tuesday Evenings £20 all seats, and Friday and Saturday evenings £25 all seats.

Sheila Atim to star in Chè Walker’s Time is Love at Finborough Theatre

Time Is Love/Tiempo es Amor
Time Is Love/Tiempo es Amor

Time Is Love/Tiempo es Amor

Writer and Director Chè Walker returns to the Finborough Theatre to direct the European premiere of his own play Time Is Love/Tiempo es Amoropening at the Finborough Theatre for a four-week limited season on Tuesday, 1 January 2019 (Press Nights: Thursday, 3 January and Friday, 4 January 2019 at 7.30pm).[/caption]

2019. In the last remaining barrios of East LA…

Blaz returns from prison, but something ain’t right. His lifelong love Havana Cortez is keeping a secret. His old partner Karl seems to know what it is. Havana’s best friend Rosa hates him even more than usual, but this was not always the case. And the detective who locked him up can’t stop with the women. Serena The Sex Worker is our ethereal guide to this menacing world – but why are there pterodactyls overhead?

Love and Betrayal. Tenderness and Rage. Crime and Home. Adventure and  Ageing. Los Angeles behind the mask.

Featuring members of the original Los Angeles cast, Time Is Love/Tiempo es Amor is the latest play from Chè Walker, the multi-award-winning writer director behind UK Netflix’s hit Been So Long starring Michaela Coel and Arinzé Kene

Playwright and Director Chè Walker returns to the Finborough Theatre, where he has directed six previous productions including His GreatnessEtta JenksBlue Surge,Fog and Achidi J’s Final Hours. Chè’s first play Been So Long premiered at the Royal Court Theatre and has been performed worldwide. The musical adaptation played at The Young Vic before being adapted into a Netflix feature film, starring Michaela Coel and Arinzé Kene. His second play Flesh Wound premiered at the Royal Court Theatre, and won the George Devine Award before being produced globally. His many other plays include Crazy Love, starring Phoebe Waller-Bridge and written for Paines Plough, won the Blanche Marvin Award;  The Frontline which made history as the first contemporary-set play to be performed at Shakespeare’s Globe in 2008, and was revived in 2009; The Lightning Child was the first musical to be performed at Shakespeare’s Globe; the song cycle The Eighth, collaborating with Paul Heaton, which premiered at the Manchester International Festival with a cast featuring Emmy winner Reg E Cathey, and subsequently played the Barbican Centre in London and toured the UK; Lovesong, featuring Omar, toured with English Touring Theatre; and Klook and Vinette, featuring Sheila Atim and Ako Mitchell, sold out its run at the Park Theatre with subsequent runs in Atlanta, Alabama, and it will tour to Texas and Seattle in 2019. Since relocating to Los Angeles, Ché has written and directed four short films, winning two awards and fifteen festival selections. He currently has two screenplays in development. His adaptation of the iconic BBC Series DeadHead is produced by Open Palm Film and will be directed by Dominic Dromgoole in 2019. His original screenplay Fredo Bertasio is produced by David Livingstone and Emily Bray, with Jake Nava attached to direct.

Chè has also directed thirty-one stage productions, including six at the Finborough Theatre, and over fifty professional acting credits across stage and screen.

The production will feature original music by Sheila Atim who also appears in the production.

The cast is:

Gabriel Akuwudike | Blaz

Trained at Drama Centre London.
Theatre includes Dealing With Clair (Orange Tree Theatre, Richmond), A Gym Thing (Pleasance London), No One Is An Island (Tangle Theatre) and Troilus and Cressida (Sam Wanamaker Festival at Shakespeare’s Globe).

Television includes Berlin StationBrexit: The Uncivil WarThe Bisexual and Informer.

Sheila Atim | Rosa

Productions at the Finborough Theatre include Rachel.

Trained at Wac Arts.

Theatre includes Othello (Shakespeare’s Globe), Girl from the North Country for which she won Best Supporting Actress in a Musical at the 2018 Olivier Awards, the Critics’ Circle Award for Most Promising Newcomer and the Clarence Derwent Award, and was nominated for the Emerging Talent Category at the 2017 Evening Standard Awards and for Best Supporting Actress in a Play at the 2018 WhatsOnStage Awards (The Old Vic and Noël Coward Theatre), Babette’s Feast (Print Room at the Coronet), Les Blancs (National Theatre), Julius Caesar and Henry IV (Donmar Warehouse), The Tempest (Donmar Warehouse and St Anne’s Warehouse, New York), The Interrogation of Sandra Bland (Bush Theatre), VolponeLove’s Sacrifice and The Jew of Malta (Royal Shakespeare Company) and Hopelessly Devoted (Paines Plough).

Productions by Chè Walker include Klook’s Last Stand (Park Theatre) and The Lightning Child (Shakespeare’s Globe).

Film includes Sulphur and White.

Television includes Harlots, Bounty Hunters and The Feed.

Benjamin Cawley | Karl

Productions at the Finborough Theatre include Fog and The Hospital at the Time of The Revolution.

Theatre includes The Mysteries (Royal Exchange Theatre, Manchester), The Strange Death of John Doe and Patterns of Grace (Hampstead Theatre), Queen of Chapeltown(West Yorkshire Playhouse), The Wind In The Willows (Wardrobe Ensemble), The Tempest (Southwark Playhouse), Get Carter (Northern Stage, Newcastle), Fog (Park Theatre and National Tour), Shiverman (Theatre503), Chavs (Lyric Theatre, Hammersmith), Dunsinane (Royal Shakespeare Company), On The High Road (Urgent Theatre), Sense (Made By Brick), Sticks and Stones (Old Red Lion Theatre), Dark Carnival (Old Vic Tunnels) and O.O.L.P.O.S.P (Ovalhouse).

Television includes Crossing LinesThe PactDoctor WhoShetlandDoctors and How TV Ruined Your Life.

Film includes Christmas Eve.

Cary Crankson | Seamus

Trained at the Royal Academy of Dramatic Art.

Theatre includes All My Sons (Nottingham Playhouse), A View From The Bridge (Wyndham’s Theatre), Abigail’s Party (The Curve, Leicester), The Saints (Nuffield Southampton Theatres, Southampton), Dealer’s Choice (Royal and Derngate Theatres, Northampton), London, Seawall and Wasted (Paines Plough and The Roundhouse),Chapel Street (Underbelly and The Old Vic New Voices), Othello (Rose Theatre, Bankside), Desire Under The Elms (New Vic Theatre, Newcastle-under-Lyme), The Rover(Southwark Playhouse), Exit Signs – Rough Cuts (Royal Court Theatre), Flight Path (Bush Theatre) and Silverland (59E59 Theaters, New York, and Arcola Theatre).

Television includes The BillDoctors and Wild West.

Film includes Rock ‘N’ Roll and F*#kin Lovely.

 

Jessica Ledon | Havana

Trained at the Stella Adler Academy of Acting Los Angeles.

Theatre includes The VampyreRabbit Hole and A Month in The CountryNight Mother and Time Is Love/Tiempo es Amor (Stella Adler Academy of Acting Los Angeles).

Television includes Ballers.

 

Montana Roesch | Serena The Sex Worker

Trained at Ruth Asawa San Francisco School of the Arts and Stella Adler Academy of Acting Los Angeles.

Theatre includes Den of Thieves (The Lab Theater), Korczak’z Children (American Conservatory Theater) and A Singular They (The Blank Theatre).

Television includes VEEPLove, and Overthinking With Kat and June.

Film includes Low Low.

The press on Chè Walker’s previous productions at the Finborough Theatre

“Fringe theatre is bristling with creativity and flair but is often overlooked. This seething mass of talent has risen to the surface at the Finborough with this transfixing production. Making his directorial debut, Chè Walker creates a wonderfully tragic journey…this production is a triumph for all involved.” The Stage on Achidi J’s Final Hours

“Walker, directing a persuasive cast, creates a dark and compelling onstage world.” Sam Marlowe, The Times on Achidi J’s Final Hours

“Superbly directed by Chè Walker…an exciting, darkly comic evening.” Aleks Sierz, What’s On in London on Etta Jenks

Blue Surge – Time Out Critics’ Choice, «««« Four Stars, Time Out, The Times, The Guardian, WhatsOnStage and Evening Standard.

“Powerfully served…by Chè Walker’s direction…An evening of great theatre.” Jeremy Kingston, The Times on Blue Surge

Fog – Time Out Show of the Week and Critics’ Choice, ««««« Five Stars, WhatsOnStage, ««««Four Stars The Daily Telegraph and Time Out
“Chè Walker’s sizzling and stunning production.” Aleks Sierz, The Stage on Fog
“Chè Walker’s cleverly heightened production jangles your nerves and twists your heart.” Paul Taylor, The Independent
“Chè Walker’s production…is intimate, tender, terrifying” Kate Bassett, The Independent on Sunday on Fog
His Greatness – Time Out Critics’ Choice – «««« Four Stars The Sunday Times, WhatsOnStage and Time Out

 The press on Chè Walker’s plays

“Lively, funny, extremely well-written.” The Times on The Frontline

“Hilarious and startlingly touching.” The Independent on Sunday on The Frontline

“Hilarious, elating, enormously entertaining.” The Sunday Times on Been So Long The Musical

“A brilliant piece of dramatic poetry.” The Scotsman on Crazy Love

“A blistering, angrily funny play.” The Telegraph on Flesh Wound

PRESS NIGHTS: THURSDAY, 3 JANUARY 2019 AND FRIDAY, 4 JANUARY 2019 AT 7.30PM

PHOTOCALL: THURSDAY, 3 JANUARY 2019 AT 5.00PM-5.30PM.

Finborough Theatre, 118 Finborough Road, London SW10 9ED

New season announced at the Finborough Theatre

Finborough Theatre
Finborough Theatre

Finborough Theatre

The Finborough Theatre completes the 150th birthday year of the Finborough Theatre building and moves into a new year with a three month season of plays embracing – as always – both unique rediscoveries and vibrant new writing. Our new season includes a rediscovered hit by one of the West End’s most successful interwar female playwrights, a brand new play by one of the UK’s most successful writer/directors, a modern classic on the plight of migrants fleeing persecution and genocide, and for one performance only, a new play with music performed in Scottish Gaelic.

The season opens with the first UK production for 80 years of Aimée Stuart’s charming romantic comedy Jeannie. A 1930s version of the Cinderella story from one of the West End’s most successful female dramatists of the interwar period, Jeannie plays 27 November–22 December 2018.

On Monday, 17 December 2018, the acclaimed Theatre Gu Leòr present Bana-Ghaisgich/Heroines, a new play by award winning Gaelic singer and actor Mairi Morrison, performed in Scottish Gaelic with live music and songs. The very final production in the Finborough Theatre’s acclaimed GREATWAR100 series, it commemorates the final tragedy of the First World War – the Iolaire disaster in the Western Isles.

We open 2019 on New Year’s Day with the European premiere of Chè Walker’s latest play Time is Love/Tiempo es Amor, a menacing Los Angeles drama set in LA’s Latino community. Featuring members of the original Los Angeles cast, and with an original score by award-winning actor Sheila AtimTime is Love/Tiempo es Amor plays 1–26 January 2019.

The season culminates with Beast on the Moon by Richard Kalinoski, a universal story of hope and healing set against the background of the Armenian Genocide, and already performed in more than twenty countries and translated into nineteen languages, playing 29 January–23 February 2019.

Finborough Theatre Artistic Director Neil McPherson says: “Our new season plays in the newly reopened Finborough Arms Pub which is now under an entirely new management. The pub has been extensively refurbished and offers live music after theatre performances, and will also shortly offer a wide menu, with all food cooked on the premises. We have always tried to provide a home for the indigenous languages of the British Isles at the Finborough Theatre, and so I’m proud to fulfil a long-standing ambition of mine to present a play in Scottish Gaelic in the heart of London.”

The Finborough Theatre’s work continues to be seen further afield with a return of Kieran Knowles’ Operation Crucible to New York City and an American tour, and Neil McPherson’s Olivier Award nominated It is Easy To Be Dead on a Scottish tour to Aberdeen and Glasgow.

For full information, please visit www.finboroughtheatre.co.uk

– Neil McPherson, Artistic Director

December 2018 – February 2019 | Press Nights and Photocalls

Tuesday, 27 November – Saturday, 22 December 2018

The first professional London production for 80 years

JEANNIE

by Aimée Stuart. Directed by Nicolette Kay.
Press Nights: Thursday, 29 November and Friday, 30 November 2018 at 7.30pm

Photocall: Tuesday, 27 November 2018 at 1.00pm–1.30pm

 

Monday, 17 December 2018 at 7.30pm

BANA-GHAISGICH/HEROINES

by Mairi Morrison. Music by Mike Vass. Directed by Muireann Kelly.

Press Nights: Monday, 17 December 2018 at 7.30pm

 

Tuesday, 1 January – Saturday, 26 January 2019

The European premiere

TIME IS LOVE/TIEMPO ES AMOR

Written and Directed by Chè Walker. Music by Sheila Atim.

Press Nights: Thursday, 3 January 2019 and Friday, 4 January 2019 at 7.30pm

Photocall: Thursday, 3 January 2019 at 5.00pm-5.30pm.

 

Tuesday, 29 January – Saturday, 23 February 2019

The first London production in more than 20 years

BEAST ON THE MOON

by Richard Kalinoski. Directed by Jelena Budimir.

Press Nights: Thursday, 31 January and Friday, 1 February 2019 at 7.30pm

Photocall: Tuesday, 29 January 2019 at 1.00pm-1.30pm

 

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book online at www.finboroughtheatre.co.uk

No booking fees on online, personal or postal bookings

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.)
Lines are open Monday – Saturday 10.00am-6.00pm


PERFORMANCE TIMES AND PRICES
Tuesday to Saturday evenings at 7.30pm.
Saturday matinees at 3.00pm (from the second week of each run).
Sunday matinees at 3.00pm.
Prices for Weeks One and Two – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on the first Saturday evening, when booked online only.
Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

For Bana-Ghaisgich/Heroines

Monday, 17 December 2018 at 7.30pm

Prices £18, £16 concessions

Finborough Theatre: The Tenth Vibrant Festival Announced

VIBRANT 2018 – A FESTIVAL OF FINBOROUGH PLAYWRIGHTS

A FESTIVAL OF FINBOROUGH PLAYWRIGHTS

Sundays, Mondays and Thursdays

7, 8, 11, 14, 15, 18, 21, 22, 25 October 2018

Returning for the tenth consecutive year

Curated by Finborough Theatre Artistic Director Neil McPherson
Produced by Nikki Hill.

Plays by

Ayad Andrews

Rachel Anthony

Jonathan Gillis

Tim Jeal

Emma Kinane

Hannah Morley

And a new musical by

Sonum Batra

Phil Willmott

Directed by

Chloe Christian, Melissa Dunne, Simon Greiff, Courtney Larkin, Fay Lomas, Caitlin McLeod and Phil Willmott

Supported by

The Carne Trust, Oberon Books, Hogarth Estates, Samuel French, and Nick Hern Books

“The jewel in the crown of the London fringe…

Probably the most influential fringe theatre in the world” Time Out

Now in its tenth consecutive year, the multi-award-winning Finborough Theatre presents Vibrant 2018 – A Festival of Finborough Playwrights, its annual explosion of new writing, running between 7-25 October 2018.

This year’s highlights include the winner of this year’s RADIUS Playwriting Competition, an award winning new play from New Zealand, and a unique opportunity to watch the birth of a new British musical, in an eclectic and idiosyncratic selection of staged readings.

As part of our ongoing commitment to ensuring diversity and opportunity, particularly in those areas neglected by other UK theatres, this year’s playwrights embraces all age groups, and all of our new British playwrights (except one) are over 40.

Concentrated solely on full length works for the stage, Vibrant 2018 – A Festival of Finborough Playwrights continues to introduce you to some of the fascinating diverse vibrant voices we have discovered, developed and championed.

A unique opportunity to see behind the scenes at one of the UK’s most exciting theatres as we continue to discover and develop tomorrow’s plays today, brought to life by some of the UK’s most talented actors and directors.

Since our first festival in 2009, our Vibrant festivals have included well over one hundred new plays, twenty four of which have gone on to be produced in full productions at the Finborough Theatre including Mirror Teeth by Nick Gill, The Man by James Graham, And I And Silence by Naomi Wallace, Black Jesus by Anders Lustgarten, Carthage by Chris Thompson, Nona Shepphard and Craig Adams’ musical version of Thérèse Raquin, This Heaven by Nakkiah Lui and Booby’s Bay by Henry Darke. Plays that went on to be produced by other theatres have included Bull by Mike Bartlett at the Crucible Theatre, Sheffield, The Stock Da’Wa by David Eldridge, and Acceptance by Amy Ng at the Hampstead Theatre Downstairs.

Despite remaining completely unsubsidised, the Finborough Theatre has an unparalleled track record of discovering new playwrights who go on to become leading voices in British theatre. Under Artistic Director Neil McPherson, it has discovered some of the UK’s most exciting new playwrights including Laura Wade, James Graham, Mike Bartlett, Chris Thompson, Jack Thorne, Alexandra Wood, Al Smith, Nicholas de Jongh and Anders Lustgarten; and directors including Blanche McIntyre, Robert Hastie, Kate Wasserberg and Sam Yates.

Vibrant 2018 – A Festival of Finborough Playwrights is again curated by Finborough Theatre Artistic Director Neil McPherson, winner of The Writers’ Guild Award for the Encouragement of New Writing, and twice winner of the OffWestEnd Award for Best Artistic Director.

THE PLAYS

Sunday, 7 October 2018 at 7.30pm

LOCK HER UP!

by Rachel Anthony. Directed by Chloe Christian.

Katherine and Oliver are media students at a prestigious American university. When their romantic hook-up takes a sinister turn, Katherine calls on her seminar group to support her. Into the ensuing explosive debate over coercion, pornography and consent, a mysterious figure arrives — to confront the strange gender games we all play, in the era of Trump and #metoo.

Playwright Rachel Anthony is best known for her television work including Bodies (BBC2), Being Human (BBC3), Mistresses, which she also co-created (BBC1), Lip Service (BBC3) and Stan Lee’s Lucky Man (Sky 1). She has recently completed two feature film scripts and a novel. Lock Her Up! is her first theatre play.

Director Chloe Christian currently works as Staff Director to English National Opera. She is the youngest member of the JMK Fuse Directors at West Yorkshire Playhouse, and a Director for Kalon, a New Diorama Emerging Company 2017. Direction includes When Five Years Pass (Cervantes Theatre), Temporary Autonomous Zones (The Ron Cooke Hub, University of York), Child’s Play(New Diorama Theatre and Zoo Venues, Edinburgh) and Mortified (Theatre Delicatessen). Assistant and Staff Direction includes Paul Bunyan (Wilton’s Music Hall), Masterpieces (Finborough Theatre), Research and Development for M.E.H (Lyceum Theatre Rehearsal Rooms), Return to the Forbidden PlanetTop Hat and Treating Odette (Upstairs at The Gatehouse), 12 Million Volts (New Diorama Theatre), Musical Differences (Crucible Studio, Sheffield) and Departures (Pleasance London). Forthcoming productions include assisting ENO Artistic Director Daniel Kramer on War Requiem(London Coliseum).

Monday, 8 October 2018 at 7.30pm

RELATIVITY – The Einstein Musical

Book and Lyrics by Phil Willmott. Music by Phil Willmott and Sonum Batra. Directed by Phil Willmott.

An exciting opportunity to see a script in hand presentation of a new musical, in the early stages of development, exploring Albert Einstein’s stormy first marriage to the pioneering physicist, Mileva Marić. Their witty and passionate collaboration unlocked the secrets of the universe, yet ended in a devastating act of cruelty that ensured she would never eclipse her husband’s genius. Your feedback will help shape this tuneful new musical’s future. A unique opportunity over three performances to see the birth of a new British musical.

Composer, Writer and Director Phil Willmott’s musicals include two seen at the Finborough Theatre –  Lost Boy which transferred from the Finborough Theatre for an extended run at the Charing Cross Theatre, and Princess Caraboo. Both recently published by Samuel French. Phil Willmott’s first musical was a finalist for the prestigious Vivian Ellis prize, and his subsequent, internationally published and regularly revived musicals include Once Upon A Time At The Adelphi, commissioned by Liverpool Playhouse (TMA award winner and WhatsOnStage nominee for Best Musical Production in the UK) and its U.S. version Once Upon A Time At The Atlantic City which premiered in Connecticut and won five Spirit of Broadway Awards including Best Score and Best Direction, Around The World In Eighty Days, written for BAC and revived at Liverpool Playhouse, for a National Tour, and a two-year German tour, the Dick Barton Special Agent Trilogy originally commissioned by Croydon Warehouse and revived at Oldham Coliseum, Nottingham Playhouse, the Queen’s Theatre Hornchurch, Theatre by the Lake in Keswick, the Yvonne Arnaud Theatre in Guildford, Greenwich Theatre, New Wimbledon Theatre and at Southwold Rep; and adaptations of Treasure Island and Jason And The Argonauts, all of which continue to be licensed regularly by Samuel French across the globe.

Composer Sonum Batra studied music at King’s College London, specialising in piano and composition with tutors at the Royal Academy of Music. Composition includes Not the End of the World (Edinburgh Festival), Rare Dreams and Persona (Youth Music Theatre UK) and A Midsummer Night’s Dream (Warhorse Theatre Works). Musical Direction and Pianist work includes Aladdin(Embassy Theatre, Skegness), Fatbusters the Musical (St Giles-in-the-Fields, London), Katt In Kixx(Stratford Circus), Bend it Like Beckham (Dominion Theatre), Shakin’ The Blues Away (London Metropolitan University), Flo White and the Seven Dawgs and Syn-da-Rilla (Dugdale Centre, Enfield), They’re Playing Our Song (Catford Broadway Theatre) and John and Jen (Rosemary Branch Theatre). She was also Assistant Musical Director on Swallows and Amazons (Bristol Old Vic). She regularly teaches piano and singing and works nationwide as an audition pianist and accompanist.

Thursday, 11 October 2018 at 3.00pm

THE HOUSE OF JULIUS JACOBS

by Jonathan Gillis. Directed by Courtney Larkin.

Palestine, 1946. Julius Jacobs, former Mancunian, is Assistant Chief Secretary at the British Mandate and has just received an OBE for services to His Majesty. He is also a staunch Zionist, and counts the leaders of the Zionist movement among his closest friends. His loyalties to his employers are strained in the face of Britain’s failing mission in Palestine. But the discovery of a secret pact between his friends and local terrorist groups makes him reassess his loyalties to them too. Torn between the two, his open opposition to his friends leaves him isolated as the danger draws ever closer to himself, his workplace – and the house that has come to symbolise his entire world. Based on a true story.

Playwright Jonathan Gillis’s first full-length play, Close to Home, drawing on his experiences as an IDF reservist in a prison in the Negev in the 1990s, debuted at Vibrant 2015 – A Festival of Finborough Playwrights. His one-man play, The Dreamer, which he performs himself, was a sell-out at the Khan Theatre in Jerusalem and the Leeds International Festival for the Performing Arts in 2011 and at Cambridge Limmud in 2013. Born in Sunderland in 1958 and educated at Manchester, Oxford and the Hebrew University of Jerusalem, Jonathan received an MA with distinction in creative writing from the UEA in 2010. He currently works as a lawyer and teacher, and with teenagers at risk in Jerusalem.

Director Courtney Larkin trained at East 15 Acting School and GITIS, the Russian Institute of Theatre Arts. She is the Deputy Artistic Director of Theatre N16 and is the driving force behind the First Credit, a project which gives fresh graduates their first paid credit on a London stage. Theatre includes Last Man Standing (Theatre N16), Danny and the Deep Blue Sea (Old Red Lion Theatre), Satisfied (Theatre503) and Why Women Don’t Like Me (n) (Southwark Playhouse). Assistant Direction includes assisting Nancy Meckler on The Good Person of Setzuan (Central School of Speech and Drama), and development readings of Stephen Unwin’s Immigrant (Jermyn Street Theatre) and Anthony Clark’s No Case (The Print Room). She has attended Springboard director training at The Young Vic and the Young Directors Programme at the Royal Shakespeare Company. Forthcoming work includes short film Keywords along with a Northern Ireland repertory tour of Antigone and Romeo and Juliet.

Sunday, 14 October 2018 at 7.30pm

PETRICHOR

by Hannah Morley. Directed by Melissa Dunne.

Chloe Bradley has the keys to a home she can’t walk into, and both her shoes – and her mother – are missing. When a chance encounter with a Street Pastor gives her temporary shelter from the streets, she is given a lifeline. In a town of locked doors and forbidden rooms, Chloe is forced to question whether there can be a path back home, or whether home was all an illusion in the first place. Set on the streets of Doncaster, Petrichor explores whether our loss of faith is more of a loss than we want to admit.

Petrichor won this year’s Spotlight on Humanity: Radius Playwriting Competition, judged by Neil McPherson and Sue Healy, Artistic Director and Literary Manager of the Finborough Theatre. The next Radius Playwriting Competition will take place in 2020, and will be announced in December 2019. www.radiusdrama.org.uk

Playwright Hannah Morley was born in Doncaster in 1992. Petrichor is her first play, originally written as part of the Writer’s Lab course at Soho Theatre. It was longlisted for both the Verity Bargate Award and the Bruntwood Prize. She trained as an actor at Guildford School of Acting.

Director Melissa Dunne returns to the Finborough Theatre where she directed Just to Get Married, named in The Observer’s ‘Best Theatre Of 2017’ list, and Sarah Daniels’ Masterpieces. She is Artistic Director of Papercut Theatre and has directed work in venues as diverse as Theatre503, Arcola Theatre, the Houses of Parliament and the Royal Festival Hall. Theatre includes I’m Not Jesus Christ(Theatre N16, supported by the Romanian Cultural Institute), I Still Get Excited When I See A Ladybird (Theatre503), Extraction (Etcetera Theatre) and The Space Between My Head and MyBody (Theatre503 and Edinburgh Festival). She founded and continues to creatively manage the acclaimed XY playwriting festival which has been produced at Hackney Showroom, Latitude Festival, Pleasance Edinburgh and Theatre503. She has read scripts for the literary departments of the National Theatre, Bush Theatre, the Verity Bargate Award and Soho Theatre. She is also a Visiting Lecturer at the Royal Central School of Speech and Drama.

Monday, 15 October 2018 at 7.30pm

RELATIVITY – The Einstein Musical

Book and Lyrics by Phil Willmott. Music by Phil Willmott and Sonum Batra. Directed by Phil Willmott.

See Monday 8 October.

Thursday, 18 October 2018 at 3.00pm

THE CHIEF

by Tim Jeal. Directed by Simon Greiff.

It is 1914, and the war hero, Robert Baden-Powell, has already founded the Boy Scouts, and married a desirable younger woman. He has also been knighted by the King. So why isn’t he happy? For a start, he is suffering from mystifying headaches – which is why his wife has referred him to a ‘mind doctor’ who admires Freud and doesn’t believe in will-power. But how can that help him get better and father the son he longs for? Or stop his male private secretary being killed in France, and the government stealing his Scouts? But where there’s a will, there’s a way…isn’t there?

Playwright Tim Jeal is Baden-Powell’s biographer, and has also written lives of Dr Livingstone and H.M. Stanley, the last of which was Sunday Times Biography of the Year in 2007 and won the US National Book Critics Prize. His last three books were all BBC Radio 4 Books of the Week. He is also a novelist and a former winner of the John Llewellyn Rhys Prize. His memoir Swimming with My Father was serialised in The Times and short-listed for the J. R. Ackerley Prize.

Director Simon Greiff trained at the Central School of Speech and Drama and worked as an actor for twelve years before moving into directing. Direction includes work at Pleasance London, Soho Theatre, Riverside Studios, St James Theatre, 45th Street Theatre New York (part of New York Musical Festival), Waterloo East Theatre, Theatre Royal Windsor, and developing new work for Perfect Pitch and the Ambassador Theatre Group. Drama School direction includes productions at the Royal Central School of Speech and Drama, London College of Music, Royal Welsh College of Music and Drama, Trinity Laban Conservatoire of Music and Dance, the Musical Theatre Academy, Bird College, alongside workshops at Royal Conservatoire of Scotland, Arts Educational, Associated Studios and Guildford School of Acting. Simon has also worked as an Associate/Resident Director on numerous commercial productions and he is currently responsible for the Tim Firth / Take That musical The Band (National Tour and Theatre Royal Haymarket).

Sunday, 21 October 2018 at 7.30pm

TERP

by Ayad Andrews. Directed by Fay Lomas.

2003. Basra, Iraq. For young Iraqi student Tawfeeq, the Second Gulf War is the chance to be a part of revolutionary change, an opportunity to help set all Iraqis free from the tyranny of Saddam’s reign. All he has to do is assist the Coalition Forces by being a terp – an interpreter. But that fateful decision is about to change his and his family’s life forever…

Playwright Ayad Andrews was born in Baghdad, Iraq, and lived there until the early 1970s when his family were forced to flee the country. In 2016/17, he was a member of the Oxford Playhouse Playmakers scheme under the tutelage of John Retallack. Before that, he was a student on John Burgess’ playwriting course held at the Nuffield Theatre, Southampton. He is currently a member of the Royal Court Theatre’s Introductory Writers Group. TERP is his first full-length play.

Director Fay Lomas returns to Vibrant where she directed Outcaste for Vibrant 2017 – A Festival of Finborough Playwrights. She trained on the MFA in Theatre Directing at Birkbeck University. Theatre includes The Crucible, The Selfish Tortoise and Young Cast Director on The Grapes of Wrath (Royal and Derngate Theatres, Northampton), Out of the Dark (Scene Gym Shorts at the Arcola Theatre),The Winter’s Tale (St Peter’s Church, Northampton), Left Behind (Camden Fringe), a reading of Death of a Salesman: Birth and Afterlife (Oxford Playhouse), Lunch Hour (Southwark Playhouse), Three Way (Theatre503), Balloon (Vault Festival), Blood Wedding (Bread and Roses Theatre) and Berenice (The Space), both of which she also translated. Assistant Direction includes Trouble in Mind (The Print Room), Death of a Salesman (Royal and Derngate Theatres, Northampton, and National Tour), Great Expectations (Royal and Derngate Theatres, Northampton), Annie Get Your Gun (Crucible Theatre, Sheffield) and Half Life (Ustinov Studio, Theatre Royal Bath). She is currently the Assistant Director on Macbeth (National Theatre Tour).

Monday, 22 October 2018 at 7.30pm

RELATIVITY – The Einstein Musical

Book and Lyrics by Phil Willmott. Music by Phil Willmott and Sonum Batra. Directed by Phil Willmott.

See Monday 8 October.

Thursday, 25 October 2018 at 3.00pm

ANAHERA

by Emma Kinane. Directed by Caitlin McLeod.

A European debut for an exciting new voice from New Zealand.

11-year-old Harry Hunter is missing. While they wait for news, Anahera – a newly qualified Māori social worker – supports Harry’s distraught parents. But as the hours pass and the situation pushes everyone to their limits, Anahera is forced to take a stand.
Anahera was chosen for Auckland Theatre Company’s workshop The Next Stage in 2015 and was a finalist in the Adam NZ Play Awards in 2016. It premiered in September 2017 at Circa Theatre in Wellington, receiving rave reviews, and won Most Outstanding New New Zealand Play at the Wellington Theatre Awards 2017.

Playwright Emma Kinane is a graduate of Toi Whakaari: NZ Drama School and has worked as an actor and writer in theatre, television, film and radio. She co-wrote the plays TurbinePaua and The December Brother with the SEEyD Collective. Turbine was nominated for Best New New Zealand Play at the Chapman Tripp Theatre Awards (now the Wellington Theatre Awards) in 2007. In 2009, Emma’s screen adaptation of Turbine was chosen for the NZ Film Commission’s First Writers Initiative. In 2011, she placed first equal in the NZ Writers Guild Scriptwriting competition with a TV series pilot episode. In 2013 she earned a Master’s Degree in Scriptwriting from the International Institute of Modern Letters at Victoria University of Wellington, during which she wrote the play Hope. Full. Emma’s play Clouds aired on Radio NZ in 2014 and her short film Bastard is part of the anthology feature film Encounters, currently in post-production.

Director Caitlin McLeod returns to the Finborough Theatre where she directed Returning to HaifaFactsNorthern Star and And I And Silence which subsequently transferred to the Signature Theatre, New York City. She is the Artistic Director of new-writing company The Coterie (supported by a Sky Academy Scholarship) and has formerly been part of the Old Vic 12, Artistic Associate with HighTide and Trainee Director at the Royal Court Theatre. Direction includes Utility (Orange Tree Theatre, Richmond), One Flea Spare (Sheen Centre, New York City), A Further Education(Hampstead Theatre Downstairs), BRENDA (HighTide Festival Theatre and Yard Theatre), Polar Bears (West Yorkshire Playhouse), The Malcontent (Shakespeare’s Globe), Commonwealth (Almeida Theatre), HomeTruths (Cardboard Citizens at The Bunker) and The Children’s Hour (Royal Welsh College of Music and Drama). Caitlin has been Assistant or Associate Director for Dominic Cooke, Jeremy Herrin, James Macdonald (all at the Royal Court Theatre), Simon Godwin (National Theatre), Hamish McColl (Hampstead Theatre), and Dominic Dromgoole (Shakespeare’s Globe).

 

LISTINGS INFORMATION

Vibrant 2018 – A Festival of Finborough Playwrights

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book online at www.finboroughtheatre.co.uk

No booking fees on online, personal or postal bookings

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.) Lines are open Monday– Saturday 10.00am-6.00pm

 

Sunday, 7 October – Thursday, 25 October 2018

Sunday and Monday evenings at 7.30pm. Thursday matinees at 3.00pm.

Tickets £5 all seats.

 

Week One – 7–11 October 2018

Sunday, 7 October 2018 at 7.30pm – Lock Her Up! by Rachel Anthony. Directed by Chloe Christian.

Monday, 8 October 2018 at 7.30pm – RELATIVITY – The Einstein Musical. Book and Lyrics by Phil Willmott. Music by Phil Willmott and Sonum Batra. Directed by Phil Willmott.

Thursday, 11 October 2018 at 3.00pm – The House of Julius Jacobs by Jonathan Gillis. Directed by Courtney Larkin.

 

Week Two – 14–18 October 2018

Sunday, 14 October 2018 at 7.30pm – Petrichor by Hannah Morley. Directed by Melissa Dunne.

Monday, 15 October 2018 at 7.30pm – RELATIVITY – The Einstein Musical. Book and Lyrics by Phil Willmott. Music by Phil Willmott and Sonum Batra. Directed by Phil Willmott.

Thursday, 18 October 2018 at 3.00pm – The Chief by Tim Jeal. Directed by Simon Greiff.

 

Week Three – 21–25 October 2018
Sunday, 21 October 2018 at 7.30pm – Terp by Ayad Andrews. Directed by Fay Lomas.

Monday, 22 October 2018 at 7.30pm – RELATIVITY – The Einstein Musical. Book and Lyrics by Phil Willmott. Music by Phil Willmott and Sonum Batra. Directed by Phil Willmott.

Thursday, 25 October 2018 at 3.00pm – Anahera by Emma Kinane. Directed by Caitlin McLeod.

Extra performances added for the run of Jordan Seavey’s Homos, Or Everyone In America at the Finborough Theatre

Homos, or Everyone in America
Homos, or Everyone in America

Homos, or Everyone in America

Equality is here – now what? In a supposedly ‘post-gay’ America on the brink of passing marriage equality, a first date at a New York bar starts two men on a fearless, funny and fragmented journey leading up to a historic moment of change.

Jordan Seavey’s raw and provocative portrait of a love story explodes attitudes, emotions and prejudices that sit at the heart of relationships across the world. This dazzling kaleidoscope of a play asks us all the question – are personal and political choices really all that different?

Award-winning director Josh Seymour returns to the Finborough Theatre following the sell-out cult hit Adding Machine: A Musical to direct the European première of Homos, or Everyone in America, a Critics’ Pick in the New York Times for its Off-Broadway premiere, named one of New York Magazine’s 10 Best Theatre Events of 2016 and The Advocate’s Top 10 New York Theater of 2016.

Jordan Seavey is a Brooklyn-based playwright whose plays include Homos, or Everyone in America (New York Times Critic’s Pick, named one of New York Magazine’s 10 Best Theatre Events of 2016, The Advocate’s Top 10 New York Theatre of 2016 and OBIE Award for performance for Michael Urie), 6969November 4th 2008Wight, The Funny Pain, The Truth Will Out, Children at Play and This is a Newspaper. Since 2003, he has co-created more than fifteen new plays with theatre company CollaborationTown, which include Candy (a commission from LCT3 and Lincoln Center), the all-ages puppet musical Riddle of the Trilobites (as residents of New Victory Theater’s LabWorks), Family Play (1979 to Present) (named one of The Advocate’s 10 Best LGBT Plays of 2014) and The Momentum (2012 GLAAD National Media Award nomination). He is a Usual Suspect at New York Theatre Workshop and an alum of The Public Theater’s Emerging Writer’s Group and the Soho Rep Writer/Director Lab in New York City, where he resides.

Director Josh Seymour returns to the Finborough Theatre where he directed the critically acclaimed sell-out Adding Machine: A Musical, which was nominated for five OffWestEnd Awards including Best Director. Direction includes Parade and Urinetown (Mountview Academy at Pleasance Theatre), One Arm for which he won the 2016 OffWestEnd Award for Best Director (Southwark Playhouse), The Laramie Project (Curve, Leicester), Loserville (Gatehouse Theatre, Stafford), Les Misérables (Arts at Stowe) and Four Dogs and a Bone (London Festival Fringe). Associate Direction includes Red (Wyndham’s Theatre), Follies (National Theatre), Beautiful – The Carole King Musical (Aldwych Theatre) and My Night With Reg (Apollo Theatre). He was Resident Assistant Director at the Donmar Warehouse where he assisted on City of Angels and Privacy (both directed by Josie Rourke), Fathers and Sons (directed by Lyndsey Turner), My Night With Reg (directed by Robert Hastie) and Versailles

(directed by Peter Gill). Other Assistant Direction includes Candide (Menier Chocolate Factory), Our House (National Tour), Sex With a Stranger (Trafalgar Studios) and Sixty-Six Books (Bush Theatre). He was a finalist for the 2012 JMK Award, and runner up in the 2018 RTST Sir Peter Hall Director Award.

Set and Costume Designer: Lee Newby; Lighting Designer: Jess Bernberg

Sound Designer and Composer: Lex Kosanke; Movement Director: Chi-San Howard

Casting Director: Seth Mason 

Homos, or Everyone in America was written at The Orchard Project (Hunter, NY) and developed with generous support from New York Theatre Workshop and LAByrinth Theater Company.

European première presented by arrangement with Finborough Theatre.

Homos, or Everyone in America                                                                                                              LISTINGS

Finborough Theatre

118 Finborough Road, London SW10 9ED

www.finboroughtheatre.co.uk

Twitter @HOMOStheplay

Book online: www.finboroughtheatre.co.uk

(No booking fees on online, at the box office by or postal bookings)

Book by telephone: Box Office 01223 357851.

(Calls are free. There will be a 5% booking fee. Lines are open Monday-Saturday 10am-6pm)

Until 1 September 2018

Tuesday to Sunday evenings at 7.30pm. Wednesday, Saturday and Sunday matinees at 3.00pm.

Prices until 19 August 2018

Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews (7 and 8 August) £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, 11 August 2018 when booked online only.

Prices from 21 August 2018

Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

Performance Length: 1 hour and 45 minutes, with no interval

Age guidance: 15+

Casting Announced for Musical The Biograph Girl

The Biograph Girl
The Biograph Girl

The Biograph Girl

In a production commissioned by the Finborough Theatre as part of their acclaimed ‘Celebrating British Music Theatre’ series, the first professional UK production since its 1980 premiere, The Biograph Girl  by Warner Brown and David Heneker opens at the Finborough Theatre for a three week limited season on Tuesday, 22 May 2018 (Press Nights: Thursday, 24 May and Friday 25 May 2018 at 7.30pm)

From the composer of Half A Sixpence, a joyous musical celebration of Hollywood’s glorious era of silent film –  beginning in 1912 when disreputable “flickers” are shown in fleapits and no self-respecting actor will appear in them, and ending in 1928 with movies now a glamorous, multi-million dollar industry and the first talking pictures signal the doom of silent films.

In a breath taking sweep of just sixteen years, the great innovative directors created filmmaking as we know it today, ground breaking movie moguls laid the foundations of the entertainment industry, and trail blazing actors launched the Hollywood star system.

Weaving together the heartbreaks and triumphs of the flawed genius director D. W. Griffith and the first movie stars Lilian Gish and Mary Pickford, The Biograph Girl is a love letter to the stardust and scandals of the silent movie era.

The libretto has been especially revised for this production by its original co-writer Warner Brownand includes – for the very first time – the reintroduction of songs cut from the West End premiere production.

The Biograph Girl received its West End premiere at the Phoenix Theatre in 1980, directed by Victor Spinetti, with Lillian Gish in the audience. This production is directed by Jenny Eastop who returns to the Finborough Theatre following her production of Mr Gillie for which she received an OffWestEnd nomination for Best Director.

Composer David Heneker (1906-2001) remains best known for his classic British musical Half A Sixpence, recently revived to huge acclaim in Chichester and the West End. His other musicals include Expresso Bongo (with Monty Norman) (1958), wrote English lyrics for Irma La Douce(1958), Make Me An Offer (with Monty Norman) which won the Evening Standard Award for Best Musical (1959), Half a Sixpence (1963) starring Tommy Steele, which won Tony nominations for Best Musical and Best Original Score and was filmed, Charlie Girl  (with John Taylor) which ran in the West End for five years (1965), Jorrocks (1966), Phil the Fluter (1969), The Amazons (1970), Popkiss (1972), Hullabaloo (1972) and Peg (1984). He died in 2001.

Playwright and lyricist Warner Brown works on both sides of the Atlantic. As a bookwriter and lyricist, he has collaborated with the composers Angelo Badalamenti, Michael Feinstein, Tony Hatch, David Heneker, Michael Reed, Jimmy Roberts, Joshua Schmidt, Jim Steinman, Charles Strouse, George David Weiss and, by permission of the Cole Porter Trusts, the late Cole Porter. His work in the UK and London includes Son Of A Preacher Man (current UK National Tour), Cinderella (London Palladium), Six For Gold and The Black and White Ball (King’s Head Theatre), the play The Prospero Suite (Everyman Theatre, Cheltenham),The House On The Corner (Edinburgh Festival) and the new version of Half A Sixpence. Work in Europe and the US includes Garbo – The Musical and Flickers. For BBC Worldwide and Global Creatures, Warner wrote the arena show Walking With Dinosaurs – the Arena Spectacular which won many international awards, including the Billboard Magazine Creative Content Award. Warner has extensive writing credits for the BBC and was Script Associate of the BBC Classic Musical series for which he adapted fourteen musicals and directed such artists as Anthony Newley, Barbara Cook and Tyne Daly. He is co-sponsor of The S&S Award for new musical theatre writing.

Director Jenny Eastop returns to the Finborough Theatre following her production of Mr Gillie for which she received an OffWestEnd nomination for Best Director. She is Artistic Director of Mercurius Theatre for whom she has directed The Waiting Room (Leicester Square Theatre and Above the Arts Theatre), The AlchemistThe Devil Is An AssA Chaste Maid in Cheapside and A Trick to Catch the Old One (all at The Rose Playhouse, Bankside), Anton Chekhov’s Vaudevilles (Jermyn Street Theatre), and School for Wives (White Bear Theatre) for which she received an OffWestEndnomination for Best Director. Jenny has also directed for companies such as Shakespeare’s Globe, National Theatre Studio and London New Play Festival, including the premiere of Peter Nichols’ new play So Long Life (Tobacco Factory, Bristol), Warde Street (Park Theatre) for which she received an OffWestEnd nomination for Best Director, and Henna Night (Leicester Square Theatre). Jenny has worked as Associate Director to Michael Blakemore on The Life (Southwark Playhouse), Blithe Spirit, with Angela Lansbury (Gielgud Theatre and US Tour), Embers, with Jeremy Irons (Duke of York’s Theatre), Democracy (National Theatre, Wyndham’s Theatre, Broadway, and Sydney Theatre Company), Afterlife (National Theatre), Three Sisters, with Kristin Scott Thomas (Playhouse Theatre). Resident Direction includes working with Roger Michell on Blue/Orange (Duchess Theatre) and The Homecoming (National Theatre), and Matthew Warchus on The Devil Is an Ass (Royal Shakespeare Company).

The cast is:

Matthew Cavendish

Matthew Cavendish | Sennett

Trained at London Academy of Music and Dramatic Art.

Theatre includes Showstopper! (Lyric Theatre) the original Broadway cast of The Play That Goes Wrong (Lyceum Theatre, New York City), The Play That Goes Wrong (Duchess Theatre) Peter Pan Goes Wrong (Apollo Theatre and National Tour), Lights! Camera! Improvise!(Edinburgh Festival), Sleeping Beauty (Park Theatre), The Boys From Syracuse (Union Theatre), The Borrowers, winner of the TMA Best Children’s Show (Northern Stage, Newcastle), An Intimate Evening with Ruthie Henshall (Apex Theatre, Suffolk) and News Revue (Canal Café Theatre).

Television includes A Christmas Carol Goes Wrong.

Matt is a member of both the Olivier and Tony award winning companies Mischief Theatre and Showstopper – The Improvised Musical.  

Lauren Chinery

Lauren Chinery | Dorothy Gish

Trained at Performance Preparation Academy, Guildford.
Theatre includes Miss Nightingale (London Hippodrome), Beauty and the Beast (Cast, Doncaster), Dreamboats and Petticoats (National Tour), Gatsby (Leicester Square Theatre) and Can’t Stop It (London Theatre Workshop).

Joshua C. Jackson

Joshua C. Jackson | Epping

Trained at The Arts Educational School London.

Theatre includes Caliban (Orange Tree Theatre, Richmond), The Motherf**ker With the Hat and Icarus’s Mother (Andrew Lloyd Webber Theatre), Keeping It Real (Edinburgh Festival) andShowstoppers the Improvised Musical.

Television and Film includes Autopsy, Black Mirror and American Animals.

Commercials include Apple and Knorr.

Emily Langham

Emily Langham | Lillian Gish

Trained at Arts Educational Schools having been awarded an Andrew Lloyd Webber Scholarship.

Theatre includes Follies (National Theatre), Mrs Henderson Presents(Royal Alexandra Theatre, Toronto), Cats (National and European Tour), Mack and Mabel (Chichester Festival Theatre and National Tour) and Les Misérables (Queen’s Theatre).

Television includes HelpStupid and Dead Ringers.

Radio includes Friday Night is Music Night.

Workshops include A Theory of Justice: The Musical and Absolute Hell (National Theatre).

Sophie Linder-Lee

Sophie Linder-Lee | Mary Pickford

Trained at Performers College where she was the winner of the Music Award and Third Year Award.

Theatre includes Big Fish (The Other Palace), The Rocky Horror Show (Italian Tour and Oxford Playhouse), The Rocky Horror Show (National Tour) and the 42nd anniversary gala performance of Rocky Horror Live (Playhouse Theatre), Wicked (Apollo Victoria Theatre), Mamma Mia (Prince of Wales Theatre), Silence! The Musical (Barons Court Theatre), Apollo Victoria 80th Anniversary Gala (Apollo Victoria Theatre), P and O Cruises (Stadium Theatre Company), Broadway’s Spirit of Christmas (US Tour), Jack and the Beanstalk and Cinderella(Towngate Theatre, Basildon) and Cinderella (QDOS).

Film includes Rocky Horror Live and Mamma Mia! The Movie (pre-production workshop).

Television includes dancer on The X Factor with Mamma Mia!, The SlammerTop of the Pops and Halifax commercial.

Recordings include Don’t Stop Believing’ (National Tour).

wew.sophielinderlee.com

Jonathan Leinmuller

Jonathan Leinmuller | D. W. Griffith

Trained at Drama Centre London.
Theatre includes Lucky Stiff (Union Theatre), Domestic Extremists (The Space), A Bright Room Called Day (Southwark Playhouse), Innovation (Park Theatre), Darling of the Day (Union Theatre), Billy Budd (Southwark Playhouse), Little Baby Nothing (Theatre503), Paradise (Arcola Theatre), Pericles (Rose Theatre) and Elegant Fowl (Old Red Lion Theatre).

Film includes Latitude the Movie.

Television includes Argentine Tango.

Jason Morell

Jason Morell | Bitzer and Zukor

Trained at the Central School of Speech and Drama

Theatre includes Present Laughter (Theatre Royal Bath), The Merchant of VeniceThe Taming of the Shrew (Royal Shakespeare Company), Oliver! (Theatre Royal, Drury Lane), Faustus; (Hampstead Theatre), The Prince and the Pauper (Unicorn Theatre), Lysistrata (Arcola Theatre), Rainsnakes (The Young Vic), The Reckless are Dying OutThe Cenci (Lyric Theatre, Hammersmith); The Critic (Manchester Royal Exchange), Ritual in Blood (Nottingham Playhouse), The Duchess of MalfiRomeo and JulietThe Double InconstancyThe Rehearsal (Salisbury Playhouse), The Silver Lake(Wilton’s Music Hall), Swan White (Gate Theatre), The Artificial Jungle (Leicester Haymarket), The Leonardo ProjectThe Cutting of the ClothThe Difficult Man (National Theatre Studio), Hamlet(National and International Tour) and Gertrude, the Cry, Thirteen Objects (The Wrestling School at Riverside Studios and Elsinore Castle).

Film includes PhotocopierSecret LoveThe LakeThe GatheringMrs BrownWildeBiddyPrincess and Damage.

Television includes Doctor WhoAffinityUltimate ForceMy Dad’s the Prime MinisterHear the SilenceSecond SightAristophanesThe Gods are laughing, The Bill and J’Accuse Agatha.

Charlie Ryall

Charlie Ryall | Rose

Trained at Stella Adler Studio of Acting.

Theatre includes The Bashful Lover and The Elder Brother (Sam Wanamaker Playhouse), NewsRevue (Canal Café Theatre), The Feigned CourtesansThe Alchemist and The Devil is an Ass (Rose Theatre), Bugsy Malone (Civic Hall, Stratford-upon-Avon), Much Ado About Nothing (New Wimbledon Theatre), King Lear (Cockpit Theatre), Macbeth (Lion and Unicorn Theatre), Hamlet (Royal Shakespeare Company), The Importance of Being Earnest (Brighton Festival), Buchwald and Friends! A Victoria Wood Revue (Leicester Square Theatre) and Joseph and the Amazing Technicolor Dreamcoat (New London Theatre and National Tour)

Film includes Harry Potter and the Deathly Hallows Part II.

Television includes First Men in the MoonJake’s Progress and A Touch of Frost.

Nova Skipp

Nova Skipp | Momma

Trained at the Arts Educational Schools, London.

Theatre includes Aspects of Love (Prince of Wales Theatre), The Phantom of the Opera (Her Majesty’s Theatre), Salad Days(Vaudeville Theatre and National Tour), Chess in Concert (Royal Albert Hall), The Sound of Music (London Palladium), Assassins(Pleasance London), FolliesMeet Me in St LouisDamn Yankees(Landor Theatre), Apartment 40C (The Other Palace), Anything Goes(Upstairs at the Gatehouse), Gentlemen Prefer BlondesAnnieThe King and IAcorn AntiquesThe Two Most Perfect ThingsAbigail’s PartyCarrie’s WarThe Smallest Show on Earth and Funny Girl (National Tours), Cats (Stuttgart), The Sound of Music (Crucible Theatre, Sheffield), Kes (Theatre Royal York and Derby Theatre), A Midsummer Night’s DreamTroilus and Cressida (Open Air Theatre, Regent’s Park), Oklahoma!The Rise and Fall of Little Voice,Bedroom Farce and Carousel (Octagon Theatre, Yeovil), Carousel(Perth Theatre, Scotland), The Rocky Horror ShowGrease (Gaiety Theatre, Isle of Man), Side by Side by Sondheim and Annie (Gordon Craig Theatre, Stevenage), Pardon Me, Prime Minister and Hay Fever(Theatre Royal Windsor).

Recordings include His ExcellencyOnce Upon a Dream and Children’s Musical Theatre.

www.novaskipp.com

The Finborough Theatre’s ‘Celebrating British Music Theatre’ series has seen a host of acclaimed productions of British music theatre including both rediscoveries and premieres. Rediscoveries include Leslie Stuart’s Florodora, Lionel Monckton’s Our Miss Gibbs, Harold Fraser-Simson’s operetta The Maid of the MountainsA “Gilbert and Sullivan” Double Bill featuring Gilbert’s play Sweetheartsand Sullivan’s opera The Zoo, Dame Ethel Smyth’s opera The Boatswain’s Mate, Sandy Wilson’s The Buccaneer, Oscar Asche’s Chu Chin Chow, Leslie Bricusse and Anthony Newley’s The Roar of the Greasepaint – The Smell of the Crowd, Ivor Novello’s Perchance to Dream, Gay’s The Word (which transferred to Jermyn Street Theatre), and Valley of Song, Gilbert and Sullivan’s The Grand Duke and Princess Ida, Edward German’s Merrie England, Rutland Boughton’s 1914 “music-drama” The Immortal Hour, Julian Slade and Dorothy Reynolds’ Free As Air, and Alan Price and Trevor Peacock’s Andy Capp – The Musical. Premieres have included Grant Olding’s Three Sides, Charles Miller and Kevin Hammonds’ When Midnight Strikes, Paul Scott Goodman’s Rooms: A Rock Romance, Phil Willmott’s Princess Caraboo and Lost Boy (which transferred to Charing Cross Theatre), and Craig Adams and Nona Sheppard’s Thérèse Raquin (which transferred to the Park Theatre). The Finborough Theatre cast recordings of When Midnight StrikesGay’s The Word, Valley of Song and Thérèse Raquin are all available on CD.

The press on the 1980 West End premiere of The Biograph Girl

“A most excellent, delicate and perceptive entertainment…after fifty years of play going I was taken by delighted surprise. I would ask all London to go and see it.” Sir Harold Hobson, Drama

“Tuneful, witty and sophisticated.” Francis King, Sunday Telegraph

“A sweet lament for lost innocence … this delightfully unassuming show contains the same naive charm as those early flicks’ themselves. A minor miracle.” Jack Tinker, Daily Mail

“A joyous celebration of the silent screen … a delight. It captures moments of sheer exuberant nostalgia.” Sheridan Morley, International Herald Tribune.


The Press on director Jenny Eastop

“Beautifully brought to light in the detailed direction of Jenny Eastop” ★★★★ Four Stars, The Arts Desk on Mr Gillie

“Eastop’s production is warm and big-hearted” Broadway World on Mr Gillie

“Great credit to the show’s director Jenny Eastop” ★★★★★ Five Stars, LondonTheatre1 on Warde Street

“Bang on direction by Jenny Eastop” ★★★★ Four Stars, WhatsOnStage on Warde Street

“A very tight production” ★★★★★ Five Stars, LondonTheatre1 on The Devil Is An Ass

“Director Jenny Eastop…distilled whisky-strong, plastic-melting performances”

★★★★ Four Stars, QX Magazine on The Waiting Room

“This production is further proof of the exceptional theatre we have in the UK” ★★★★★ Five Stars, The New Current on School for Wives

 

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book online at www.finboroughtheatre.co.uk

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.) Lines are open Monday– Saturday 10.00am-6.00pm

Tuesday, 22 May – Saturday, 9 June 2018

Tuesday to Saturday evenings at 7.30pm. Sunday matinees at 3.00pm. Saturday matinees at 3.00pm (from 2 June 2018).

Prices until 27 May 2018 – Tickets £18, £16 concessions, except Friday and Saturday evenings £18 all seats.

Previews (22 and 23 May) £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, 26 May 2018when booked online only.

Prices from 29 May 2018 – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

Performance Length: Approximately two hours with one interval of fifteen minutes.

New season announced at the Finborough Theatre

Finborough Theatre
Neil McPherson

Neil McPherson

“Under Neil McPherson, possibly the most unsung of all major artistic directors in Britain, the Finborough has continued to plough a fertile path of new plays and rare revivals that gives it an influence disproportionate to its tiny 50-seat size.” Mark Shenton, The Stage

The 150th birthday year of the Finborough Theatre building continues with three plays – Finishing the PictureArthur Miller’s final play in only its second production anywhere in the world; But It Still Goes On by poet and novelist Robert Graves which has never been performed anywhere in the world; and Homos, or Everyone in America, the European premiere of a new American play by Jordan Seavey in his UK debut.

The season opens with the European premiere of Arthur Miller’s last play, Finishing the Picture, playing 12 June7 July 2018. A razor sharp psychological study of an abused, misunderstood female star and the havoc her unpredictability brings to a film set in 1961, based on Miller’s relationship with Marilyn Monroe. This European premiere is only the play’s second production anywhere in the world, and is directed by Phil Willmott, following his acclaimed Finborough Theatre productions of Arthur Miller’s The American Clock and Incident at Vichy.

The season continues with a unique rediscovery from 1929 – the never previously performed But It Still Goes on by poet and novelist Robert Graves, playing 10 July–4 August 2018 as part of the Finborough Theatre’s THEGREATWAR100 series. Influenced by the drawing room comedies of Noël Coward and W. Somerset Maugham, it explores themes of adultery, homosexuality, lesbianism, gender politics, casual sex, and inter-generational conflict, but with a surreal dark twist. This long-overdue world premiere is directed by Fidelis Morgan, returning to the Finborough Theatre following her sell-out adaptation of Patrick Hamilton’s Hangover Square, and her direction of Irish classic Drama at Inish starring Celia Imrie and Paul O’Grady.

The season culminates with the European premiere from exciting American playwright in his UK debut, Jordan Seavey’s Homos, or Everyone in America, playing 7 August–1 September 2018. In a supposedly ‘post-gay’ America on the brink of passing marriage equality, a first date at a New York bar starts two men on a fearless, funny and fragmented journey leading up to a historic moment of change. This raw and provocative love story is directed by award winning Josh Seymour returning to the Finborough Theatre following his sell out production of Adding Machine: A Musical.

Finborough Theatre Artistic Director Neil McPherson said: “Our new season brings you three theatrical treats – the long-overdue opportunity to finally see Arthur Miller’s very last play; another of our truly unique rediscoveries with a play by poet and novelist Robert Graves that has never previously been performed anywhere in the world; and, as always, we haven’t forgotten the new – with a European premiere from an American playwright in his UK debut. This season we also offer Sunday evening performances for our productions.”

– Neil McPherson, Artistic Director

June to August 2018 | Press Nights and Photocalls

Tuesday, 12 June – Saturday, 7 July 2018

The UK premiere

FINISHING THE PICTURE

by Arthur Miller. Directed by Phil Willmott.
Press Nights: Thursday, 14 June 2018 and Friday, 15 June 2018 at 7.30PM.

Photocall: Tuesday, 12 June 2018 at 1.00pm–1.30pm.

Tuesday, 10 July – Saturday, 4 August 2018

The world premiere
BUT IT STILL GOES ON

by Robert Graves. Directed by Fidelis Morgan.

Press Nights: Thursday, 12 July 2018 and Friday, 13 July 2018 at 7.30PM

Photocall: Tuesday, 12 July 2018 at 1.00pm–1.30pm.

Tuesday, 7 August – Saturday, 1 September 2018

The European premiere

HOMOS, OR EVERYONE IN AMERICA

by Jordan Seavey. Directed by Josh Seymour.

Press Night: Thursday, 9 August 2018 at 7.30pm

Photocall: Wednesday, 8 August 2018 at 4.00pm–4.30pm
(NB – PLEASE NOTE THE CHANGE TO OUR NORMAL PHOTOCALL TIME)

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book online here

No booking fees on online, personal or postal bookings

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.)
Lines are open Monday – Saturday 10.00am-6.00pm


PERFORMANCE TIMES AND PRICES
Tuesday to Sunday evenings at 7.30pm. Saturday and Sunday matinees at 3.00pm.
Prices for Weeks One and Two – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, when booked online only.

Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

Casting Announced for White Guy on the Bus

Marina Bye
Marina Bye

Marina Bye

“Do you want that money to get your son to a nice safe neighbourhood, or are you going to make some noble, moral stand which means absolutely nothing?”

In a production commissioned by the Finborough Theatre, the European premiere of American playwright Bruce Graham’s White Guy on the Bus opens at the Finborough Theatre for a four-week limited season on Tuesday, 27 March 2018 (Press Nights: Thursday, 29 March and Friday, 30 March 2018 at 7.30pm).

Ray and Roz are a white, liberal couple living in the safe, staid suburbs of Philadelphia. He is a financial consultant who makes “rich people richer”. She is a passionate teacher who commutes every day to educate the mainly black students of an inner-city school.

On the face of it, life runs smoothly. But Ray seems to hanker after change. He leaves his Mercedes in the drive, and takes to riding the public bus through the African-American neighbourhoods of the city – the only white guy on the bus.

Ray becomes a regular on the same route as Shatique – a young, black single mother who is studying to become a nurse, and determined to make a different life for her 9-year-old son. They strike up a relationship. But what does Ray really want from Shatique?

Bruce Graham’s excoriating and shocking play blows open the racial fault-lines of Trump’s America. With an all too familiar resonance here in the UK, it questions us all – what deals are we willing to make, and with which devils?

White Guy on the Bus, a Critics’ Pick in The New York Times for its New York City production, is a European premiere from award-winning American playwright Bruce Graham. It is directed by Jelena Budimir, a former Associate Director at Chickenshed Theatre.

Playwright Bruce Graham plays include Burkie, Early One Evening at the Rainbow Bar and GrilleMoon Over the Brewery, Minor Demons, Belmont Avenue Social Club, The Champagne Charlie Stakes, Desperate Affection, Coyote on a Fence (winner of The Rosenthal Prize and seen at the Royal Exchange Theatre, Manchester, and in the West End), According to Goldman, Something Intangible (winner of seven Barrymore Awards including Best New Play), Any Given Monday(Barrymore winner for Best New Play), The Outgoing Tide (Joseph Jefferson Award for Best New Play), Stella and Lou, North of the Boulevard, Rizzo and Funnyman. Fully Accessible and The Happy [email protected]#$%G Blind Guy have been published in Best Ten Minute Plays of 2013 and 2014. His one man show The Philly Fan plays semi-continuously throughout the Philadelphia area. He has received grants from the Pew Foundation, the Princess Grace Foundation (Statuette Award Winner), the Rockefeller Foundation and the Philadelphia Theatre Initiative. Along with Michele Volansky, he is the author of the book, The Collaborative Playwright. Graham is a graduate of Indiana University of Pennsylvania. He teaches film and theatre courses at Drexel University, and also works as an actor. He divides his time between South Philly and Elkton, Maryland.

Director Jelena Budimir returns to the Finborough Theatre after directing Athena Stevens’ new play Genie for Vibrant 2017 – A Festival of Finborough Playwrights. Jelena was Associate Director at Chickenshed Theatre for 22 years where she developed the Studio Theatre, and led on Chickenshed’s emerging writers’ programme Write Here, Write Now. Direction includes Benjamin Zephaniah’s Refugee Boy adapted by Lemn Sissay, Sarah Daniels’ The Gut Girls, The Comedy of Errors, Dario Fo’s Can’t Pay! Won’t Pay!, Lysistrata, Our Country’s Good by Timberlake Wertenbaker, Yard Gal by Rebecca Prichard and Ariel Dorfmen’s Widows (Chickenshed) and Life After Death by Antuneil Thompson (Camden People’s Theatre). She has worked on projects with Clean Break Theatre Company and Hampstead Theatre, and was a member of the Crescent Theatre Ensemble. She has also written extensively for young people and children. Jelena originally trained as an actor at the Guildhall School of Music and Drama – her performance work includes fringe, rep and West End alongside film, TV and radio.

The cast is:

Marina Bye  | Molly

Trained at the Guildhall School of Music and Drama.

Film includes Breathe, Film Stars Don’t Die in Liverpool, How to Talk to Girls at Parties and A Caribbean Dream.

Marina and her sister have also formed a comedy duo Siblings Comedy, performing at various festivals around the UK.

Samantha Coughlan  | Roz

Productions at the Finborough Theatre include Footprints on the Moon, His Greatness and Blue Surge.

Trained at Circle In The Square Theatre School, New York.

Theatre includes A View From the Bridge  (The Young Vic and Wyndham’s Theatre), National Anthems (The Old Vic), The Shape of Things (Ambassadors Theatre), The End of Longing (Playhouse Theatre), Vieux Carre (King’s Head Theatre and Charing Cross Theatre), Death of A Salesman(Lyric Theatre), Problem Child (New End Theatre, Hampstead)The Big Sleep (The Mill at Sonning), The Children’s Hour (Harold Pinter Theatre), Orpheus Descending(English Theatre of Berlin), Rain Man (Apollo Theatre), Steel Magnolias (Octagon Theatre, Bolton), The White House Murder Case (Orange Tree Theatre, Richmond),The Dutchman (The Crate Gallery), The Slave (Tristan Bates Theatre – Black History Month).

Film includes Heaven, Kingsman – The Golden Circle, Criminal, Survivor, Kick Ass 2,The Bends, Rabbit Fever, Love Me Do for which she was nominated for the Best Supporting Actress Award at the IIFC Awards and The German Lullabyfor which she won Best Actress Award at the London Film Festival.

Television includes Deep State, Absentia, Wallis: The Queen That Never Was, Obsession: Dark Desires, A Poet in New York, Jonathan Creek, Dead or Alive, Stella, Above Suspicion (Silent Scream), Absolute Power, Spooks, Ant and Dec’s Saturday Night Takeaway and Deadman’s Gun.

Samantha is also a successful voiceover artist working in commericals, gaming and narration. She is the North American voice of Nike Training Club.

Donald Sage Mackay  | Ray

Trained with a MFA, Acting at the University of California at San Diego and the Moscow Art Theatre.

Theatre includes A Moon for the Misbegotten (Lyric Theatre, Belfast), Linda (Manhattan Theatre Club, New York City), Fred’s Diner (Magic Theatre), Angry Alan (Edinburgh Festival, Aspen Fringe and Shri Ram Centre, Delhi), Our Town (Actors Theatre of Louisville), stop. reset. (Signature Theatre, New York City), Blood and Gifts (La Jolla Playhouse), His Girl Friday (La Jolla Playhouse) and Six Degrees of Separation(Old Globe Theatre).

Film includes Transformers: Revenge of the Fallen.

Television includes Deep State, The Looming Tower, Modern Family, Mad Men, Masters of Sex, Elementary, Blue Bloods, The Good Wife, House, The West Wing, NCIS, Law and Order: SVU, Criminal Minds, The Shield, Frasier, Star Trek Enterprise, According to Jim, ER, The Amazing Mrs. Novak, Scrubs, The Practice and Providence.

This production marks Donald’s London theatrical debut. He is also making his UK television debut this April in a major recurring role in Deep State opposite Mark Strong and Samantha Coughlan.

Joanna McGibbon | Shatique

Trained at National Youth Theatre REP.

Theatre includes Cosmic Jive (The Albany), Jekyll and Hyde(Ambassadors Theatre), Mrs Dalloway (Ambassadors Theatre), Othello (NYT REP and Frantic Assembly), The Fall (Criterion Theatre) and Focus E15 (Gilded Balloon, Edinburgh).

Carl Stone | Christopher

Trained at Guildhall School of Music and Drama.

Theatre includes Love’s Labour’s Lost (Oregon Shakespeare Festival), The Tale of Januarie (Silk Street Theatre) and Four Score Years and Ten (National Tour) and Saved (Milton Court Studio Theatre).

Television includes Future Tense – The Story of H. G. Wells.

Spotlight on Humanity: Radius Playwriting Competition 2018

Radius
Radius

Radius

Radius Playwriting Competition 2018 has now been launched in tandem with the Radius YouTube Channel. Judges of the competition are Neil McPherson and Sue Healy, Artistic Director and Literary Manager of London’s Finborough Theatre, and the winning script is guaranteed a reading in the Finborough’s prestigious Vibrant 2018 – A Festival of Finborough Playwrights. There will be a prize of £500. Entry is free.

Radius provides high-quality drama scripts to churches and community groups. In addition to a collection of original takes on the Christmas and Easter stories, we specialize in plays that ask searching questions about how life should be lived, and we avoid offering easy answers.  Past winners of Radius playwriting competitions include Cell Talk by Dana Bagshaw, about the medieval women mystics Julian of Norwich and Margery Kempe, and Red Star by Les Ellison, exploring the astronaut Yuri Gagarin’s failure to cope with the pressures of celebrity.

Submissions should be emailed to [email protected] by 5 pm on 1 May, 2018.  The winner will be announced on 23 July 2018. Entries should last between one and two hours in performance and may be on any subject. Entrants should be UK residents and the winner will work with a dramaturg at the Finborough Theatre to develop the play for the Vibrant Festival in October 2018.

More information about Radius’s playwriting competition, YouTube Channel, our unique script collection and other initiatives can be found here.