by T.W. Robertson
Directed by Phoebe Barran. Designed by Anna Bliss Scully. Costume Design by Joanne Mosley. Lighting by Nicola Brown. Music by Tom Attwood. Sound by Robert Donnelly-Jackson.
Presented by Jagged Fence in association with Neil McPherson for the Finborough Theatre

Cast in order of appearance
Hugh Chalcot - Robert Irons
Sergeant Jones - Jon Edgley-Bond
Houghton, one of Sir Alexander’s keepers - Peter Machen
Blanche Haye - Emily Dobbs
Mary Netley - Emilie Patry
Lady Shendryn - Rachel Fishwick
Prince Perovsky - Peter Machen
Sir Alexander Shendryn, Bart. - Christopher Gilling
Angus MacAlister - Nicholas Gadd
Captain Samprey - Jon Edgley-Bond

[ rediscoveries season 2007 ]
10 July – 4 August 2007

Theatrical revolutionary T.W. Robertson’s rarely seen Victorian comedy, unseen in London for nearly a century.

Love, money and war – that’s life in the 1850s. Blanche and Mary are looking for love; Hugh thinks all women are after his money; and Sir Alexander prefers fighting on the battlefield to suffering his wife’s jealousy. The outbreak of the Crimean War sends the men to Russia, and Blanche, Mary and Lady Shendryn decide to break tradition and follow their men to war – arriving on the battlefield on the eve of battle…

Playwright T.W. Robertson (1829-1871) was a theatrical revolutionary. His works include Society (1865), Ours (1866), Caste (1867), Play (1868), Progress (1869), School (1869), Birth (1870) and M.P. (1870). Robertson was the first playwright to treat contemporary British subjects in realistic settings, and also directed his own work. Many of his most successful works were produced for the management team of Squire Bancroft and his wife Marie – buried just minutes from the Finborough Theatre in Brompton Cemetery – who were instrumental in creating the West End theatre that we know today with their innovations in the fields of stage design, theatre decoration, ensemble acting and long runs of single plays, with matinee performances. Robertson was a huge influence on later practitioners including Bernard Shaw, who described Robertson's work as "epoch making" and referred to Robertson's innovations as a "theatrical revolution"; Arthur Pinero, who based the character of Tom Wrench in Trelawny of the ‘Wells’ on Robertson; and W.S. Gilbert, who said that “I look upon stage management [i.e. theatre direction], as now understood, as having been absolutely invented by him.”

The Finborough Theatre has become particularly known for its productions of Victorian theatre with critical acclaim for its productions of Tom Taylor and Charles Reade’s Masks and Faces, Arthur Conan Doyle’s Waterloo, Arthur Wing Pinero’s Trelawny of the ‘Wells’ and W.S. Gilbert’s Sweethearts.

Director Phoebe Barran most recently worked as Staff Director on the The History Boys (National tour and West End) for the National Theatre. Directing credits include Scenes from a Separation [''Beautifully staged” Time Out] and The Merchant of Venice, both at the Orange Tree Theatre, Richmond; Us and Them at The Bridewell and Heart’s Desire at the Gateway, Edinburgh. She has also worked as Assistant Director at the National Theatre, the Royal Shakespeare Company, the Orange Tree, the Old Vic and the Gate.

Christopher Gilling’s credits include Banned, The Life of Galileo and The Voysey Inheritance for the National Theatre; Robert Irons’ credits include many West End musicals including Carousel, The Phantom of the Opera, and Sweeney Todd; Peter Machen’s credits include roles for the Belgrade Coventry and Northern Stage as well as Coronation Street and Doctors; and a cast of exciting recent graduates from some of the UK’s most prestigious drama schools - Emily Dobbs, Rachel Fishwick and Emilie Patry (Central School of Speech and Drama) and Jon Edgley-Bond (Bristol Old Vic Theatre School).

New theatre company, Jagged Fence is dedicated to producing theatre that features strong female characters. Their debut production was a critically acclaimed production of Richard Cameron’s Can’t Stand Up For Falling Down at the Arcola Theatre. "Moving and deeply harrowing." Kieron Quirke, Evening Standard

The Press on Ours
Time Out Critics' Choice
**** Four Stars, Time Out

"A thoroughly entertaining, gripping play..A really, really enjoyable evening." Mark Ravenhill, Radio 3 Night Waves

"Phoebe Barran’s capable revival, the first in London since 1909, makes you want to see more from this pioneering playwright." Dominic Maxwell, The Times

“The Finborough Theatre’s excellent Rediscoveries season continues with a revival of TW Robertson’s Crimean War-set play, performed here for the first time since 1909.” Sarah Perry, Music OMH

"I don’t think it’s giving away too much to reveal that the action culminates thrillingly in the on-stage preparation of a roly-poly pudding: revolutionary realism indeed." Robert Shore, Time Out

"...roly-poly pudding (not till Arnold Wesker’s The Four Seasons would the art of cooking have such prominence on stage as that improvised pud)." Timothy Ramsden, Reviewsgate

"Highly enjoyable." Robert Shore, Time Out

“A fast-paced and hugely enjoyable theatrical experience.”
Owain Paciuszko, Extra Extra

"A little gem of Victorian theatre." Sandra Giorgetti, British Theatre Guide

“Rare outing for big-name Victorian playwright, performed with commitment and good-will.” Timothy Ramsden, ReviewsGate

"There is a lot to commend Ours and since it is seldom seen on the stage
grab this chance whilst you can." Sandra Giorgetti, British Theatre Guide

“Ours is suffused with a profoundly wise, compassionate, optimistic spirit that’s as infectious as the measles. Anyone with a mite of sense will get to the Finborough while they can.” Sarah Perry, Music OMH

“As so often with Finborough revivals, it’s Earl’s Court or nowhere to rediscover this dramatic legacy of Ours.”
Timothy Ramsden, ReviewsGate

"The Finborough and Jagged Fence are to be thanked for making it possible to
see this rarely revived play." Howard Loxton, Rogues and Vagabonds

"An entertaining evening." Howard Loxton, Rogues and Vagabonds

“A fine production of an entertaining play bolstered by its energetic and accomplished cast and some neat, confident direction...Laugh-out-loud funny.” Owain Paciuszko, Extra Extra

"Salty reflections on the drawbacks of marriage, social hierarchy and philanthropy add spice to the sentimental stew."
Robert Shore, Time Out

“It satisfies on every level, mixing wit...with a profoundly sympathetic understanding of human relationships.”
Sarah Perry, Music OMH

"Wonderfully witty dialogue." Sandra Giorgetti, British Theatre Guide

"By no means without a little realistic grit - essentially it's a romantic
fantasy played out in an atmosphere of extreme marital rancour and murderous
international conflict." Robert Shore, Time Out

"Robertson set the pattern for the 'modern' play. This is the template for
naturalistic British theatre before the 'in-yer-face' brigade." Howard
Loxton, Rogues and Vagabonds

"A thumping, great social theme - goes right to the heart of the Crimean
war." Mark Ravenhill, Radio 3 'Night Waves'

“Robertson shunned melodrama and embraced realism. His works earned the label “cup and saucer dramas” thanks to moments such as the one here in which a man and a woman bake together, shamelessly flouting their flour and jam live on stage.”
Dominic Maxwell, The Times

"T.W. Robertson's bittersweet comedy." Robert Shore, Time Out

"I am amazed at just how modern it seems: the form, the dialogue and the way
in which one can identify with the pre-occupations of the characters."
Howard Loxton, Rogues and Vagabonds

""Tom Robertson was one of the most influential dramatists of his day...Powerful elements of realism." Matthew Sweet, Radio 3 Night Waves

"More than an object of archaeological interest." Mark Ravenhill, Radio 3
'Night Waves'

"Revolutionary realism." Robert Shore, Time Out

“Robertson, whose work Bernard Shaw considered ‘epoch making’, proves such a master of dialogue and dramatic action that the play manages to be both an early endeavour to examine issues of class and womanhood, and a genuinely engaging romantic drama.” Sarah Perry, Music OMH

"Robertson injects social comment into his work, thus breaking new ground."
Sandra Giorgetti, British Theatre Guide

“Robertson’s faultless dialogue.” Sarah Perry, Music OMH

“Robertson's engaging story lines are written with a witty dynamism.”
Julia Hickman, Theatreworld Internet Magazine

"Like most mid-Victorian dramatists, Robertson is a neglected figure today.
Judging by 'Ours', handsomely revived by Phoebe Barran, that's a pity."
Robert Shore, Time Out

"Under the thoughtful hand of director Phoebe Barran this 140 year-old piece
comes off extremely well." Sandra Giorgetti, British Theatre Guide

“Director Phoebe Barran handles the complicated staging with considerable skill.”
Owain Paciuszko, Extra Extra

"The production makes the most of the play's romantic elements and humour."
Howard Loxton, Rogues and Vagabonds

"Brilliantly executed." Robert Shore, Time Out

“A fabulous cast.” Julia Hickman, Theatreworld

"Nicholas Gadd is moving in his portrayal of lovelorn Angus MacAllister"
Sandra Giorgetti, British Theatre Guide

"John Edgley-Bond gives Jones a convincing humility."
Sandra Giorgetti, British Theatre Guide

"Emily Dobbs' Blanche captures well the dilemma of being caught between duty and love" Sandra Giorgetti, British Theatre Guide

"Christopher Gilling handles brilliantly the invective in his arguments with his affected wife" Sandra Giorgetti, British Theatre Guide

"Robert Irons deserves a special mention as Chalcot; he is self-opinionated without being overly arrogant and spars marvellously well with Emilie Patry's sparky Mary Netley." Sandra Giorgetti, British Theatre Guide

"Nicholas Gadd plays McAllister with a gentle sincerity."
Howard Loxton, Rogues and Vagabonds

“Prince Perovsky, played with a pleasingly sympathetic air by Peter Machen.”
Owain Paciuszko, Extra Extra

“Peter Machen makes the wife-hunting Prince Perovsky so exquisitely civil you want to take him to tea with your mum.”
Dominic Maxwell, The Times

“Simple soldier Jones, enthused with wonderfully innocent charm and humour by Jon Edgley-Bond’s bold and subtle performance.”
Owain Paciuszko, Extra Extra

“Emily Dobbs’ delightful Blanche”
Owain Paciuszko,Extra Extra

"Emily Dobbs (Blanche) and Emilie Patry (Mary) could have strayed in from an
Austen novel." Howard Loxton, Rogues and Vagabonds

"Christopher Gilling endows his beautifully spoken, wronged Sir Alexander
with a quiet restraint." Howard Loxton, Rogues and Vagabonds

“Sir Alexander Shendryn, played with great pathos and a dry wit by Christopher Gilling.” Owain Paciuszko, Extra Extra

"Robert Irons leads the cast as the agreeably discontented brewing heir Hugh
Chalcot, engaging in an entertaining Beatrice-and-Benedick war of words with
Emilie Patry's Mary Netley." Robert Shore, Time Out

“Robert Irons gives Hugh a brittle bonhomie.” Dominic Maxwell, The Times

“Robert Irons as Hugh Chalcot and Emilie Patry as Mary Netley inhabited their roles so entirely I was half-convinced I’d see them running off to the nearest swirl-carpeted hostel after curtain-up. Christopher Gilling as Sir Alexander Shendryn, and Rachel Fishwick as Lady Shendryn, didn’t let the flashes of comedy in their roles impair the genuinely moving examination of their mistrustful marriage.” Sarah Perry, Music OMH

“Emilie Patry becomes a spunky romantic foil.” Dominic Maxwell, The Times

"Designer Anna Bliss-Scully has patterned the theatre's walls with climbing
blossoms which effectively suggest both the outdoor setting of Sir Alexander
and Lady Shendryn's country seat and wallpapered interior of their London
house." Howard Loxton, Rogues and Vagabonds