The first London revival for more than 70 years of the classic Victorian theatrical comedy

Set among the theatrical world of London’s West End in the eighteenth century, Masks and Faces was inspired by the life story of the real actress Peg Woffington, best known for playing leading roles opposite David Garrick, her sometime lover.

Country gentleman Ernest Vane comes to London and is seduced into the celebrity lifestyle of a group of players - discarding his new wife for the more obvious charms of the great actress Peg Woffington. In the tradition of The School for Scandal and The Rivals, Masks and Faces is a fascinating look at the 18th century theatre with characters ranging from the hapless failed playwright, Triplet, and his hungry family, to real-life writer Colley Cibber and the ghastly critics Soaper and Snarl……

First performed in 1852, and continually revived during the 19th century, Masks and Faces provided Ellen Terry with one of her first and most acclaimed leading roles. The play was filmed in 1920 with Johnston Forbes-Robertson. The production is supported by the Friends of Brompton Cemetery, next to the Finborough Theatre, where the actors Ben Webster and Sir Squire and Lady Bancroft – all known for their roles in Masks and Faces – lie buried.

Playwright Charles Reade (1814-1884) was known as both playwright and novelist. His works include the novel The Cloister and the Hearth, and the play The Courier of Lyons. He wrote Masks and Faces in collaboration with Tom Taylor (1817-1880) who remains best known for his plays The Ticket-of-Leave Man and Our American Cousin – the play that Abraham Lincoln was watching when he was assassinated.

Acclaimed young Irish director Caitriona McLaughlin returns to the Finborough Theatre, following her productions of Frank Pig Says Hello in 2002, Unsung Lullaby in 2001 and Lullabies of Broadmoor and Allport’s Revenge in 2004.
“A wildly wondrous and macabre creation, that takes dark humour to far-flung and tragic depths….mesmerising performances…" Time Out
“Catriona McLaughlin's absorbing and atmospheric production” The Independent
“Caitriona McLaughlin’s unsentimental production is assembled with care and played with vim.” Time Out

The Press on Masks and Faces
"This charming 1852 comedy by Charles Reade and Tom Taylor, which emerges as a paean to Peg and to the virtues of the acting profession. Stage masks may cover honest faces is the unequivocal moral. And so we see Peg Woffington, Covent Garden star and Garrick’s former mistress, not only restoring an up from the country admirer to his distressed wife but also rescuing a poor poet-painter and his family from destitution. As portrayed by Reade and Taylor, Peg emerges as the Mother Teresa of the mumming profession...their once popular play eminently deserves revival. It is stuffed with lively detail. I particularly liked the two critics, Snarl and Soaper, whose social popularity depends purely on their power and who are described as gentlemen who would cut up and butter their own fathers...it has a vital energy well matched by Caitriona McLaughlin's production. Charlotte Pyke's Peg...admirably suggests her instinctive virtue. Jonathan Lisle is genuinely touching as the impoverished poet and Thomas Power prances to great effect as a rattling coxcomb with a Cupids bow mouth. A welcome and surprising revival."
Michael Billington, The Guardian

"Masks and Faces is a sentimental comic melodrama set amongst 18th century acting folk and has been languishing in obscurity for almost 75 years. This may be partly due to the large cast, ten in this case, required to perform it. The acting folk include some of the most famous of their day, in particular Peg Woffington and Colley Cibber...It contains not only several extremely humorous lines but also some aphorisms almost worthy of Oscar Wilde and philosophical musings about the theatre. Many of the latter are as true today as they were 250 years ago when it was set and 150 when it was written. Following this revival, the play may well attain a degree of popularity that sees it performed much more regularly, as it was during the first 75 years of its life . . The current company should feel proud of their efforts in discovering and reviving it....Charlotte Pyke offers a very wry, sympathetic performance as Peg Woffington." Philip Fisher, British Theatre Guide

"The part would test the talent of our greatest actresses, which is perhaps why this revival is only the third since 1852. But director Caitriona McLaughlin has found in Charlotte Pyke a young actress...who brings to her performance a fair face, bright shining eyes and a starry charisma that makes this production a must for all talent spotters...This production is also notable for its impressive use of period costume (wigs, finery and effects proving that no expense has been spared to create an 18th century atmosphere)...Warmly recommended for theatre buffs."
John Thaxter, What’s On in London

"It’s good to see Restoration wigs and a liberal use of rouge on the London fringe. This rare and diverting revival of Charles Reade's and Tom Taylor’s Victorian comedy transports us back still further to London’s 18th century theatrical life...the plot is a mix of Carry On antics and vials of theatrical vitriol...Caitriona McLaughlin’s well directed production."
John Nathan, Jewish Chronicle

"Full marks to the Finborough for dusting this piece off" Evening Standard Metro Life

"One of the few memorable plays Britain produced in the 19th century was Arthur Wing Pinero’s sweet, funny Trelawney of the Wells, which appeared in 1898 and celebrated the theatre that 40 years before had come up with T. W. Robertson’s cup and saucer comedies. Masks and Faces was written earlier, by the dramatist Tom Taylor and the novelist Charles Reade in 1852, and looks still farther back: at the 18th century London theatre, when the brilliant, wayward Peg Woffington held almost as much sway as her leading man and lover, David Garrick...This long forgotten piece was much praised by G. H. Lewes, who was George Eliot’s husband and the finest critic of his day... Charlotte Pyke brings charisma and incisiveness to Peg"
Benedict Nightingale, The Times