June to August 2011 | 15 Premieres 1 Rediscovery
The World Premiere
as part of the annual Vibrant – A Festival of Finborough Playwrights 2011
The production of Mirror Teeth was nominated for four Off West
Best Director - Kate Wasserberg
Best Female performance - Louise Collins
Most Promising Playwright - Nick Gill
Best New Play
THE FINBOROUGH THEATRE IS NOW FULLY AIR CONDITIONED
"You might at least say thank you, Jenny. I've been out digging a hole for your boyfriend all night. Not to mention severing his legs. Have you ever severed a leg? It's not as easy as it looks. Not with a blunt spade."
Jane is a housewife. James sells guns. They live in one of the larger cities in our country and are both terrified of ethnic youths who might well be wearing hoods and carrying knives, or something. All is well in the Jones household, until their sexually frustrated eighteen year old daughter Jenny brings home her new boyfriend, Kwesi Abalo...
A visceral, smart, brutally hilarious play about prejudice, arms dealing, and what it means to be English.
Vibrant 2011 - A Festival of Finborough Playwrights is our annual festival of Finborough Playwrights, running from 5-30 July 2011. Alongside Mirror Teeth the festival features a six performance Sunday/Monday run of Nell Dunn's Home Death, together with a late night season of ten staged readings of ten new works for the stage by ten UK and international playwrights, discovered, developed or championed by the Finborough Theatre.
Playwright Nick Gill makes his professional debut with this new play, previously seen as part of 2009's Vibrant - A Festival of Finborough Playwrights.
Nick Gill won the inaugural Lost Theatre 5 Minute Festival with Something I Wrote In A Hurry. His other works include Heaven (shortlisted for the Royal Court Young Writers' Festival 2007), Funeralesque, Fiji Land (a winner of the inaugural Amnesty International 'Protect the Human' Award), This is Never Going To Work and Spiderhead. Mirror Teeth was first seen as a staged reading part of the original Vibrant – A Festival of Finborough Playwrights at the Finborough Theatre in 2009, and was written with a grant from the Peggy Ramsay Foundation.
Kate Wasserberg is an Associate Director of Clwyd Theatr Cymru where she has directed Gaslight, Dancing at Lughnasa, Pieces (Clwyd Theatr Cymru and Brits Off Broadway, New York City), The Glass Menagerie (Clwyd Theatr Cymru, Sherman Cardiff and tour of Wales) and James Graham's A History of Falling Things (Clwyd Theatr Cymru and Sherman Cymru, Cardiff.) She was formerly Associate Director of the Finborough Theatre, London, where she directed the world premieres of three plays by Finborough Theatre Playwright-in-Residence James Graham – The Man, Sons of York and Little Madam – as well as The Representative, I Wish to Die Singing and The New Morality.
Jotham Annan. Trained at RADA. Stage includes The Bacchae (Royal Exchange Theatre, Manchester), The Fairy Queen (Theatre du Caen and Glyndebourne Festival), Celia (New Players Theatre), Much Ado About Nothing (Derby Playhouse), Richard III (Southwark Playhouse), Salome (Nuffield Theatre, Southampton), The Changeling (Cheek By Jowl) and Hamlet, directed by Trevor Nunn (Old Vic Theatre). Television includes Naked Apes, Hominid (BBC), Holby City (BBC), Desperados (Working Title/BBC), Honest, Shoot the Messenger (BBC Films), Casualty, The Bill and Johnny and the Dead (ITV). Film includes Franklin and As You Like It, directed by Kenneth Branagh (HBO Films).
Jamie Baughan. Theatre includes The Enchanted House (The Art House), Dreams of Violence (Out of Joint), Joe Orton (Arcola Theatre and Phoenix Theatre), Rudin (Arcola Theatre), Hunger (Soho Theatre) and Winter (Hampstead Theatre). Television includes The Song of Lunch (BBC), EastEnders (BBC), 20:01, The Roman Mysteries, Johnny Shakespeare (BBC) and The Bill (Talkback Thames). Film includes The Comedian, Ghost in the Machine, One Happy Moment, Song for Unaccompanied Voice, Inkheart and A Picture of Me.
Louise Collins. Louise trained at RADA. Theatre includes two plays also directed by Kate Wasserberg –Dancing at Lughnasa (Clwyd Theatr Cymru) and Pieces (59E59 Theaters, New York and Clwyd Theatr Cymru), Goodnight Mr Tom (Chichester Festival Theatre), The Crucible, Noises Off, Measure for Measure, A Midsummer Night's Dream (Clywd Theatr Cymru), The Oresteia (Summerscape Festival, New York), The Tempest (A and BC Theatre Company), Romeo and Juliet (New Wolsey Theatre, Ipswich), A Christmas Carol (Southwark Playhouse), Anna Karenina (Royal Lyceum Theatre, Edinburgh), Amazed and Surprised (Royal Court Theatre), The Pull of Negative Gravity (Traverse Theatre, Edinburgh, and 59E59 Theaters, New York) and Cinderella (Barbican Theatre for The Roald Dahl Foundation). Television includes Nice Day for a Welsh Wedding (BBC Wales), Belonging (BBC Wales), A Night on the tiles (ITV Wales), Dr Who (Big Finish Productions). Radio includes Out of The Ordinary (Radio 4), White People (Radio 7) and Home (Forget about it TV and Films).
Catherine Skinner. At the Finborough Theatre, Catherine appeared in Little Madam (2007). Theatre includes Undercarriage, Forward, Transmissions, The Witches (Birmingham Rep and ATG), The Crucible (Royal Shakespeare Company), Switzerland (Hightide Festival), Hay Fever (Haymarket Theatre, Basingstoke), The Hound of the Baskervilles (Ian Fricker Productions), Twelfth Night (Sprite), The Rover (Southwark Playhouse), Confusions, Joking Apart (The Mill at Sonning), Mrs Ruskin (Croydon Warehouse) and The Importance of Being Earnest (Kaos Theatre). Television includes Housewife 49 (Granada), Doctors (BBC), Henry 8.0 (BBC Comedy Extra), The Rotters Club (BBC). Radio includes One Day, Blood in the Bridal Shop, What Is Missing From Your Life?, Love Chat (BBC Radio 4) and Daddy's Girl (Watershed).
David Verrey. Theatre includes The Years Between (Royal and Derngate Theatres, Northampton), England People Very Nice, The Coast of Utopia, The Madness of George III, The Recruiting Officer (National Theatre), The Comedy of Errors (Royal Shakespeare Company), Romeo and Juliet, The Merchant of Venice, Measure For Measure (English Shakespeare Company),The Charming Man (Theatre 503), Dead (Edinburgh Festival), Accidental Death of an Anarchist (Contact Theatre, Manchester), Laughter on the 2rd Floor, Drums in the Night, Filumena (Library Theatre, Manchester), The Merchant of Venice, Fiddler on the Roof, And Then There Were None (Wolsey Theatre, Ipswich) and Lock Up Your Daughters (Belgrade Theatre, Coventry).Television includes Doctor Who, Little Dorrit, Judge John Deed, Casanova, The Art of the Garden, Red Dwarf, Birds of a Feather (BBC), Law and Order UK, Diamond Geezer, Poirot, The Bill, Ultimate Force, Supply and Demand, Kavanagh QC, London's Burning, Knightmare (ITV), Family Affairs, Lexx (Channel 5), Masterworks (FOX), Dream Team (Sky) and Paul Merton: the Series (Channel 4). Film includes Attack on Leningrad, Sixty-Six, Bridget Jones: the Edge of Reason and Secret Weapon.
Designer Philip Lindley trained as an architect and began his theatre career as a set and lighting designer before joining the BBC Television Design Department. During 25 years at the BBC, he worked on every type of production including Dr. Who, Blackadder, Top of the Pops, Mastermind, Swap Shop, Play For Today, Play For Tomorrow, Lorna Doone, Z For Zacharias, The Tripods, Juliet Bravo, Rings On Their Fingers, The Kamikaze Ground Staff Dinner Party, Goodbye Darling, Tomorrows World, The 1981 Royal Wedding and The Scientist. After leaving the BBC, he worked as a freelance theatre consultant before moving to Lisbon where he continued to design sets and lighting for Portuguese theatre including productions of Cymbeline, Saturday Sunday Monday, The Bear, The Proposal, Recklessness, Tone Clusters, One For The Road, A Time For Farewells, and Dracula. Recent UK theatre includes Nerve (Barons Court Theatre).
MIRROR TEETH nominated for 4 Off West End Awards
Best Female Performance
Most Promising Playwright
Best New Play
****Four Stars The Times
****Four Stars The Public Reviews
****Four Stars Exeunt Magazine
“This is theatrical Viagra and deserves a wider audience.” Franco Milazzo, Londonist
“Sweetly ferocious” Jeremy Kingston, The Times
“Mirror Teeth is packed with promise.” Paul Taylor,The Independent
"A play of distinctive promise.” Michael Billington, The Guardian
“Deliciously extravagant....A vivid and wild satire.” Aleks Sierz, Tribune
“The laughter never dies, even after the inevitable murder, but the serious argument never fails either, and the cast of five rise to the challenge of the style with terrific flair” Jeremy Kingston, The Times
“The satire on Little England values and Western hypocrisy would come across as heavy handed if Gill's play weren't so brazenly ludicrous and laugh-out-loud funny. Kate Wasserberg's chutzpah-laden production is blessed with a superb cast: in particular, Louise Collins is wonderful as the excruciatingly precocious Jenny.” Andrzej Lukowski, Time Out
“If Eugene Ionesco had sat down and written a grand piss-take of everything produced at the Royal Court in the last five years, it might have started a lot like Nick Gill’s Mirror Teeth.” Dominic di Nezza, Spoonfed
“Once again...the Finborough Theatre is punching above its weight. With Nick Gill’s Mirror Teeth, it is, one suspects, trading blows with the Royal Court, little more than a mile up the road. For Gill plonks onstage a middle class family so brazenly generic that they have the double function of satirising those that have become such a mainstay at the Sloane Square venue...Gill’s family portrait is more barbed than the usual Royal Court fare” Matt Trueman, Culture Wars
“Nick Gill’s assured new play works both as a darkly absurdist comedy about Englishness and a satirical commentary on the mechanics of playwriting - or at least a certain stripe of new writing.” Natasha Tripney, The Stage
“I will be eagerly awaiting the writer’s next offering.” Deborah Klayman, The Public Reviews
“I shall watch out for the next piece by this author.” Paul Taylor,The Independent
“For a new playwright, Gill has striking assurance.” Kate Bassett, The Independent on Sunday
"This theatre's annual, unsung Vibrant festival offers a month of staged readings of new plays. One beneficiary of the process in 2009 was Nick Gill's Mirror Teeth, which now gets a full production and turns out to be a fascinatingly idiosyncratic piece: one that exposes reflex racism and sibling sexuality in English family life in the absurdist style of Ionesco or NF Simpson.” Michael Billington, The Guardian
“Ably directed by Kate Wasserberg and performed by a superb cast. An absurd look at prejudice, arms dealing and sexuality the play is by turns hilarious and painfully dark, and is shot through with enough tension to blunt several knives.” Deborah Klayman, The Public Reviews
“Brilliantly stylised...Believable and compelling” Deborah Klayman, The Public Reviews
“Nick Gill’s razorsharp satire on middle-class morals and the banality of suburban life is not for the easily offendable. While there’s little in the way of swearing, there’s enough sexual tension, foreplay and simulation here to make a News Of The World reader blush...The play itself comes across like an episode of American Dad! written by Mark Ravenhill after a night up watching Reginald Perrin re-runs.” Franco Milazzo, Londonist
“Incredibly funny...Nick Gill’s Mirror Teeth may be only 90 minutes long, but it packs a lot of punches in its short time-frame.” Christine Twite, Exeunt Magazine
“Authors of black comedies lead us along a tricky route by creating hilarity out of shock. Nick Gill certainly succeeds in this — and Kate Wasserberg honours his achievement with pitch-perfect direction. But Gill’s play is much more than a punch at PC assumptions. It hits at the hypocrisy to be found in the doings of International Business, where Money squashes Morals any day.” Jeremy Kingston, The Times
“The headline attraction in the Finborough's Vibrant new writing festival, Nick Gill's black comedy 'Mirror Teeth' is a demented rummage around the more psychotic elements of the English psyche, via the microcosm of one model family.” Andrzej Lukowski, Time Out
“Suggestions of incest, explicit sexual scenes and a plot that takes the family to the Middle East to sell arms to insurgents all make for genuinely provocative viewing.” Aleks Sierz, Tribune
“Gill doesn’t so much delight as revel joyously in picking at the suppurating prejudices at the heart of middle-class England.” Dominic di Nezza, Spoonfed
“Gill is very well-served by Kate Wasserberg's poker-faced production, and by the performances of David Verrey and Catherine Skinner as the parents, Louise Collins and Jamie Baughan as their offspring and Jotham Annan as the man who came to dinner" Michael Billington, The Guardian
“There are genuine points of beauty – impassioned, dreamlike monologues from John (Jamie Baughan) and Jotham Annan (as both Kwesi and a third-act policeman) draw an arc reminiscent of Philip Ridley’s very best as they explore the tortured poetic natures of these indoctrinated souls. It’s some of the best new writing I’ve heard recently”. Dominic di Nezza, Spoonfed
“Baughan and Annan are excellent, as is Louise Collins as Jenny, whose awakening sexuality is damaging her day by day. Verrey and Skinner are a terrific comic couple.” Dominic di Nezza, Spoonfed
"Each of the actors in this piece is outstanding, but in the latter part of the production Louise Collins gives a truly remarkable performance as Jenny, injecting such genuine emotion into the stylised world of the play that even while seemingly catatonic she is completely mesmerising. Deborah Klayman, The Public Reviews
“David Verrey's deliciously creepy patriarch” Andrzej Lukowski, Time Out
“Catherine Skinner is show-stoppingly fantastic as the mother, clinging paralysed to the wall at the sight of a non-white face. She flits half-ignored by the family, seemingly always on the cusp of a breakdown, but carefully maintaining perfect dimples and a voice like quilted loo roll.” Matt Trueman, Culture Wars
“Its atmosphere of spirited absurdity feels fresh and occasionally even a bit dangerous. Well directed by Kate Wasserberg, this is a fringe farce that shows how, when money never sleeps, morality tends to doze off.” Aleks Sierz, Tribune
“Director Kate Wasserberg has done an excellent job of bringing out the utterly bizarre, highly stylised dialogue right from the start and at times the play is very funny, if rather savagely so.” nick730, nick730.livejournal.com
“Kate Wasserberg's tightly paced, deadpan cast are impressive” Kate Bassett, The Independent on Sunday
“Beautifully designed by Philip Lindley” Christine Twite, Exeunt Magazine
The last play directed by Kate Wasserberg at the Finborough Theatre
Time Out Critics’ Choice
**** Four Stars The Guardian
**** Four Stars WhatsOnStage
**** Four Stars TNT
**** Four Stars The Daily Telegraph
“The piece, directed by Kate Wasserberg, forms the mainstay of the Finborough’s event-crammed 30th anniversary celebrations this month…In its own unpredictable way, The Man upholds the Finborough’s radical, experimental traditions.” Dominic Cavendish, The Daily Telegraph
“Quirkily sentimental…A little gem” Zena Alkayat, Time Out
"Directed with quiet sensitivity by Kate Wasserberg"” Sam Marlowe, The Times“The Earl's Court play-generating boiler room celebrates its 30th anniversary with readings of 30 new plays... The Finborough's achievement is a mighty one, doing more for new writing on little or no money than some other, better-funded theatres.” Lyn Gardner, The Guardian
**** Four Stars The Guardian on Pieces (Clwyd Theatr Cymru and Brits Off Broadway, New York City).
"Kate Wasserberg's beautifully paced direction, full of expertly judged movements, never falters." The Stage on Pieces (Clwyd Theatr Cymru and Brits Off Broadway, New York City).
"Kate Wasserberg is a director who is able to create atmosphere through stillness, silence and the subtlety of small movements and reactions. Her first solo production on Mold's main stage demonstrates her abilities to the full, and her delicate handling of Brian Friel's memory play seems to cause the air between the actors to sing with distant music... This is a beautiful, exquisite, uplifting production." The Stage on Dancing at Lughnasa (Clwyd Theatr Cymru).
Tuesday to Saturday evenings at 7.30pm.
Saturday matinees 3.00pm (from 16 July 2011).
Correction to press listings - please note that there are no Sunday matinee performances of Mirror Teeth
Performance Length: Approximately 80 minutes.
Tickets £13, £9 concessions
£5 tickets for Under 30’s for performances from Tuesday to Sunday of the first week when booked online only.
£10 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, 9 July 2011 when booked online only.
Tickets £15, £11 concessions
except Tuesday Evenings £11 all seats, and Saturday evenings £15 all seats.
BOOKING ONLINE IS QUICKEST, CHEAPEST AND EASIEST!
PLEASE NOTE THAT LATECOMERS CANNOT BE ADMITTED AND TICKETS CANNOT BE EXCHANGED OR REFUNDED.