June to August 2011 | 15 Premieres 1 Rediscovery
Commemorating the 50th anniversary of the death of artist Augustus John, the first production in 24 years of William Douglas Home's Portraits
Extra matinee added by popular demand on Wednesday 24 August at 3.00pm.
Augustus John's ability as portrait artist won him the admiration of fellow artists, public recognition and the Order of Merit. William Douglas Home's play presents various points in the Bohemian artist's turbulent life from 1944 – 1961 through a reconstruction of sittings with three of his subjects (all played by the same actor) – General Bernard Montgomery, fellow artist Mathew Smith and designer Cecil Beaton. This keenly observed, sensitive play is finely interwoven with the thread of John's gradually developing pacifism – from his certainty in spring 1944 that Monty's young ADC will not survive the second front, to war's devastating effect on Matthew Smith, to John's vibrant fear of the nuclear nightmare and his own approaching death.
In a theatrical year that has seen the successful reappraisal of successful West End playwrights such as Terence Rattigan and the Finborough Theatre's own rediscovery of Emlyn Williams, Portraits rediscovers the work of William Douglas Home, one of the West End's most successful post-war dramatists. As always, the Finborough Theatre has avoided the more obvious anniversaries of writers such as Rattigan and Tennessee Williams to commemorate the life and work of leading artist Augustus John.
Directed by the Finborough Theatre's acclaimed Resident Designer in his directorial debut, this is the first production of Portraits since its world premiere at Malvern and its subsequent West End transfer in 1987, when it was directed by John Dexter, and starred Keith Michell, Simon Ward and Stephen Boxer.
Playwright William Douglas-Home (1912-1992) was one of the West End's most successful post-war dramatists. His plays include Now Barabbas (1947), The Chiltern Hundreds (1947), The Thistle and the Rose (1948), The Reluctant Debutante (1955) (which was twice filmed, most recently in 2003 under the title What a Girl Wants, starring Colin Firth and Kelly Preston), The Reluctant Peer (1964), Betzi (1965), A Friend Indeed (1965), The Secretary Bird (1967), The Queen's Highland Servant (1967), The Jockey Club Stakes (1970), Lloyd George Knew My Father (1972), At the End of the Day (1973), The Dame of Sark (1974), The Kingfisher (1978), and After the Ball is Over (1985). The younger brother of Prime Minister Alec Douglas Home, he regularly stood for Parliament himself. He was court-martialled and imprisoned during the Second World War for his refusal to obey orders during the Allied operation to capture the port of Le Havre in September 1944 because French civilians had not been permitted to evacuate.
Director and Designer Alex Marker makes his professional directorial debut with this production. Previous directing includes a staged reading of Iain Finlay MacLeod's Atman, starring Jasper Britton and Alan Cox, as part of Vibrant – An Anniversary Festival of Finborough Playwrights, and he is also Director of the Questors Youth Theatre, the largest youth theatre in London. Alex Marker has been Resident Designer of the Finborough Theatre since 2002 where his designs have included Charlie's Wake, The Women's War, How I Got That Story, Soldiers, Happy Family, Trelawny of the 'Wells', Hortensia and the Museum of Dreams, Albert's Boy, Lark Rise To Candleford, Red Night, The Representative, Eden's Empire, Love Child, Little Madam, Plague Over England, and its West End transfer to the Duchess Theatre, Hangover Square, Sons of York, Untitled, Painting A Wall, Death of Long Pig, Molière or The League of Hypocrites and Dream of the Dog and its West End transfer to the Trafalgar Studios. Trained in Theatre Design at Wimbledon School of Art, he has designed over fifty productions including King Arthur (Arcola Theatre), The Schools' Theatre Festival (Young Vic), Origin: Unknown (Theatre Royal, Stratford East), My Real War 1914-? (Trafalgar Studios and National Tour), An Eligible Man (New End Theatre, Hampstead), The Viewing Room (Arts Theatre), Sweet Charity (Theatre Royal, Drury Lane), The Pink Bedroom (Courtyard Theatre), Oklahoma! (New Wimbledon Theatre) and Cooking With Elvis (Lyceum Theatre, Crewe). His work has been extensively featured in exhibitions, most recently as part of the Collaborators: UK Design for Performance in Nottingham.
Matt Barber trained at Bristol Old Vic Theatre School. Stage includes You Can’t Take it With You (Southwark Playhouse), Pygmalion directed by Sir Peter Hall (The Old Vic, Theatre Royal Bath and International Tour), Human by Default (Old Red Lion), Twelfth Night (Birmingham Stage Company and International Tour), The Misanthrope (Bristol Old Vic) and Edward II (Rose Theatre Bankside). Television includes The Heart of Thomas Hardy and Being Human (BBC) and S’ N’ M’ – The British Dream. Film includes Vivaldi (Condor Pictures) and The Alchemistic Suitcase (B Good Pictures).
David Gooderson. At the Finborough Theatre, David wrote and directed The Killing of Mr Toad (2009), and appeared in The Potting Shed (2010 and 2011). Theatre includes Saint’s Day, The Neighbours, Overboard, The Simpleton of the Unexpected Isles, A Penny for a Song (Orange Tree Theatre, Richmond), A Midsummer Night’s Dream, Ariadne on Naxos, Die Fledermaus (English Touring Opera),The Taming of the Shrew, Richard III, King Lear (Ludlow Festival), A Midsummer Night’s Dream, Macbeth, The Boys from Syracuse, Lady Be Good and The Taming of the Shrew (Open Air Theatre, Regent’s Park). Film includes Limited Edition. Television includes Doctors, A Touch of Frost, Casualty, Footballer’s Wives, Hidden City, Searching, Just William, Rumpole, Murder Most Horrid, Lovejoy, Bluebell, Dr Who and Seaview. Writing includes The Wind in the Willows (West End), Walk or Die, Waste of Glory, Death of a Village and So Great a Crime (all BBC Radio Four).
Peter Marinker is a Co-Founder with John Calder of The Godot Company (playing Vladimir and Lucky), Director of the Bookshop Theatre Ltd, and a Member of The People Show. His extensive theatre credits include God in The Southwark Mysteries (Shakespeare’s Globe), Ellis in The Curse of the Starving Class (Royal Shakespeare Company), Hickey in The Ice Man Cometh (Lyric Theatre, Belfast), Duke in Alan Bleasdale’s Are You Lonesome Tonight? (Phoenix Theatre), Antonio in The Merchant of Venice (The Old Vic) and Beckett’s A Piece of Monologue (Traverse Theatre, Edinburgh). Television includes Family, The Vice, Doctors, Bugs, Bodyguards, Young lndie, Casualty, Three Wishes for Jamie and Passing Through (for RTÉ).
Kristin Milward's previous appearances at the Finborough Theatre include Child of the Forest (2000), I Wish to Die Singing (2005), Natural Inclinations (2002) and Love Child (2007). Other theatre includes Huis Clos (King’s Head Theatre), The Illustrious Corpse (Soho Theatre), Woman of Troy (Orange Tree Theatre, Richmond), Soap Opera (The Caird Company), The Snow Palace (Sphinx Theatre at the Tricycle Theatre), Wounds to the Face (The Wrestling School – National Tour), Uncle Vanya (The Wrestling School), The Bitter Tears of Petra Von Kant (Latchmere Theatre), La Chunga (Old Red Lion Theatre), Les Liaisons Dangereuses (Royal Shakespeare Company, West End and Broadway), Burleigh Grimes (Bridewell Theatre) and The Chance (Belfast Festival). Film includes Arabs in London (EBLA International Film) and Freestyle (Film London Microwave). Television includes New Tricks, Poppyland, To the Lighthouse and EastEnders (all BBC).
Hayward Morse trained at RADA and after working with regional theatres made his London debut in the original production of What the Butler Saw (Queen’s Theatre). He remained in the West End for the musicals Canterbury Tales and the original production of The Rocky Horror Show (King’s Road Theatre) and received a Tony Award nomination for his performance in Butley (Morosco Theatre) on Broadway. He subsequently played in seasons with Canada’s Shaw and Shakespeare festivals, the films Tam Lynn, Agency and Death Wish 3, an English tour of Travels With My Aunt and at The English Theatres of Hamburg and Frankfurt. More recent UK work includes several Shaw plays at Shaw’s house in Ayot St. Lawrence, Sherlock Holmes in an open-air version of The Hound of the Baskervilles, leading roles in London productions of Moliére’s The School for Wives, Kyd’s The Spanish Tragedy and three previous plays at the Finborough Theatre. Lately he has been seen on television in Footballers Wives and James May’s Manlab. He has also recorded over a hundred unabridged audiobooks.
“Whilst for many theatres 2011 heralded the opportunity to celebrate the centenaries of theatrical heavyweights Rattigan and Tennessee Williams, the Finborough, with its focus on new work and rediscoveries, decided to turn its attention elsewhere and commemorate fifty years since the death of respected portrait artist Augustus John.” Simon Sladen, British Theatre Guide
“It is astounding to think that Portraits has not been produced professionally since 1987. The Finborough's outstanding production is not only a fitting celebration of Augustus John's life and work, but also that of William Douglas Home, who died nearly twenty years ago. A place for new writing and rediscoveries, the Finborough has found and created yet another masterpiece.” Simon Sladen, British Theatre Guide
“Stimulating viewing...Portraits is a piece that taps into the meditative potential of theatre. A play as much about the sorrows of old age as its virtues, it quietly celebrates the often neglected, yet terribly intriguing autumn of an artist’s life.” Carmen Nasr, Extra Extra
“Some sparkling moments in this revival, nicely timed to commemorate the 50th anniversary of John’s death. Like the artist himself, Douglas Home is blessed with some dream subjects, given not only Montgomery, Smith and Beaton but also the playwright George Bernard Shaw to furnish with words. As would only be expected from such a line-up of great minds there is some dazzling dialogue, with a series of sharp and witty exchanges.” Catherine Love, The Public Reviews
“Excellent performances.” Catherine Love, The Public Reviews
“Leading the production as Augustus John himself, Peter Marinker’s portrayal of the tortured artist lives up to the powerful presence that such a bold cultural figure naturally demands, while simultaneously delivering a moving fragility of both mind and body.” Carmen Nasr, Extra Extra
“Peter Marinker’s deteriorating John is a broken, drunk, slurring shell of his previous self, making an artwork of despair.” Catherine Love, The Public Reviews
“Peter Marinker gives a superb performance.” Simon Sladen, British Theatre Guide
“Kristin Milward as the artist’s long suffering muse and equally bohemian partner ‘dodo’ is a poignant picture of the painful realities of loyalty and devotion.” Carmen Nasr, Extra Extra
“Kristin Milward…a heart-breaking portrayal of a woman at the end of her emotional tether.” Catherine Love, The Public Reviews
“Kristin Milward's Dorelia is a lesson in the art of acting.” Simon Sladen, British Theatre Guide
“Stealing the show however in the triple role of General Bernard Montgomery, artist Matthew Smith and designer/photographer Cecil Breton, Hayward Morse plays all three sitters with equal conviction and elegance - a performance in a class of its own.” Carmen Nasr, Extra Extra
“Douglas Home's text is extremely witty and touching at times and each of the five strong cast deliver it honestly, with David Gooderson's somewhat leprechaun-inspired George Bernard Shaw adding to the piece's irresistible charm.” Simon Sladen, British Theatre Guide
“It seems only fitting that a show about one of Britain's greatest artists should be directed by someone with an artist's knowledge himself. In his first role as director at the Finborough, resident designer Alex Marker, who also designs, evokes a cavern of creativity in John's studio. Just as in portrait painting, each scene is a well crafted character study with subtle direction assisting” Simon Sladen, British Theatre Guide
“With the tiny Finborough stage transformed into a little slice of typical modernist shabby-bohemian elegance, resident designer Alex Marker makes his professional directorial debut with this mature and thoughtful production.” Carmen Nasr, Extra Extra
Evenings at 7.30pm.
Performance Length: Approximately 2 hours and 30 minutes with a 15 minute interval.
Tickets £13, £9 concessions
PLEASE NOTE THAT LATECOMERS CANNOT BE ADMITTED AND TICKETS CANNOT BE EXCHANGED OR REFUNDED.
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