July to September 2012  | July to September Season


by Stanley Houghton

Tuesday, 11 September – Saturday, 29 September 2012

The centenary production of the 1912 feminist classic and the first London production in more than 30 years

The entire run is completely sold out including extra matinees on Wednesday 26 September and Friday 28 September at 3pm

For our Returns Policy, please click here

The Finborough Wine Cafe is closed. The theatre is unaffected. Entrance will be by the Ifield Road entrance, open from one hour before the performance.

★★★★★ Five Stars, WhatsOnStage
★★★★★ Five Stars, Everything Theatre

★★★★ Four Stars, The Guardian
★★★★ Four Stars, One Stop Arts
★★★★ Four Stars, The Good Review

It's holiday week in the Lancashire town of Hindle, just before the First World War. Fanny Hawthorn, a spirited, determined mill girl, has just returned from a weekend in Blackpool with her friend Mary Hollins. At least that's what she tells her parents. In fact, she's been spending the weekend with Alan Jeffcote, a wealthy mill owner's son who is engaged to someone else. When Fanny's parents discover the truth, they set out to ensure that Alan will do the decent thing and marry her – only to discover that Fanny has her own ideas on the matter...

One of the first plays to have a working class female protagonist, Hindle Wakes was hugely controversial at the time of its writing.


Playwright Stanley Houghton (1881- 1913) was born in Ashton-upon-Mersey, Sale, Cheshire. Educated at Manchester Grammar School, he went into his father's cotton business where he worked until the success of Hindle Wakes in 1912 allowed him to finally achieve his ambition to become a professional writer. He died just a year later of meningitis. One of the acclaimed 'Manchester School' of playwrights, championed by Annie Horniman of the Gaiety Theatre, Manchester, and including such writers as Harold Brighouse and Allan Monkhouse, Houghton's other works include The Intrigues, The Reckoning, The Dear Departed, Independent Means (recently revived by the Library Theatre, Manchester), The Younger Generation, The Master of the House, Fancy-Free, Trust the People and The Perfect Cure.


Director Bethan Dear returns to the Finborough Theatre where she directed the world premiere of The Goodnight Bird by Colleen Murphy in May 2011, and was Resident Assistant Director at the Finborough Theatre in 2010 where she assisted Blanche McIntyre and Adam Lenson. Trained at Middlesex University. Directing includes What Will Survive of Us (National Theatre Inside-Out), Count Down To The Happy Day (Tristan Bates Theatre), Autumn in Arcadia (The Castle Theatre and Arts Centre, Wellingborough) and They May Not Mean To But They Do (The Lion). Assistant Direction includes Festival of the Dead (Nabakov at BAC) and The Shepard Tone for theatre company Tangled Feet. Bethan has also worked extensively in British and international youth theatre including productions for Islington Community Youth Theatre, as well as companies in both Namibia and Uganda.


At the Finborough Theatre, Holly designed The Goodnight Bird (2011).  Previous designs include Chapel Street, winner of Old Vic New Voices Edinburgh 2012 (Underbelly at the Edinburgh Festival) Clockwork Watch (Latitude Festival) Geronimo, (Company TSU at The ARC, Stockton), Tell Tales (Bussey Building), Into The Woods (Royal Conservatoire of Scotland), Stag (The Courtyard Theatre), The Rising (Gecko at the New Wolsey Theatre), Sweeney Todd (National Youth Music Theatre at the The Rose, Kingston). She was Scenic Artist on The Veil (National Theatre), Castor and Pollux (English National Opera) and Richard III (The Old Vic). She was Associate Designer to Mark Friend on Sweeney Todd (National Youth Music Theatre), Costume Supervisor to Jean-Marc Puissant on God’s Garden (Linbury Studio Theatre, Royal Opera House) and Assistant Set and Costume Designer to Jason Denvir on New Boy (Tabard Theatre), All Bob’s Women (Arts Theatre), Life Coach, New Boy, Who’s Afraid of Virginia Woolf? (Trafalgar Studios) and The Revenger’s Tragedy (The Rose, Kingston).


At the Finborough Theatre, Chris was Lighting Designer for The Killing of Mr Toad (2009), Saturn Returns (2010) and The December Man (2011) and was Associate Lighting Designer on Little Fish (2011). Graduated from the BA (Hons) Lighting Design course at Rose Bruford College with first class honours.Designs include A Quiet Life (Riverside Studios Opera Festival), My Swordhand is Singing (Pop-Up Festival), Aladdin (Greenwich Theatre), Blind Date/27 Wagons Full of Cotton (Riverside Studios), Heavy Like the Weight of a Flame (Greenwich Theatre and Edinburgh Festival), Body of Water (Lost Theatre and EdinburghFestival), Naked Boys Singing (New Players Theatre), Change (Arcola Theatre), Lovec@t, (Theatre503), Blavatsky’s Tower (Camden People’s Theatre), The Great British Country Fete (Bush Theatre and Tour), Gutted- A Revenger's Musical (Assembly Rooms, Edinburgh), Dirty White Boy - Tales of Soho (Trafalgar Studios), Scouts in Bondage, What’s Wrong With Angry? (King’s Head), Dreamland (Theatre Royal, Margate), Estranged (Courtyard Theatre), Edges (Union Theatre), Frankenstein (Barbican Theatre, Plymouth), The Canterbury Tales (BAC) and Please Look At Me Now (Lorretto Theatre). Assistant and Associate Designs include Precious Little Talent (Trafalgar Studios), Lingua Franca (59E59 Theaters, New York City), Well (Apollo Theatre) and How to Disappear Completely and Never be Found (Southwark Playhouse). 


At the Finborough Theatre, Max designed the sound and original composition for The Fear of Breathing (2012) and Barrow Hill (2012), and directed Perchance to Dream (2011). Sound Designs include Borderland, Kafka v Kafka (Brockley Jack Studio Theatre), Being Tommy Cooper (Old Red Lion Theatre), Four Corners One Heart (Theatre503), Tangent (New Diorama Theatre) and Werther's Sorrows and Salome (Edinburgh Festival). Directing includes San Giuda (Southwark Cathedral), The Charmed Life (King's Head Theatre) Finchley Road (LOST Theatre) and Quid Pro Quo (Riverside Studios). Max was nominated for an OffWestEnd Award 2012 for Best Sound Design.


Craig is Cameron Mackintosh Resident Composer at the Finboirough Theatre, facilitated by Mercury Musical Developments and Musical Theatre Network UK. His scores include LIFT (concept album available on iTunes) Battlements(Vanbrugh Theatre), The Watchers and Ghosts Of The Past (YMT:UK), Ballet People (The Place), Therese Raquin (Mercury Musical Developments The Works Readings) and DEFECT (currently in development with Perfect Pitch). Musical Arrangements and Direction include Kerry Ellis  - The Great British Songbook and On The Edge (London Hippodrome), Julie Atherton’salbum, No Space for Air, and Up Close with Louise Dearman. www.craigadamsmusic.com. Twitter@Musiccraigadams


Anna Carteret
Theatre includes Salt Foot and Roe (Donmar Warehouse), Lingua Franca (Theaters 59E59, New York City), Shraddha (Soho Theatre), Tom and Viv (Almeida Theatre), Nathan the Wise (Hampstead Theatre), Sitting Pretty (Watford Palace Theatre), Donna Rosita (Orange Tree Theatre, Richmond), Absolutely Perhaps (Wyndham's Theatre), Naked Justice (West Yorkshire Playhouse and Tour), Heartbreak House (Chichester Festival Theatre), Death of a Salesman (Birmingham Rep), Richard III (Royal Shakespeare Company), Semi Detached (Chichester Festival Theatre), Major Barbara (Piccadilly Theatre), Waste and King Lear (The Old Vic), An Ideal Husband (Theatre Royal Haymarket and New York), On Approval (Playhouse Theatre), Les Liaisons Dangereuses (Royal Shakespeare Company National and South Africa Tour), Single Spies (National Theatre Tour), A Doll’s House (Riverside Theatre), A Piece of My Mind (Apollo Theatre), The Beaux Stratagem (Lyric Theatre, Hammersmith), Burnt in the Sun, Never So Good, Sisterly Feelings, Man and Superman, Saturday Sunday Monday for which she won the Clarence Derwent Award for Best Supporting Actress, John Gabriel Borkman, Cyrano de Bergerac, The Merchant of Venice, Tis Pity She’s a Whore, The National Health, Jumpers, The Advertisement and Danton’s Death (National Theatre). Television includes Doctors, Casualty, Poirot, Holby City, Peak Practice, Eskimo Day/Cold Enough for Snow, Sherlock Holmes, Ashenden, The Shell Seekers, In the Heat of Day, Being Normal, Juliet Bravo, The Pallisers, Fathers and Families and Glittering Prizes.

Harriet Creelman
Theatre includes Bush Bazaar (Bush Theatre), Tell Tales (Bussey Building), Weekender (Barbican Centre), 101 (Tristan Bates Theatre and Nu:write, Croatia), 'Ave It! (Old Vic Tunnels), Pericles (Rose Theatre Studio, Kingston), One on One (BAC) and Scratch Interact (Soho Theatre).Harriet is also a spoken-word poet and has performed her work at venues including the Queen Elizabeth Hall, Barbican Centre and Ronnie Scotts.

Richard Durden
Theatre includes The Emperor and Gallilean (National Theatre), Once Bitten, The Madras House (Orange Tree Theatre, Richmond), A Midsummer Night’s Dream (Garsington Opera), Shadowlands (Wyndham’s Theatre), Orpheus Descending (Donmar Warehouse), Ugly Rumours (Tricycle Theatre), Birdy (Comedy Theatre), Casablanca (Whitehall Theatre), Hamlet (The Old Vic), All My Sons (Wyndham’s Theatre), The Beggar's Opera (Edinburgh Festival and Apollo Theatre) and 'Erb (Strand Theatre). From 1976-1978,  he was a leading member of the Royal Shakespeare Company under Trevor Nunn performing in The Alchemist, A Midsummer Night's Dream, King Lear, Troilus and Cressida, Much Ado About Nothing and Romeo and Juliet.  Film includes The AwakeningAnonymous, From Paris with Love, AgoraNational Treasure 2Oliver TwistThe JacketThe VicarMorality PlayThe InnocentAtlanticThe Best Man, Bobbie's Girl and Batman.  Television includes World Without EndSilkThe Borgias IILewisHiddenThe Last Days of Lehman BrothersSpooksHotel BabylonConfessions Of A Diary SecretaryNuremburgThe Amazing Mrs PritchardPoirot , Hex 2DerailedYork MinsterFingersmithMiss MarpleCommanderNot Only But AlwaysTrial & Retribution I, II, III, IV, V, VI, VII and VIIIRosemary and ThymeDunkirkHear The SilenceFoyle's WarHelen of TroyDaniel DerondaMidsomer MurdersPeak PracticeThe Worst WitchRandall and Hopkirk DeceasedHighlander - The RavenBugsThe Bill2 Point 4 ChildrenDressing For BreakfastWycliffeMadsonMcCallumZoyaSeaforthMinderThe House of EliottLovejoyTo Play The KingHeadhuntersBoonWarburgA Woman At WarSleepersFight TerminalChimeraA Wanted ManPiece Of CakeThe Man Who Lived At The RitzMaigretGentlemen and PlayersFinal RunNoble HouseInspector MorseHedgehog WeddingTerra NovaAmyCountryThe Day of the Janitor, ShoestringFamily Affair and Hazell.

Peter Ellis
Theatre includes As You Like It (Royal Exchange Theatre, Manchester), Pride and Prejudice (Theatre Royal and National Tour), Puntila (Belgrade Theatre, Coventry), Dick Whittington (Queen’s Theatre Barnstable), Topless Mum in Dead Hero Shocker (Tobacco Factory), Aggravated Trespass (Turning Point Theatre Company), The Seagull (Bristol Old Vic), Something’s Afoot and Educating Rita (Brewhouse Theatre, Taunton), The Mikado (Carl Rosa Opera), Wallflowering (Charles Stephens Theatre), Funny Money (Theatre of Comedy), Crusade (Theatre Royal Stratford East), O Architect (New End Theatre), First Blush (Bush Theatre), Distant Point (Greenwich Theatre), Frozen Assets (Half Moon Theatre), Force and Hyprocrisy, Julius Caesar and The Enemies Within (The Young Vic), Night Watch, The Witch of Edmonton, All’s Well That Ends Well, Our Friends in the North, A Midsummer Night’s Dream and The Twin Rivals (Royal Shakespeare Company), Peter Pan (Royal Shakespeare Company at the Barbican Theatre), Trafford Tanzi (Mermaid Theatre), The Beggars Opera (Lyric Theatre), The Tulip Tree (Theatre Royal Haymarket) and Henry IV and Romeo and Juliet (The Old Vic Company).  Film includes Romeo and Juliet, This Sporting Life, Agatha, An American Werewolf in London, Mix Me A Person and Foreign Body.  Television includes Z Cars, Emmerdale Farm, Edward and Mrs Simpson, Coronation Street, The Spongers, Lytton’s Diary, The Victoria Wood Show, but he is best known for his playing of Chief Superintendent Brownlow in The Bill which he played for ten years.

Sidney Livingstone
Trained at The Guildhall School of Music and Drama.  Theatre includes Plough and The Stars, The Fosdyke Saga, Schweik in the Second World War (Contact Theatre, Manchester), The Baker’s Wife (Wolsey Theatre, Ipswich, and Phoenix Theatre), Timon of Athens, Blood Wedding (The Young Vic), Blue Angel (Royal Shakespeare Company Tour and Gielgud Theatre), Measure for Measure (Royal Shakespeare Company Tour and The Young Vic), Arcadia (National Theatre and Theatre Royal Haymarket), Oklahoma! (National Theatre and Lyceum Theatre), Hamlet, Richard II and Inherit The Wind (The Old Vic), Acorn Antiques (Theatre Royal Haymarket), Crazy For You (Open Air Theatre, Regent’s Park, and Novello Theatre), Coriolanus, Julius Caesar, Antony and Cleopatra, Titus Andronicus, The Comedy of Errors, The Bewitched, Sherlock Holmes, Hamlet, Perkin Warbeck, Babies Grow Old, Afore Night Come, The World Turned Upside Down, Henry IV Part 2, The Lion the Witch and the Wardrobe (Royal Shakespeare Company) and Brand (Royal Shakespeare Company and Theatre Royal Haymarket).  Film includes Heroine, The Ragman’s Daughter, Widows, Space Vampires, Crucifer of Blood, Clockwise, Twelfth Night, Iris, About A Boy, Acorn Antiques and Oklahoma!  Television includes Minder, Coronation Street, Miss Marple, The Bill, Casualty, Annie’s Bar, Serious and Organised, A Touch of Frost, Midsomer Murders, As Time Goes By, Holby City, and Land Girls.

Graham O’Mara
Theatre includes Alice (Crucible Theatre, Sheffield), Pedal Pusher and A Winter’s Tale (Theatre Delicatessen), FOOD (Traverse Theatre, National Tour and BAC), David Copperfield (National Tour), Sweet Love Remembered and Hamlet (Shakespeare’s Globe), Bumps and Brother My Brother (Warehouse Theatre, Croydon), Born Angry (Etcetera Theatre), A Man of Letters (Orange Tree Theatre, Richmond), The Government Inspector and The Three Musketeers (The Young Vic), Romeo and Juliet (Wild Thyme), The Rise and Fall of Little Voice (Theatre Royal Bury St Edmunds), Romeo and Juliet (National Tour), and Emma (National Tour).  Television includes Friday Night Dinner, The Queen, Waterloo Road, Casualty and Silent Witness.

Susan Penhaligon
Trained at the Webber Douglas Academy of Dramatic Art.  Theatre includes Three Sisters (Albery Theatre), The Real Thing (Strand Theatre) The Mysterious Mr Love and The Maintenance Man (Comedy Theatre), Dangerous Corner (Whitehall Theatre), Of Mice and Men (Mermaid Theatre), The Complacent Lover, A Doll’s House (Palace Theatre, Watford), Time and the Conways, The Lower Depths, The Cherry Orchard (Royal Exchange Theatre, Manchester), Broken Glass (West Yorkshire Playhouse), Misery (King’s Head Theatre), Romeo and Juliet (Jermyn Street Theatre), Prophecy (New End Theatre), Abducting Diana (Edinburgh Festival) and Having A Ball, Bedroom Farce, The Constant Wife, Mrs Warren’s Profession, Deathtrap, Lord Arthur Savile’s Crime, The Madness of King George III (National Tours).  Film includes The Uncanny, The Land That Time Forgot, No Sex Please We’re British, Leopard in the Snow, Nasty Habits, Patrick, Soldier of the Queen and Private Road and, most recently, Citizen versus Kane and Say You Love Me.  Television includes Upstairs Downstairs, Tales of the Unexpected, Bergerac, Remington Steele, Casualty, Wycliffe, Doctor Who, The Taming of the Shrew (BBC’s Shakespeare season), A Bouquet of Barbed Wire, Heart of the Country, A Kind of Loving, Dracula, A Fine Romance, Doctors and Emmerdale.  Last year, Susan published her first novel, For the Love of Angel, a story set in Cornwall in the 1880’s, published by Truran Books.

Ellie Turner
At the Finborough Theatre, Ellie appeared in Drama at Inish (2011).  Theatre includes The Cherry Orchard, Hamlet (National Theatre), An Ideal Husband (English Theatre, Frankfurt), Bloody Poetry (White Bear Theatre), The School of Wives for which she received an Ian Charleston Award commendation (Upstairs at the Gatehouse), Oliver Twist (Riverside Studios and National Tour), Avocado (King's Head Theatre), La Ronde (Riverside Studios), The Lodger (Arcola Theatre), Alphabetical Order (The Mill at Sonning), The Playboy of the Western (Riverside Studios and National Tour) and Henry V (Riverside Studios and National Tour).  Film includes Women in Refrigerators and TV Audioville.  Television includes Misfits.

Sarah Winter
Trained at Cambridge University.  Theatre includes Twelfth Night (Greenwich Theatre and Norwich Playhouse), Outside (Tobacco Factory), Plain Jane (Royal Exchange Studio, Manchester), Miss Julie (BAC) and Eden (Jermyn Street Theatre).  Television and Film includes At Home with the Georgians, Mother Died, Dancing in the Ashes and The Other Boleyn Girl.


★★★★★ Five Stars, WhatsOnStage

★★★★★ Five Stars, Everything Theatre

★★★★ Four Stars, The Guardian

★★★★ Four Stars, One Stop Arts

★★★★ Four Stars, The Good Review

"This excellent revival of Houghton's 1912 play reminds us of his virtues: a firm sense of structure, a rejection of fossilised attitudes, and a passionate belief in female independence.” Michael Billington, The Guardian

“Expertly produced, expertly performed, expertly designed, and a fantastic script...This is London's best off-West End theatre at its finest: a slick, expertly produced, expertly directed production of a brilliant script. And of course, we expect no less from the Finborough. It is no surprise the run has already sold out, but if you are in any position to beg, steal or otherwise acquire a ticket, you should do so without hesitation.” Everything Theatre

“An enjoyable and engaging interpretation of Stanley Houghton’s rarely performed text.” Alex Wilson, The Good Review

“Delightful.” Alex Ramon, One Stop Arts

“Utterly delightful...This is nothing short of a theatrical joy. I have not laughed as much at a play in a long time and these were not mere chuckles but full on belly laughs that I simply could not contain.” Colin Appleby, Bargain Theatreland

“A well acted and well-directed production that offers a fascinating look into a rarely considered part of our national history. A fitting revival of Hindle Wakes and a fitting way to celebrate its 100th anniversary.” Alex Wilson, The Good Review

“Houghton's play belongs to an extraordinary period in British drama that, within the space of a year, yielded George Bernard Shaw's Pygmalion and Githa Sowerby's Rutherford & Son – both plays, like his, about women finding their voice in accordance with shifts in society.” Michael Billington, The Guardian

“It is impossible to watch without feeling profound respect for playwright Stanley Houghton and the message he conveys.“ Mel West, What’s On Stage

“It is testament to the quality of the writing and the strength of direction under Bethan Dear, that all of the cast uniformly give performances which make these characters and their predicament relevant to a modern audience.” Colin Appleby, Bargain Theatreland

“An immaculate cast work together superbly.” Alex Ramon, One Stop Arts

“Every aspect of each performance is honed to perfection.” Everything Theatre

“Anna Carteret is especially delicious as the sharp Mrs. Hawthorn, something of a Lancashire Lady Macbeth.” Alex Ramon, One Stop Arts

“Anna Carteret is suitably formidable as Fanny's mother.” Partially Obstructed View

“Bluffly played by Sidney Livingstone.” Howard Loxton, British Theatre Guide

“A gem of a comic cameo from Sidney Livingstone.” Alex Ramon, One Stop Arts

“Charmingly played by Sarah Winter.” Howard Loxton, British Theatre Guide

“As Beatrice, Alan’s hard-done-by fiancée, Sarah Winter does something rather extraordinary with her small role, creating a wide-eyed, tremulous figure who nonetheless proves to have her own kind of steely resolve.”

“Ellie Turner gives Fanny a spirit that any young man would respond to.“ Howard Loxton, British Theatre Guide

“The excellent Ellie Turner is able to make her mark in the wonderful final scene, as Houghton’s celebration of a woman’s sexual and financial independence proves to still have the capacity to stir.”

“Ellie Turner snaps out some fabulous lines as whip-smart Fanny.” Mel West, What’s On Stage

“Ellie Turner as Fanny Hawthorn captures just the right amount of rebelliousness and determination.” Colin Appleby, Bargain Theatreland

“The standout performance however, comes from Ellie Turner as the young girl, who takes on a very difficult role and delivers it with all the skill and expertise of the seasoned actress she is – a pleasure to watch.” Everything Theatre

“Ellie Turner also turns in a firecracker of a performance as young Fanny Hawkins.“ Alex Wilson, The Good Review

“As the feckless Alan, Graham O’Mara seem suitably irresponsible but with a touch of charm to suggest why young women might find him attractive.” Howard Loxton, British Theatre Guide

“From a divine coming-home-drunk scene onwards, Graham O'Mara's Alan is hilarious, at once exasperating and sympathetic.” Alex Ramon, One Stop Arts

“Susan Penhaligon as Mrs Jeffcote only has to purse her lips to elicit delighted laughter.” Mel West, What’s On Stage

“Richard Durden is fantastic as the father of the errant young man (portrayed masterfully by Graham O'Mara).” Everything Theatre

“Richard Durden's arrogantly assertive Mr Jeffcote and Anna Carteret's hectoring Mrs Hawthorn are clearly two of a kind: Susan Penhaligon and Peter Ellis, as their respective partners, reveal softer, more forgiving natures.” Michael Billington, The Guardian

“Richard Durden gives a lovely performance.” Laura Thomson, The Telegraph

“Peter Ellis, as the young girl's father, also creates a touching portrayal of the mild-mannered weaver.” Everything Theatre

“It's the female parts that really make Hindle Wakes stand out. The mothers, Anna Carteret and Susan Penhaligan, have meaty roles that they manage impressively without parody. And our heroine Fanny, the plain speaking Lancashire lass, startles and inspires with her frankness. Ellie Turner's clarity and passion in the role do the character justice - I'd go to Llandudno with her anytime.” Edward Lukes, The London Magazine

“Anna Carteret (Juliet Bravo herself), all angry elbows and northern grit, is Fanny’s feral mother, and Peter Ellis (Inspector Brownlow from The Bill) gives a beautifully quiet and realistic performance as her dad. As the archetypal self-made man who rose from weaving shed to King of Cotton, Richard Durden is the most rounded and credibly well-developed character, but his sidekick is Susan (Bouquet of Barbed Wire) Penhaligon whose pursed lips and raised eyebrows undermine his every pomposity, and steal many scenes.” Johnny Fox, Londonist

“Dear’s production succeeds in bringing out its pointed social observations, wonderful comedy and deft characterisation.” Alex Ramon, One Stop Arts

“Hindle Wakes proves a most beguiling thing in Bethan Dear’s production, which delivers the play’s social critique with disarming lightness and charm rather than stridency.” Alex Ramon, One Stop Arts

“Bethan Dear's strongly cast revival not only brings out Houghton's progressive instinct, but also deftly conveys the play's internal marital tensions.” Michael Billington, The Guardian

“Director Bethan Dear keeps her focus on the inherent humour of human folly, drawing out every hypocrisy and double standard and holding it up for scrutiny.” Mel West, What’s On Stage

“A tightly constructed satire on Edwardian hypocrisy, handled with deft humour by director Bethan Dear.” Edward Lukes, The London Magazine

“Holly Seager’s well-judged design conveys place and period without fuss.” Alex Ramon, One Stop Arts

“The production is markedly helped by some inspired set design.” Alex Wilson, The Good Review

“We are reminded what a resilient play this is and what a loss was Houghton's death in 1913. And who is to say that, 100 years after Hindle Wakes, we still don't live in a world that has one law for sexually adventurous men and another for women?” Michael Billington, The Guardian

“Set in 1912, when the women’s suffrage movement was gaining momentum and notoriety, Hindle Wakes introduces a confident, independent heroine determined to have her own voice in a world of oppressive convention. This extraordinary piece at the Finborough Theatre leaves every 2012 audience member wishing they had half of Fanny Hawthorn’s wit and a quarter of her cojones.” Mel West, What’s On Stage

“The joy of seeing raw, full-blooded feminism in a hundred year old piece is like that of hearing your grandparents swear: you know it must have happened, but being confronted by it in all its straight-talking glory sends you squirming with glee.” Mel West, What’s On Stage

“There is one unfortunate note and that is, dear reader, that the run is pretty much sold out. I can only hope that this charming production, of an important yet relatively unknown play achieves a transfer and that all of the cast decant with it so that they may delight a larger audience than the Finborough can play host to.” Colin Appleby, Bargain Theatreland



Tuesday, 11 September – Saturday, 29 September 2012

Tuesday to Saturday evenings at 7.30pm.
Saturday matinees 3.00pm

Performance Length: Two hours including one interval.

The entire run is completely sold out including extra matinees on Wednesday 26 September and Friday 28 September at 3pm

For our Returns Policy, please click here

11-16 September 2012

Tickets £16, £12 concessions

except Saturday evenings £16 all seats.
Previews (11th and 12th September) £10 all seats.

£6 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 15th September 2012 when booked online only.

18-29 September 2012

Tickets £18, £14 concessions

except Tuesday Evenings £14 all seats, and Saturday evenings £18 all seats. 

STAGETEXT captioned performance – Saturday, 29 September 2012 at 3.00pm


Post Show Discussions for Hindle Wakes

Open to ticketholders for the evening shows listed below –  

Wednesday, 19 September 2012

Dr Karin Sellberg, Director of the Scottish Universities' International Summer School, will chair a post show discussion examining the feminist issues raised in Hindle Wakes. Dr Sellberg specialises in feminist drama and has published extensively on the topic.  

Tuesday, 25 September 2012

Barbara Cooke, English Literature, Drama, Realism and Modernism tutor at the University of East Anglia, and Fran Bigman, PhD student at Cambridge, will be hosting a post show discussion examining the feminist content in Hindle Wakes and how the play specifically relates to 1950s and 1960s kitchen-sink dramas.

For details of our Returns Policy for sold out performances, please click here



Image copyright Stephen Fitzgerald 

Written by Stanley Houghton

Directed by Bethan Dear

Set and Costume Design by Holly Seager

Presented by Jamil Jivanjee with Jackdaw in association with Neil McPherson for the Finborough Theatre

Associate Producer Amy Clamp