ReDiscoveries2012 Season |  February to April 2012


by Sutton Vane

Tuesday, 31 January – Saturday, 25 February 2012

The first London production in more than fifty years

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

Following her sell-out productions of J.M. Barrie’s What Every Woman Knows and Quality Street last year, director Louise Hill returns to the Finborough Theatre with Sutton Vane’s 1920s West End and Broadway hit, Outward Bound, opening on 31 January 2012.

Seven passengers meet in the saloon bar of a ship as it sets sail from an unidentified English port. Socialite Mrs Cliveden-Banks is on her way to join her husband, a Colonel in the army; Mr Lingley has important business in Marseilles; charlady Mrs Midget is making her first passage by sea; Reverend William Duke is looking forward to a holiday, while Tom Prior intends to spend the journey in the ship’s saloon bar. Also on board are Henry and Ann, a young couple who seem anxious for the ship to leave port. But the travellers have more in common than they dare to suspect. Out at sea, an eerie calm settles over the ship as Tom is the first to discover the fate which awaits his fellow passengers…

Outward Bound was first produced at a London Off West End theatre – the Everyman Theatre, Hampstead (now the Everyman Cinema) and instantly became the biggest hit of the 1923 season, going on to play for many years in the West End, appearing at the Garrick, Royalty, Adelphi, Criterion, Comedy, Fortune and Prince of Wales Theatres. The play was also a huge hit on Broadway in 1924, where it was a similarly huge success in a production starring Alfred Lunt and Leslie Howard. The play was made into a 1930 film in Hollywood by Warner Bros. starring Leslie Howard and Douglas Fairbanks, Jr., and was filmed again as Between Two Worlds in 1944 with John Garfield and Sydney Greenstreet. This production is the first London production in more than fifty years, and returns the play to the same type of Off West End theatre where it began its life.


Playwright Sutton Vane (1888–1963) was a British actor and playwright. He started his career as an actor until the outbreak of the First World War. He joined up in 1914 at the age of 26 and served until he was invalided out due to shell-shock. Vane was haunted by his war experiences, and once he sufficiently recovered, he returned to the combat area as a civilian, appearing for the entertainment of troops near the front lines during the latter half of the war. After the Armistice, Vane turned to writing plays, and authored two conventional works that caused little stir. Outward Bound was his third play and the work for which he is now remembered.


Director Louise Hill trained at Bristol Old Vic Theatre School and spent two years as Artistic Director of the Bristol Shakespeare Festival. She directed two sell-out productions of plays by J.M. Barrie at the Finborough Theatre in 2010 – What Every Woman Knows and Quality Street, for which she was named Best Newcomer Director by the British Theatre Guide and nominated as Best Director at the Off West End Awards. She is currently Associate Director on Travesties and The Importance of Being Earnest at Birmingham Rep. Other directing includes Spiders and Crocodile Tears (Soho Theatre Studio), To a Sunless Sea (Etcetera Theatre), Face to Face (Old Red Lion), The Merchant of Venice and The Taming of the Shrew (Middle Temple Gardens), Tiny Dynamite (Alma Tavern Theatre, Bristol) and IAGO, her own adaptation of Othello, for which she won a Fringe Review Outstanding Theatre Award at the Edinburgh Fringe Festival. Assistant directing includes Blackbird and The Winslow Boy (both Salisbury Playhouse).

The Press on Louise Hill’s production of Quality Street
The Guardian Critics’ Choice
**** Four Stars, The Guardian
**** Four Stars, London Theatre Reviews
Number 1 in the Alternative Christmas Top Five, British Theatre Guide
“Louise Hill's sparkling production reminds one of Barrie's playful ingenuity and creates some astonishing reverberations… reminds one that the British dramatic repertory is kept alive largely by small, impoverished theatres like the Finborough.” Michael Billington, The Guardian
“An exquisite production directed with immaculate taste, timing and precision by Louise Hill.” Blanche Marvin, London Theatre Reviews
“One-hundred and nine years old it may be, but in Hill's revival, Quality Street has the skip of a teenager.” Brian Logan, Variety
“It may be too much to suggest that a large-cast revival without any star names could transfer to the West End. However, while that is probably not on the cards, the redoubtable Louise Hill is rendering a real service by bringing J.M. Barrie back to the London stage and doing him proud with productions of this Quality. Roll on the next one.” Philip Fisher, British Theatre Guide

The Press on Louise Hill’s production of What Every Woman Knows
Time Out Critics’ Choice
**** Four Stars, The Times
**** Four Stars, Time Out
“A welcome revival of a droll examination of sexual politics.” Sarah Hemming, Financial Times
“The hope is that this production…is seen by enough people to bring the prolific J. M. Barrie back to the position that he deserves as one of the best and most popular writers of his period.” Philip Fisher, The British Theatre Guide
 “Barrie’s play was ahead of its time and is written with both humour and political nous. A must see production for all those with a love of theatre and robust sense of humour.” Deborah Klayman, The Public Reviews
“It would be a shame if plays like What Every Woman Knows disappeared, as, despite the changes of the last century, it still has much to say to us about human nature and the way we live now.” Philip Fisher, The British Theatre Guide
“J. M. Barrie's delightful comic fable is given as sensitive and rightly-tuned a production as you could ask for…making for a thoroughly entertaining evening...What Every Woman Knows has some surprisingly sharp ironic edges to it, all of which director Louise Hill and her cast find and happily display, generating shocks of recognition and frequent out-loud laughs among the gentler chuckles.” Gerald Berkowitz, TheatreGuideLondon
“Hill’s direction orchestrates fine performances” Jeremy Kingston, The Times
“Louise Hill stages the play with warmth and sympathy” Sarah Hemming, Financial Times


David Brett
At the Finborough Theatre, David appeared in Lark Rise To Candleford (2005) and The Beaver Coat (2006).
Other theatre includes The Merchant Of Venice (Leeds Playhouse), Rosencrantz And Guildenstern Are Dead (Newcastle Playhouse), Ken Campbell’s production of The Hitchhiker’s Guide To The Galaxy (Rainbow Theatre), A Midsummer Night’s Dream (Library Theatre, Manchester), One Big Blow (7:84 Theatre Company), Coriolanus, The Winter’s Tale (International Tour and Aldwych Theatre for the English Shakespeare Company), The Threepenny Opera (Birmingham Rep), The Trial (Young Vic), Twelfth Night, Comic Mysteries, A Midsummer Night’s Dream (Oxford Stage Company), Terry Pratchett’s Guards! Guards! and Truckers (both National Tours), Moll Flanders, Pinocchio (New Vic Theatre, Stoke), The Chairs (Atelier Theatre Company), Huck (National Tour), King Arthur (Arcola Theatre), Lost In A Mirror (Southwark Playhouse and BAC), Les Enfants Du Paradis, The Living Unknown Soldier,The Four Stages Of Cruelty (Arcola) and pantomimes at Coventry Belgrade, Oxford Playhouse and Northampton Theatre Royal.
Film includes Harry Potter And The Philosopher’s Stone.
Television includes Seriously Funny, The Krypton Factor, Marlene Marlowe Investigates, Chucklevision, Howard Jacobson’s Seriously Funny, Dog Town and the title role in Stanley Spencer: A Painter In Heaven.
David was one of the founder members of chart topping group The Flying Pickets.

Tom Davey
At the Finborough Theatre, Tom appeared in Moliere or The League Of Hypocrites (2009). Trained at the Royal Academy of Dramatic Art. Other theatre includes Travesties and The Importance Of Being Earnest (Birmingham Rep), The Game Of Love And Chance (Salisbury Playhouse), The Importance Of Being Earnest (New Wolsey Ipswich), Twelfth Night, The Comedy Of Errors, A Midsummer Night’s Dream, Hamlet (for which he received an Ian Charleson Award commendation), Rosencrantz And Guildenstern Are Dead, Love’s Labour’s Lost (Royal Shakespeare Company), Much Ado About Nothing (Shakespeare’s Globe) and The Revenger’s Tragedy (Southwark Playhouse).
Television includes Victoria Cross, A Serpent In Eden, The Ruby In The Smoke and Plenty More Fish.
Film includes Hamlet, Van Wilder 2: The Rise Of Taj and The Pinocchio Effect.

Derek Howard
Theatre includes Solid Gold Cadillac (Garrick Theatre and Yvonne Arnaud Theatre, Guildford), The History Boys, The Revengers Tragedy and Major Barbara (all National Theatre), An Ideal Husband (Vaudeville Theatre) and most recently Much Ado About Nothing (Wyndham's Theatre).          
Television and film include Cor Blimey, Harry And Cosh, Coogan's Run, Luv and Possessions.

Nicholas Karimi
At the Finborough Theatre, Nicholas appeared in I Was A Beautiful Day (2009) before its subsequent transfer to the Tron Theatre, Glasgow.
Trained at Rose Bruford College.Theatre includes War Horse (New London Theatre for the National Theatre), Macbeth (National Theatre), Mother Courage And Her Children (BenchTours) Nova Scotia  and The Pearl Fisher (Traverse Theatre Company), Mountain Language (BAC), The Dead Fiddler (New End Theatre) and The Emperor Jones (Gate Theatre).
Television includes Body Watching.

Ursula Mohan
At the Finborough Theatre, Ursula appeared in Online And Paranoid In The Sentimental City (2000), Eyes Catch Fire (2004), Trelawny Of The Wells (2005) and The Lower Depths (2007). Trained at Webber Douglas. Other theatre includes The Veil (National Theatre), Whistle Down The Wind (Bromley), Dad’s Army Marches On (UK Tour), The Drowsy Chaperone (Upstairs at the Gatehouse), Ala In Tango and Peter Brook’s US (Royal Shakespeare Company), Revenge (Royal Court Theatre), The Cenci (Bristol Old Vic and Almeida Theatre), The Good Woman Of Setzuan (Hampstead Theatre), A Murder Is Announced (Vaudeville Theatre), Making Tracks (Stephen Joseph Theatre), Othello and Love’s Labour’s Lost (Open Air Theatre, Regent’s Park) Bevan (Cardiff) and Scapino (Young Vic).
Television includes Holby City, Friends Pictured Within, The Bank Job, Casualty, In Defence and On The Buses.

Carmen Rodriguez
At the Finborough Theatre, Carmen appeared in What Every Woman Knows (2010). Other theatre includes The Lion In Winter (Haymarket Theatre), An Ideal Husband (Vaudeville Theatre), Mrs Warren’s Profession (Comedy Theatre), The Importance Of Being Earnest (Dolphin Gardens), Who's Afraid Of Virginia Woolf? (Apollo Theatre), Gertrude's Secret (Leeds Grand), Peapickers (Eastern Angles), Death Of A Salesman (Manchester Royal Exchange), Bare Necessities (Belgrade Theatre, Coventry), The Dark Room and The Unsatisfactory Supper (Greenwich Playhouse), What The Butler Saw, Mrs Warren's Profession (Bath Theatre Royal and Tours), Strippers (Tour), Hamlet and Macbeth (Cherub Company, Upstream Theatre and Tour), Steaming (Queen's Theatre, Hornchurch), The Elephant Man (Churchill Theatre, Bromley).
Television includes Streetwise, Zero Option.
Film includes Adele's Room and Momdroid.  
Claire Redcliffe
At the Finborough Theatre,Claire appeared in Quality Street (2010) and Perchance to Dream (2011).Trained at LAMDA.Theatre includes Great Expectations, Tom’s Midnight Garden (Library Theatre,Manchester), Oliver (Larnaca Amphitheatre, Cyprus), When We Are Married, The Lion,The Witch and The Wardrobe (West Yorkshire Playhouse), Hamlet (The Factory), Much Ado About Nothing, The Merchant of Venice, As You Like It (Lamb House), High Society (Shaftesbury Theatre), Felt Effects (Theatre 503), Question Time (Arcola Theatre), Kindertransport (Octagon Theatre, Bolton, for which she received a Best Actress nomination in the Manchester Evening News Awards), A Midsummer Night’s Dream, High Society (Open Air Theatre,Regent’s Park), Engaged, The Beggar’s Opera, The Road to Ruin (Orange Tree Theatre, Richmond) and Rosencrantz and Guildernstern Are Dead (Clwyd Theatr Cymru and National Tour).
Television includes The Royal, Doctors, EastEnders,
Holby City and Auf Wiedersehen Pet.
Film includes Charlotte Gray.

Natalie Walter
At the Finborough Theatre, Natalie appeared in Lingua Franca (2010) which transferred to New York at theatre 59East59 for the Brits Off Broadway Festival. Other theatre includes Smash! (Menier Chocolate Factory),The 39 Steps (Criterion Theatre), Hay Fever, The Recruiting Officer (Chichester Festival Theatre), A Midsummer Night’s Dream, Love’s Labour’s Lost (Royal Shakespeare Company), 50 Ways To Leave Your Lover, Whipping It Up (Bush Tour), The Ruffian On The Stair, Soap, Twelfth Night (Northampton Theatre Royal), Piano/Forte (The Royal Court ), Dead Funny (West Yorkshire Playhouse), As You Like It (Theatre Royal Bath and American Tour for The Peter Hall Company), The Constant Wife (Lyric West End), Noises Off (National Theatre and West End) and Habeus Corpus (Donmar Warehouse).
Television includes Above Suspicion, Jonathan Creek, The Lucy Montgomery Show, Doctor Who, Hollywood Goddesses, Babes In The Wood, Harry Enfield and Chums, The Thin Blue Line, Road Rage and The Stalker's Apprentice. Film includes Wedding Video, Cockneys Vs Zombies (both released 2012), Woody Allen's You Will Meet A Tall Dark Stranger, Huge, Lady Godiva, I Want Candy, Remember Me? and The Honey Trap.

Paul Westwood
Trained at the Guildhall School of Music and Drama. Theatre includes The Seagull (Arcola Theatre), Henry V  (Barbican and LSSO), Dancing At Lughnasa (UK Tour for Original Theatre Company), Manchester (Arcola Theatre), Plucker (Southwark Playhouse), The Ring Of Truth (Orange Tree Theatre, Richmond), Twelfth Night  (York Theatre Royal), Great Expectations (Library Theatre, Manchester), Hapgood  (Birmingham Rep and West Yorkshire Playhouse), Nick Payne's Starlings (Old Vic 24 Hour Plays), Othello (Birmingham Stage Company at the Old Rep and Bloomsbury Theatre), Love and Understanding (Pleasance London) and the title role in Hamlet (Robsham Theatre, USA).
Television includes Gracie!, Walter's War and Filth: The Mary Whitehouse Story.
Radio includes Voices From The Old Bailey.

Martin Wimbush
At the Finborough Theatre Martin appeared in The Potting Shed (2010 and 2011). Trained at the Guildhall School of Music and Drama. Other theatre includes Outside Edge, The Mystery Of Edwin Drood, City Of Angels, The Importance Of Being Earnest (West End), Lady In The Van (Hull Truck Theatre and National Tour), Wellington (Barn Theatre Smallhythe), Humble Boy (National Tour), The Shell Seekers (National Tour), The Beastly Chronicles Of Saki (Jermyn Street Theatre), Svejk (Gate Theatre), Me And My Girl (Alexandra Theatre, Birmingham), Charley's Aunt (Northcott Theatre) and Hot Property (Old Red Lion Theatre). His one man show Wellington continues to tour.
Film includes The Iron Lady, Anna Karenina, Scar Tissue, Orlando, Gangster No1, Bridget Jones’s Diary, Shadowlands, Wimbledon, Mean Machine, Ali G Inda House, and The Old Curiosity Shop.
Television includes Hustle, Eastenders, Garrow’s Law, Hiroshima, Cape Wrath, The Lost Prince, Victoria And Albert, Micawber, Mystery Of Men, Vanity Fair, A Dance To The Music Of Time, Holding On, The Alleyn Mysteries, Natural Lies, Countess Alice, Lovejoy, Boon, Coronation Street, Glittering Prizes, Upstairs Downstairs.


Designer Alex Marker has been Resident Designer of the Finborough Theatre since 2002 where his designs have included Quality Street, Charlie’s Wake, The Women’s War, How I Got That Story, SoldiersHappy 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.


“Easily the best fringe production I have ever seen.” Everything Theatre

“Not seen in London for 50 years, Outward Bound is another of the Finborough’s discoveries, startlingly prefiguring the work of J.B. Priestley.” Dan Usztan, Whats On Stage

“This revival, at the delightful Finborough Theatre, is the first in London for over fifty years and it fits the intimate venue perfectly.” Clare Ollerhead, Stage Won

“Certainly one well worthy of a revival and the Finborough Theatre stages it wonderfully.” Clare Ollerhead, Stage Won

“Grippingly paced, economically written, with big characters.” Andrzej Lukowski, Time Out

“Thus, Outward Bound is a third exception that proves the rule and the shock is that such a strong piece, which was a big hit in the West End and then on Broadway in the years after its debut in 1923, has not been revived in so long.” Philip Fisher, The British Theatre Guide

“This is such a good play that one really hopes that it might tour or transfer, allowing audiences to discover the joys of Sutton Vane and an excellent revival.” Philip Fisher, The British Theatre Guide

“It retains an uncanny compulsion.” Sam Marlowe, The Times

“Hill’s production, though, is a delight, steering clear of caricature and preachiness, and acted with great warmth and vivacity. It’s a strange voyage into the past, but it still chills and charms.” Sam Marlowe, The Times

“Louise Hill’s production makes a case for Vane’s mix of psychology, social criticism and mysticism while Alex Marker’s design, transforming the auditorium into a liner’s saloon, is First Class.” Timothy Ramsden, Reviews Gate

“It still emerges as a piece of writing that deserves the attention it is getting here at the Finborough. Louise Hill’s production looks gorgeous in Alex Marker’s design which works perfectly in the space, and she works in layers and texture into the piece that helps up the tension and the intriguing mystery.” Ian, There Ought to Be Clowns Blog

“Outward Bound is a treat, that most Whingerish of delights: an entertaining, absorbing, well-constructed, solid piece of drama with plenty of humour about a voyage that sets sail with a strong moral compass.” West End Whingers

“Sutton Vane's 1923 hit, though structurally creaky, justifies revival as part of the Finborough's Rediscoveries season partly because it tells us a lot about England after the first world war, and partly because it has an insidious moral power.” Michael Billington, The Guardian

“Sutton Vane wrote this play in 1923, which opened in another fringe theatre, the Everyman in Hampstead. From there it tranferred, first to the West End, where it was the biggest hit of the year, and then sailed across to New York, where it met with enormous success. Let us hope that history can repeat itself.” Don Grant, Kensington Chelsea Today

“If Sartre wrote Downton Abbey it would be something like this.” Dan Usztan, Whats On Stage

 “The performances are impressive throughout” Clare Ollerhead, Stage Won

 “Nicholas Karimi delivered a particularly strong performance as the well-meaning but weak-minded alcoholic Tom Prior” Everything Theatre

“Nicholas Karimi is wonderfully watchable” Tom Oakley, One Stop Art

“Derek Howard was superb as the blustering and self-obsessed Mr Lingley” Everything Theatre

“As Mrs Cliveden-Banks, Carmen Rodriguez gets some of the loudest laughs for her snobby put-downs.” Nicholas Hamilton, The Stage

“The humour, mostly occasioned by one Mrs Cliveden- Banks (Carmen Rodriguez), a colossal snob, is toe-curlingly funny.” Sam Marlowe, The Times

“A touchingly weary David Brett” Julia Rank, Exeunt

“David Brett’s ghost-like steward slips in and out of scenes like velvet as he attends to his customers with both drinks and information.” Sebastian de Montmorency, The Public Reviews

“Played with sinister understatement by David Brett” Andrzej Lukowski, Time Out

“Carmen Rodriguez has an excellent way with a withering one-liner and could sneer for England as the dreadful Mrs Cliveden-Banks (who takes her hyphen very seriously).” Julia Rank, Exeunt

“Ursula Mohan wrings a considerable amount of humanity from Mrs Midget” Julia Rank, Exeunt

“Ursula Mohan as the good-hearted prole, Carmen Rodriguez as the hyphenated socialite and David Brett as an omniscient steward all impress” Michael Billington, The Guardian

“I can only say that, if there is an afterlife, it would be good to know you'd be met there by someone as wisely cheerful as Martin Wimbush's Examiner” Michael Billington, The Guardian

“Martin Wimbush’s expertly-played, relaxed colonial administrator of a clergyman.”  Timothy Ramsden, Reviews Gate

“In a strong cast, Carmen Rodreguez as the snooty lady, Derek Howard as a hot-headed businessman, Nicholas Karimi as the self-hating drunk and David Brett as an all-knowing steward stand out.” Gerald Berkowitz, Theatre Guide London

“Director Louse Hill keeps the action on the right side of serious, navigating the tricky material with a firm hand and keeps the balance between morality play and thriller perfectly weighted.” Dan Usztan, Whats On Stage

“Louise Hill’s stylish production” Julia Rank, Exeunt

“Louise Hill's production could dispense with a needless second interval, but otherwise gets the play dead right” Michael Billington, The Guardian

“It is generally a pretty good bet that any play which has disappeared from view for half a century should remain hidden. Louise Hill, who has already had a pair of Finborough successes with revivals of JM Barrie, has never learned this maxim.” Philip Fisher, The British Theatre Guide

“Director Louise Hill builds such an eerie atmosphere of mystery that one is anxious to get back to the story at both the play’s intervals. J B Priestley’s name was being bandied around post-show and if you see it you’ll know why.” West End Whingers

 “Alex Marker’s superb set impressed me from the moment I walked into the space. Using the natural curve of the theatre’s walls, Marker’s set creates a perfect bar inside the cabin of a boat, complete with portholes.” Everything Theatre

“The quality of the design immediately set the production apart from other fringe productions I have seen, and was already starting to understand why people rave about the Finborough.” Everything Theatre

“Finborough resident designer Alex Marker has excelled himself with his art deco saloon bar, complete with a grand drinks cabinet and curtained portholes. The cast are elegantly costumed by Gregor Donnelly and William Morris’s music lends the right amount of eeriness.” Julia Rank, Exeunt

“Beautifully designed by Alex Marker” Michael Billington, The Guardian

“Alex Marker’s set is mighty impressive and surely a contender for award nomination.” Gareth Richardson, Bargain Theatre

“The intimate, thrust stage allows no margin for design complacency and the detail is perfect. Everything from the labels on the beer bottles to the sweet scent of tobacco. This is the first time the play has been produced in over fifty years – and what a welcome return.” Jo Sutherland, Spoonfed

“The saloon is brilliantly realised by the most impressive set (Alex Marker) ever seen by Whingers’ eyes at this tiny venue.” West End Whingers

“Gregor Donnelly’s detailed costumes are period perfect.” Dan Usztan, Whats On Stage

“Fringe theatre at its best, wonderful venue, fantastic performances and a completely engaging performance. Best fringe production we've seen.” Everything Theatre


Tuesday, 31 January – Saturday, 25 February 2012

Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 11 February 2012).

Performance Length: Approximately 2 hours 30 minutes with two intervals.

31 January–12 February 2012

Tickets £13, £9 concessions

except Tuesday Evenings £9 all seats, and Saturday evenings £13 all seats.
Previews (31 January and 1 February 2012) £9 all seats.

£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, 4 February 2012 when booked online only.

14 Febuary–25 February 2012

Tickets £15, £11 concessions

except Tuesday Evenings £11 all seats, and Saturday evenings £15 all seats.
STAGETEXT captioned performance - Saturday, 18 February at 3.00pm.

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



Directed by Louise Hill

Designed by Alex Marker

Lighting by Neill Brinkworth

Costume Design by Gregor Donnelly
Music by William Morris

Presented by Coracle in association with Neil McPherson at the Finborough Theatre.