Spring Season | February to May 2015


- Voices from the Armenian Genocide

by Neil McPherson

Tuesday, 21 April – Saturday, 16 May 2015

The world premiere

“Who, after all, today remembers the annihilation of the Armenians? ” – Adolf Hitler, 1939

Commemorating the centenary of the Armenian genocide, the world premiere of a documentary drama.

"On the night of Saturday, April 24th 1915, the Armenians of Constantinople were snoring in a calm sleep – exhausted from their Easter celebrations – while in the Central Police Station a secret project was in motion..."

The Armenian Genocide was the first genocide of the 20th century, perpetrated by the Ottoman Turkish Government against the Armenians, a Christian minority in a Muslim state. One and a half million people died.

The word 'genocide' itself was invented by Raphael Lemkin in 1943 to describe the events of 1915. Adolf Hitler used the Armenian Genocide as a direct inspiration for the Holocaust during the Second World War.

To this day, the Turkish government refuses to admit that any genocide ever took place.

Commemorating the exact centenary of the deportations that began the Armenian Genocide, I Wish To Die Singing – Voices From The Armenian Genocide is a controversial documentary drama uncovering the forgotten secrets and atrocities of a denied genocide – featuring eye-witness reportage, images, music, poetry from Armenia's greatest poets, and verbatim survivors testimonies from one of the greatest historical injustices of all time.


Playwright Neil McPherson is Artistic Director of the Finborough Theatre. An earlier version of I Wish to Die Singing was presented for a sold out short run at the Finborough Theatre in 2005 to mark the 90th anniversary of the Armenian Genocide, and received a staged reading at the Centre for Armenian Information and Advice, London, in 2006.


Director Tommo Fowler returns to the Finborough Theatre where he directed Obama-ology and was Resident Assistant Director at the Finborough Theatre working on Sommer 14: A Dance of Death and Harajuku Girls. Trained with Living Pictures and on the Short Course at the Royal Academy of Dramatic Art. Direction includes Monster Party (Arcola Theatre), Vesting Day (Southwark Playhouse), a staged reading of Wake (English Touring Theatre Studios), The Repast, Porcelain, Just Say No (Theatre503), The (Accidental) Execution of Alan Bishop (Pleasance London) and Extremely Brief and Violent (Royal Academy of Dramatic Art). Assistant Direction includes Handel Furioso (Arcola Theatre and National Tour), Rainbow (Edinburgh Festival and winner of Fringe First Award) and Mojo Mickybo (Old Red Lion Theatre). Dramaturgy includes Rumpy Pumpy (King’s Head Theatre and Tour) and No Border, an intranational verbatim theatre project.


THEGREATWAR100 series is a new occasional series of works about – or written during – the Great War to be presented by the Finborough Theatre from 2014 to 2018 to commemorate the centenary of the First World War.


Kate Binchy

Productions at the Finborough Theatre include A Life.
Theatre includes A Cavalier for Milady (Jermyn Street Theatre), The Factory Girls (Arcola Theatre), The Changeling, The Hebrides, Juno and the Paycock, The Deep Blue Sea 
(Lyceum Theatre Edinburgh), Allergy (Traverse Theatre), The White Devil (Oxford Playhouse), The Plough and the Stars, Red Roses for Me (Mermaid Theatre), 
Shakespeare Recital for the British Council (Japan and South East Asia Tour), A Doll’s House (Liverpool Playhouse), The Steward of Christendom (Out of Joint at the Royal Court Theatre and World Tour), Noises Off (Olympia Theatre, Dublin), Flesh and Blood (National Tour for Triumph Apollo), Sidewind (Battersea Arts Centre), John Gabriel Borkman (York Theatre), Never in My Lifetime (Soho Theatre), The Playboy of the Western World (St Martin’s Theatre), Baal (Phoenix Theatre), Summer (Watford Palace Theatre) and Madigan’s Lock (Stratford East Theatre).

Television includes Holby City, Casualty, One Night, The Revenge of Alistair Fury, 
Doctors, Whose Baby?, Trial and Retribution, Fair City, Big Bad World, The Ruth Rendell Mysteries, Father Ted, The Chief, Events at Drimaghleen, A Sleeping Life, Crusades, Good Behaviour, 84 Charing Cross Road and Stigma.  

Film includes Mrs Dalloway, The Lonely Passion of Judith Hearne, The Eagle Has Landed andThe Sign of Four.
 Kate is a frequent contributor to Radio Four Drama and has recorded many audio books, particularly those of her cousin Maeve Binchy.

Jilly Bond

Trained at Drama Studio London, where she is also an Associate.
Theatre includes Transmissions (The Lowry, Salford), Foreplay (King’s Head Theatre), Napoli (West Yorkshire Playhouse), Island (National Theatre), The Most Gorgeous Lady Blessington (The Wallace Collection), Mrs Warren’s Profession (English Theatre of Hamburg),  Glasshouse (Tobacco Factory), Air Guitar(Bristol Old Vic), Yours Truly (Jermyn Street Theatre),  People Are Living There (Oxfordshire Touring Theatre), The Local Authority (The Young Vic), A Visit From Miss Prothero, I Thought I Heard A Rustling (Frinton Summer Theatre), Fuddy Meers (Southwark Playhouse) and Body Language (Arts Theatre).
Film includes The Flagellant, Landlocked, A Life For A Life, Jonah, Geoffrey’s Belt, Rum, Arkham Sanitarium and Hamlet.
Television includes As If, The Big Impression, Doctors and Judge John Deed.
Radio includes over eighty plays on BBC Radio 4, including the original Barchester Chronicles  series, The Archers and Saturday Night and Sunday Morning. 
Recordings include over 250 audiobooks.

Bevan Celestine

Theatre includes Empires (RADAR and Bush Theatre), The Web (The Young Vic), Followers (Southwark Playhouse), Late In The Day (Hen and Chickens Theatre), Beyond Beauty (Rebel Theatre Company), Health Wealth (Old Vic New Voices), Londonee (Rich Mix), The Grandfathers (National Theatre Connections), Suffocation (Ovalhouse), Dark Carnival (Old Vic Tunnels) and Talking To Shorty, Colour Of Clouds, Oramix, Our Country’s Good (National Youth Theatre).
Film includes Undefeated, Rebel, Sunroof, 2-Way Street and No. 5.
Television includes End of The Pier Show, Inside Out, Mugged and Switching Lanes.

Siu-See Hung

Productions at the Finborough Theatre include Velocity.
Trained at Arts Educational School.
Theatre includes L.O.V.E. (Southwark Playhouse), Something There That's Missing, Obamamerica (Theatre503), Nic Knight’s Tales (Park Theatre), Granny Dumpling, Ba Banh It (Yellow Earth Theatre at The Albany), Dim Sum Nights, Theef (Yellow Earth Theatre), A Dream from Bombshell (Trikhon Theatre and The Albany) and Our Town (King’s Head Theatre).

Tamar Karabetyan

Trained at the Oxford School of Drama.
Theatre includes Architect (Write at the Heart 2: Rich Mix), Waiting for Summer (Etcetera Theatre, Old Red Lion Theatre and Liverpool Festival of Arab Arts), Gather Ye Rosebuds (Theatre503 and Brighton Fringe Festival), Freedom, Books, Flower and the Moon (Waterloo East Theatre), O Brave New World (RETZ), Angleby (RED Fest at the Old Red Lion Theatre), The Long Goodbye (Hampstead Theatre Downstairs) and Twelfth Night (Blenheim Palace).
Film includes Nina Forever and The Case of Mary Ford.
Television includes Da Vinci’s Demons Season 3.

Tom Marshall

Productions at the Finborough Theatre include Captain Oates’ Left Sock and Somersaults.
Trained at the London Academy of Music and Dramatic Art.
Theatre includes Season 2014 (Pitochry Festival Theatre),Total Eclipse (Menier Chocolate Factory), The Anatomist (Eastern Angles), The Pillars of the Community, Henry IV, Parts I and II, Tales of the Vienna Woods, Edmond, Luther, The Spanish Tragedy, Antigone, Danton’s Death, and Venice Preserv’d (National Theatre), Mandrake, Snap, No Man’s Land, The Passion of Dracula, Plenty, Passion Play, When Did You Last See Your Trousers? (all West End), The Crucible (Birmingham REP), Karate Billy Comes Home (Royal Court Theatre), Rosmersholm (Southwark Playhouse), Twelfth Night (Perth Theatre) and repertory seasons at Glasgow, Lincoln, Canterbury, Bristol, Cardiff, Watford, Oxford, Edinburgh and Sheffield.
Film includes Oh What a Lovely War!, There’s a Girl In My Soup, Infinity, Revenge, Killer’s Moon and Feast of July.
Television includes Upstairs Downstairs, Please Sir, Doctor at Large, Coronation Street, Spooks, World’s End, The Thin End of the Wedge, Juliet Bravo, Blind Justice, Joint Account, The Bill, Casualty, Mornin’ Sarge, March on Europe and The Paradise Club.

Simon Yadoo

Productions at the Finborough Theatre include The Hospital At The Time Of The Revolution and Little Madam.
Trained at The London Academy of Music and Dramatic Art.
Theatre includes Two Gentleman Of Verona, Henry IV Parts 1 and 2 (Royal Shakespeare Company), Damned by Despair (National Theatre), Melmoth The Wanderer (Irish Tour), Scoop (Lyric Theatre, Hammersmith), Happiness (Edinburgh Playhouse Studio), 2401 Object (The Lowry, Salford, and National Tour), The Real Thing (The Old Vic), The Taming of the Shrew, The Tempest (UK and Denmark Tour),  Eulogy, Short and Stark: Joel Horwood (Southwark Playhouse), My Family and Other Animals  (Theatre Royal York), Three Men In A Boat (Theatre Royal Bury St Edmunds), The Vanek Plays (Tristan Bates Theatre) and Dogfight (Arcola Theatre).
Film includes Muppets Most Wanted.
Television includes The Manual, The Constant Gardener and Vanity Fair.
Radio includes The Guns of Adam Riches and Macbeth.


“90 minutes of continuously compelling theatre.” Howard Loxton, British Theatre Guide.

“Powerful...a searing account of the Armenian genocide.” Michael Billington, The Guardian.

“Vivid and merciless...simple, moving and very powerful.” Aleks Sierz, The Stage.

“Powerful and controversial” Mersa Auda, The Upcoming.

“Moving and shocking... There is no questioning its power and importance.” Gerald Berkowitz, TheatreGuideLondon

“Powerful...This arresting production” Bill Hagerty, Hammersmith Today.

“Well-rounded and extremely powerful.” Mayer Wakefield, Morning Star.

“This sobering piece of documentary theatre...” There Ought To Be Clowns.

“A powerful, intense and necessary production.” Carolin Kopplin, UK Theatre Network.

“The play’s value is undeniable...A true example of activist theatre.” Chelsey Pippin, Everything Theatre.

“This is no tedious lecture but a real drama that gives the victims a voice through the mouths of individual characters.” Howard Loxton, British Theatre Guide.

“Beautifully interwoven narratives...It is a story that I didn’t know told in an inventive and heart breaking way, informative and emotional.” Kieran Knowles, The Good Review.

“Their story told compassionately but clear-sightedly.” There Ought To Be Clowns.

“Intense...The verbatim testimony of the victims are the strongest, most affecting part of the play.” Traffic Light Theatregoer.

“Agitprop is a term that seems to have dropped out of use...Yet artistic director Neil McPherson, whose small and feisty Finborough Theatre at Earls Court receives no public funding whatsoever, has never pandered to delicate West London sensibilities, and I Wish to Die Singing: Voices from the Armenian Genocide, scripted by him, certainly doesn’t flinch from its task. This is, no less, to fill a gaping hole in the official history of the 20th century.” Jenny Gilbert, The Arts Desk.

“These voices from the Armenian genocide in I Wish to Die Singing cannot but shock and overwhelm. The sheer depth of brutality and cruelty...defy description except here they are described and with a quiet understatement that makes them all the more appalling.” Carole Woddis, London Grip.

“Neil McPherson knows how to create a play which keeps our interest and makes us care about these events without being heavy handed.” Lizzie Loveridge, Curtain Up.

“Neil McPherson’s purposeful and necessarily partisan documentary drama piece” Traffic Light Theatregoer.

“A desperate story of loss of culture, identity, displacement and secrecy... For not the first time, Finborough’s Neil McPherson is leading the way with this much belated but timely homage to an almost forgotten people.” Carole Woddis, London Grip.

“Neil McPherson employs documentary drama, and to shocking effect... The convention of delivering verbatim texts proves extraordinarily powerful.” Judi Herman, Jewish Renaissance

“This is gripping theatre not just because it is telling a powerful story but because McPherson makes these people share with us and Tommo Fowler’s direction puts that contact at the heart of his production.” Howard Loxton, British Theatre Guide.

“McPherson and the Finborough, where he is artistic director, must be congratulated on playing their part in demanding long overdue recognition for the terrible fate of those 1.5 million Armenians as genocide.” Judi Herman, Jewish Renaissance

“McPherson’s play, soberly directed by Tommo Fowler and well acted by a seven-strong cast including Tom Marshall, Tamar Karabetyan and Simon Yadoo...movingly achieves what it sets out to do.” Michael Billington, The Guardian.

“Tom Marshall is heart-breaking.” There Ought To Be Clowns.

“An affecting performance by Tom Marshall” Traffic Light Theatregoer.

“Horrors unfold calmly in Tom Marshall’s slow, sustained account of his character’s experience” Timothy Ramsden, Reviews Gate.

“Tom Marshall stuns with an eviscerating monologue from a survivor...At the end, he mumbles: ‘I don’t know why you need to hear this.’ But we do need to hear this story – we really, really do.”” Miriam Gillinson, Time Out.

“[Tom Marshall gives] a performance that is especially moving among actors who give their characters a touching reality." Howard Loxton, British Theatre Guide.

“Kate Binchy and Tamar Karabetyan combine to extraordinary effect.” There Ought To Be Clowns.

“Impressively played by Jilly Bond.” Carole Woddis, London Grip.

“Narrated with lucid authority by Jilly Bond” Judi Herman, Jewish Renaissance

“Plenty of powerful moments - Bevan Celestine and Tamar Karabetyan are strong as children caught in the horrors” Partially Obstructed View

“I particularly enjoyed Bevan Celestine’s portrayal of the young man, he had a lovely honest delivery style” Kieran Knowles, The Good Review.

“The harrowing testimonies of survivors delivered candidly by Tamar Karabetyan, Bevan Celestine and Siu-See Hung are particularly disturbing” Mayer Wakefield, Morning Star.

“The seven-strong ethnically-mixed, colour blind cast...give the stories a universal appeal” Traffic Light Theatregoer.

“Tamar Karabetyan, Siu-See Hung and Bevan Celestine movingly convey the child-like direct observation that represents so much sorrow. It’s all the more moving because the three also represent different cultural backgrounds.” Judi Herman, Jewish Renaissance

“A talented cast of seven delivers the message with sledgehammer effect.” Bill Hagerty, Hammersmith Today.

“Tommo Fowler’s...intense production.” Mayer Wakefield, Morning Star.

“Tommo Fowler’s strong and often uncomfortable production features a multiracial and inclusive cast, who all work hard, playing multiple roles.” Aleks Sierz, The Stage

“Told by director Tommo Fowler with admirable restraint.” Carole Woddis, London Grip.

“Director Tommo Fowler keeps the story moving forward while giving each speaker and episode its due, and the actors create rounded instant characterisations.” Gerald Berkowitz, TheatreGuideLondon.

“Director Tommo Fowler steers his dedicated cast through a chilling 90 minutes on Phil Lindley’s appropriately minimalist set. Rob Mills brooding lighting and Max Pappenheim’s intricate soundscape add to the atmosphere of menace” Judi Herman, Jewish Renaissance

“A huge contribution from Max Pappenheim’s sound design” Howard Loxton, British Theatre Guide.

“Phil Lindley's design, incorporating Rob Mills' beautiful video work, works well at allowing the committed company of seven to pay quiet but focused tribute.” There Ought To Be Clowns.

“As Rob Mills’ video keeps adding to the story in Armenian script, and a daily update of events is provided, this production forcefully repudiates Hitler’s claim that nobody remembers the Armenians. For anyone seeing this Finborough show surely will.” Timothy Ramsden, Reviews Gate.

“It asks the audience at the end...to take action into their own hands by signing the petition for recognition. The biggest compliment to the piece I can pay, is that I signed it.” Kieran Knowles, The Good Review.

“The evening ends on a justifiable note of outrage. You leave the theatre with a soul full of anger.” Aleks Sierz, The Stage.

“Go see I Wish to Die Singing – the title is taken from work by the Armenian poet known as Siamanto, tortured and murdered in 1915 – and make up your own mind. The cast...will send you into the spring evening with a sad song of compassion in your heart.” Bill Hagerty, Hammersmith Today.


Tuesday, 21 April – Saturday, 16 May 2015

Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 2 May 2015).

Performance Length: 90 minutes with no interval.

Prices until 3 May 2015

Tickets £16, £14 concessions

except Tuesday Evenings £14 all seats, Friday and Saturday evenings £16 all seats.
Previews (21 and 22 April) £12 all seats.

£10 tickets for Under 30’s for performances from Tuesday to Sunday of the first week when booked online only.

£12 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, 25 April 2015 when booked online only.

Prices from 5 May 2015

Tickets £18, £16 concessions

except Tuesday Evenings £16 all seats, Friday and Saturday evenings £18 all seats. 

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



Artwork Copyright: Armenian National Institute Inc, courtesy of Sybil Stevens (daughter of Armin T. Wegner). Wegner Collection, Deutsches Literaturarchiv, Marbach, and United States Holocaust Memorial Museum.

Performance Length: 90 minutes with no interval.

Directed by Tommo Fowler

Design by Phil Lindley

Lighting by Rob Mills

Sound Design by Max Pappenheim

Movement Direction by Ita O'Brien

Presented by Rachel Kraftman for the Finborough Theatre.