Autumn Season | August - October 2016


by Noël Coward

Tuesday, 30 August – Saturday, 24 September 2016

The first UK production in nearly 90 years

HOME CHAT is now completely sold out for the entire run including the additional matinee on Thursday, 15 September at 3.00pm.

Returns only. For details of our Returns Policy, please click here

For details of any other additional performances, any last minute ticket releases and to join our mailing list, please email us at or follow us on Twitter at and at

★★★★ The Telegraph
★★★★ The Stage
★★★★ The Reviews Hub
★★★★ LondonTheatre1
★★★★ Last Minute Theatre Tickets

Four OffWestEnd Award nominations

“I am shirking off the chains that have shackled me for so long – I have suddenly come to realise that I am a woman – a living, passionate, pulsating woman – it never occurred to me before.”

A unique rediscovery in its first UK production since its premiere in 1927.

Janet Ebony and her best friend Peter Chelsworth are innocently sharing a sleeping compartment when their train to Paris is involved in a disastrous railway accident. Outrage and scandal ensue as Janet's husband Paul and her fearsome mother-in-law accuse Janet and Peter of adultery. Aghast at their families’ accusations, Janet and Peter decide to take revenge by inventing an adulterous affair...

Written with Noël Coward's trademark wit and insight, Home Chat is a distinctly modern comedy about female sexuality and fidelity, in a society rigidly governed by decorum and reputation.


Playwright Noёl Coward was born in 1899, and died in 1973. He was an actor, playwright, screenwriter, composer, lyricist, artist, novelist, short story writer, poet and cabaret artist. His many plays include The Vortex, Hay Fever, Easy Virtue, Bitter Sweet, Private Lives, Fallen Angels, Cavalcade, Design for Living, Tonight At 8.30, This Happy Breed, Present Laughter and Blithe Spirit. His screenplays include In Which We Serve and Brief Encounter. His songs include Mad Dogs and Englishmen. The Finborough Theatre has previously presented his very first play The Rat Trap in 2006 and the UK professional premiere of This Was a Man in 2014.


Director Martin Parr was nominated for an Off West End Award for Best Director for his production of Hamlet (Rose Theatre, Bankside). Theatre includes Sense and Sensibility (Liverpool Institute for the Performing Arts), The Eighth Wonder of the World (Brunel Tunnels), The Devil to Pay on Brook Street (Handel House, Mayfair), Where Late the Sweet Birds Sang and Doctor Faustus (Rose Theatre, Bankside), The Three Georges (Gottingen Festival), A Door Must be Kept Open or Shut (Osborne Studio), A Night in CDU (Landor Theatre) and Romeo and Juliet (St George's, Bloomsbury). Opera includes Acis and Galatea (Canons, London), Teixeira's Te Deum and Handel's Messiah (Casa Da Musica, Portugal), L'Ippolito (Festival de Sable and Ambronnay Festival) and Comus (London Handel Festival). Assistant Direction includes 84 Charing Cross Road (Salisbury Playhouse). Martin is also an Associate with Actors From The London Stage, who tour Shakespeare plays to the USA twice a year. Martin originally trained and worked as an actor, working at theatres across the United Kingdom and America.


Polly Adams | Mrs Ebony

Theatre includes ‘Tis Pity She’s a Whore, A Small Family Business, Bedroom Farce, Don Juan Comes Home from the War, Engaged, Plunder, Pygmalion, The Philanderer, Tons of Money and Troilus and Cressida (National Theatre), Rapture, Blister, Burn and The Good Samaritan (Hampstead Theatre), Entertaining Angels, Rumours, The Broken Heart, The Chances and The Winslow Boy (Chichester Festival Theatre), A Voyage Around My Father and Hay Fever (Salisbury Playhouse), Benefactors and The Chiltern Hundreds (Vaudeville Theatre), Dear Antoine (Piccadilly Theatre), For Services Rendered (Watermill Theatre, Newbury), Gentle Jack (Queens Theatre, Hornchurch), Hay Fever (Lyric Theatre, Hammersmith), Legal Fictions (Savoy Theatre), Private Lives and The Complaisant Lover (Shakespeare’s Globe), Quiet Americans (Oxford Stage Company), The Government Inspector (Greenwich Theatre), The Importance of Being Earnest (The Old Vic and Haymarket Theatre, Leicester), The Merchant of Venice (Theatre Royal Brighton and Theatre Royal Newcastle) and Time and The Conways (Playhouse Theatre, Colchester, and Salisbury Playhouse).
Film includes A Woman of the North and Kisna.
Television includes A Dark-Adapted Eye, Blisters, Bonjour La Classe, Compact, Element of Doubt, Executive Stress, Faint-Hearted Feminist, Goodbye Darling, Inspector Alleyn, Just William, Kingdom, Loyalties, Miss Marple – The Murder at the Vicarage, Only the Other Day, Pride and Prejudice, Sea Song, Sob Sisters, The Camomile Lawn, The Cinder Path, The First Churchills, The Spoils of Poynton, Tribute to the Lady, Upstairs, Downstairs and Winter Sunshine.
Radio includes Aspects of Love.

Tim Chipping | Paul Ebony

Productions at the Finborough Theatre include Crime and Punishment and Crackpot.
Theatre includes The Man With The Hammer (Theatre Royal Plymouth), The Hook (Royal and Derngate Theatres Northampton and Liverpool Everyman) The Crucible (West Yorkshire Playhouse), The Tempest (Watermill Theatre, Newbury), Titanic: Scenes from the British Wreck Commissioner’s Inquiry, 1912 (The Mac, Belfast), Journey’s End (Duke of York’s Theatre), Desire Under The Elms (New Vic Theatre, Newcastle-under-Lyme), The Comedy of Errors, Twelfth Night and The Crucible (Royal Shakespeare Company), Orestes (National Tour), Tamburlaine (Bristol Old Vic and Barbican Theatre), Woyzeck and The Robbers (Gate Theatre), Romeo and Juliet (Liverpool Playhouse), Cavalcade and Stalinland (Citizens Theatre, Glasgow), The Man Who Stole a Winter Coat (Lyric Theatre, Hammersmith), Pygmalion (Birmingham Rep) and The Guise and Statements After an Arrest Under the Immorality Act (Arts Threshold).
Film includes Jacked, The Fall of The Krays, Muppets Most Wanted, Narcopolis, Shoot on Sight, Troy and Captain Jack.
Television includes EastEnders, Maigret, New Tricks, Sons of Liberty, The Passing Bells, Silk, Sherlock, Thorne, Law and Order: UK, Ten Days to War, The Bill/SOKO Leipzig, Holby City, Casualty, American Embassy, Jonathan Creek, Menace and Iphigenia at Aulis.

Philip Correia | Alec Stone

Trained at London Academy of Music and Dramatic Art.
Theatre includes A Midsummer Night's Dream, Holy Warriors and Antony and Cleopatra (Shakespeare's Globe and International Tour), Keepers of Infinite Space (Park Theatre), 50 Years on Stage and The Pitmen Painters (National Theatre and NT Live), Judgement Day (The Print Room), The Syndicate (Minerva Theatre, Chichester), Bus Stop (New Vic Theatre Newcastle-under-Lyme, and St. James Theatre), The Cherry Orchard (Birmingham Rep), Country Music (West Yorkshire Playhouse), Northern Odyssey (Live Theatre, Newcastle), Romeo and Juliet (Jermyn Street Theatre), Hobson's Choice (Chichester Festival Theatre and National Tour), The History Boys (Wyndham's Theatre and National Tour), The History Boys (National Theatre and National Tour) and The Merry Wives of Windsor (Royal Shakespeare Company).
Film includes The Hunters, Matchmaker and Bliss.
Television includes Atlantis, Casualty, Inspector George Gently, Hollyoaks, Vera, Canoe Man, Lewis, Doctors and The Bill.
Radio includes Blue Flu.
Philip is a member of the Orange Tree Writer's Collective 2015/16.

Joanna David | Mrs Chilham

Trained at the Webber Douglas Academy of Dramatic Art.
Theatre includes Stages (National Theatre), The Family Reunion and A Woman in Mind (Vaudeville Theatre), The Innocents, The Heiress and The Deep Blue Sea (Theatre Royal Northampton), The Family Reunion and Uncle Vanya (Royal Exchange Theatre, Manchester), The Cherry Orchard and Breaking the Code (Theatre Royal Haymarket), A Voyage Round My Father (Donmar Warehouse and Wyndham’s Theatre), Ring Round The Moon (Playhouse Theatre) and Hobson’s Choice (Open Air Theatre, Regent's Park).
Film includes Cotton Mary, The Tulse Hill Suitcase, These Foolish Things and Another Mother’s Son.
Television includes War and Peace, Sense and Sensibility, Fame is the Spur, Rumpole of the Bailey, Rebecca, Inspector Morse, Sherlock Holmes, Pride and Prejudice, The Forsyte Saga, Monarch of the Glen, A Touch of Frost, Miss Marple, Casualty, Death in Paradise, Downton Abbey and Agatha Raisin.
Radio includes War and Peace, The Sea and Home Front.

Richard Dempsey | Peter Chelsworth

Theatre includes The Cocktail Party (The Print Room), Damsel in Distress, Just So and Out of This World (Chichester Festival Theatre), Charlie and The Chocolate Factory (Theatre Royal Drury Lane), A Midsummer Night's Dream (Noël Coward Theatre), Victor/Victoria (Southwark Playhouse), A Winter's Tale and Henry V (Hampstead Theatre and World Tour), Me And My Girl (Crucible Theatre, Sheffield), The Merchant of Venice (Brooklyn Academy of Music, New York City, and World Tour), A Midsummer Nights Dream (World Tour), Citizenship (National Theatre), Dirty Dancing (Aldwych Theatre),  A Midsummer Night’s Dream (Royal Shakespeare Company and Shubert Theatre, Connecticut), Peepshow (Frantic Assembly), Honk! (National Theatre and National Tour),The Lion, The Witch and The Wardrobe (Royal Shakespeare Company), The Dance Of Death (Tricycle Theatre), Into The Woods (Phoenix Theatre) and Fame The Musical (Cambridge Theatre).
Television includes Downton Abbey, Dracula, Doc Martin, Doctors, Ladies Of Letters, Egypt, Island At War, Warlock, Cleopatra, Wives And Daughters, Aristocrats, The Scarlet Pimpernel, Tilly Trotter, The Prince Of Hearts, Crimetraveller, Wycliffe, Inspector Alleyn, Anna Lee, Don't Leave Me This Way, Sherlock Holmes, Tonight at 8:30 and The Chronicles of Narnia.

Nelly Harker | Lavinia Hardy

Theatre includes Feathers in the Snow (Southwark Playhouse), Blithe Spirit (Royal Exchange Theatre, Manchester), The Importance of Being Earnest (New Wolsey Theatre, Ipswich), Where There’s a Will (National Tour), Love’s Labour’s Lost (Rose Theatre, Kingston) and Portrait of a Lady (Theatre Royal Bath and National Tour) and Round and Round the Garden and The Heiress (The Mill at Sonning).
Film includes Stage Door Johnnies’ and Latitude.
Television includes The Hour. Radio includes War and Peace.

Robert Hazle | Pallett, Turner

Trained at Drama Studio London. 
Theatre includes Calamity Jane (Watermill Theatre Newbury and National Tour), Wallis - A Certain Person (Upstairs at the Gatehouse), Parkway Dreams (Eastern Angles), Much Ado About Nothing (Rose Theatre, Bankside), Boris Godunov (Brockley Jack Studio Theatre) and Amahl and The Night Visitors (Opera Capital Arts).
Concerts include Stravinsky's A Soldiers Tale, Noye’s Fludde, An Ivor Novello Gala Celebration and Epiphany Concert with London Cantamusica.
Recordings include Stronger As One – The Diamond Jubilee Anthem, Song of Mary and Harry Potter and the Half-Blood Prince.
Work as Musical Director, Composer and Arranger includes Ruddigore (Illyria Open Air Touring Theatre), Much Ado About Nothing (Wolf-Sister Productions), Nutcracker the Musical (Peaceful Lion Productions) and Parkway Dreams (Eastern Angles).

Clare Lawrence Moody | Mavis Wittersham

Theatre includes Fram (National Theatre), Mill Hill (St. James Studio Theatre), The Distance (Orange Tree Theatre, Richmond), Love Games (Chichester Festival Theatre), Late in the Day (Hen and Chickens Theatre), Mary Shelley (West Yorkshire Playhouse and Oxford Playhouse), Age of Arousal (Royal Lyceum Theatre, Edinburgh, and National Tour), The Girls of Slender Means (Assembly Rooms Edinburgh) and Mine (Hampstead Theatre and National Tour).
Film includes Pride.
Television includes Holby City, EastEnders, Ultimate Force, Bad Girls, This Could Be The Last Time and Harry.
Radio includes The Norman Conquests, Democracy for Beginners, The Ambassadors, A Domestic, Lets Murder Vivaldi, Amerika, Ghost in the Machine and 27 Wagons Full of Cotton.
As a Producer, her productions include This is Our Youth and Oleanna (Garrick Theatre), Life in the Theatre and Fool for Love (Apollo Theatre) and Some Girls (Gielgud Theatre).

Zoë Waites | Janet Ebony

Trained at Royal Academy of Dramatic Art.
Theatre includes As You Like It (Shakespeare Theatre, Washington D.C.), Crows (National Theatre), Love for Love, Night of the Soul, The Prisoner’s Dilemma, Twelfth Night, Othello, Romeo and Juliet and The Family Reunion (Royal Shakespeare Company), King Lear, The Play About the Baby and Mrs Klein (Almeida Theatre), Endpaper and Sixty-Six Books (Bush Theatre), Hobson’s Choice (Crucible Theatre, Sheffield), Bird Song (Comedy Theatre), Hedda Gabler (Theatre Royal Bath and National Tour), Nicholas Nickleby (Chichester Festival Theatre and Theatre Royal Haymarket), Cyrano de Bergerac (Bristol Old Vic), Pravda (Chichester Festival Theatre and Birmingham Rep), The Scarlet Letter and King Lear (Chichester Festival Theatre), Breaking the Code (Theatre Royal Northampton), Antigone (Royal Albert Hall), A Midsummer Night’s Dream (City of London Sinfonia), The White Devil (Lyric Theatre, Hammersmith), Hamlet (Greenwich Theatre and West Yorkshire Playhouse) and Goblin Market (BAC).
Television includes Vexed, Doctors, The Other Boleyn Girl, Love in a Cold Climate, Unknown Soldier and Robin Hood.


“This ambitious production soars…an unexpected delight...the experience is a fascinating one” The Telegraph on Hamlet

“Martin Parr’s fast and fresh adaptation is a pleasure to behold…clever and original in the most unexpected way, Parr’s adaptation is a must-see” The Public Reviews on Hamlet

“Staggeringly good” The Stage on Hamlet

“Witty, poised and risky” The Arts Desk on Where the Late Sweet Birds Sang

“Outstanding panache” The Public Reviews on Doctor Faustus

“Polished and satisfying” The New York Times on L’Ippolito


★★★★ The Telegraph
★★★★ The Stage
★★★★ The Reviews Hub
★★★★ LondonTheatre1
★★★★ Last Minute Theatre Tickets

Four OffWestEnd Award nominations – Best Male Performance in a Supporting Role, Best Director, Best Sound Designer Best Set Designer

“Home Chat, a 1927 script by Noël Coward, has not been performed for nearly 90 years. It was not greeted well when it was first produced in the West End, and no one has championed it since. But they ought to have done…It turns out to be a searingly powerful, anti-establishment expression of female individuality” Tim Auld, The Telegraph

“An unexpectedly splendid surprise…it's a genuine marvel that that play turns out to be a sparkling diamond…on the evidence of Martin Parr's revelatory production here, you wouldn't be surprised to see it take it place alongside the more familiar of Coward's works that frequently pepper the repertoire” Ian Foster, There Ought to Be Clowns

“One of the brightest, sparkiest proto-feminists to be found in English drama. Janet Ebony is a fantastic character” Alison Goldie,

“An enjoyable and polished production” London Pub Theatres

“This revival shows the strength of Coward's compact wit and stagecraft with a polished production” Traffic Light Theatregoer, Alice Joseph

“Rapier sharp dialogue” Genni Trickett, Last Minute Theatre Tickets

“Splendid performances from a highly skilled cast” Gary Naylor,

“Zoe Waites is just superb” Ian Foster, There Ought to Be Clowns

“Played with devil-may-care vivacity by Zoe Waites” Julia Rank, The Stage

“Janet is made compulsively watchable by Zoe Waites, a whirlwind of energy and luminosity” Alison Goldie,

“Zoe Waites gives a masterclass in flippant insouciance and steely self-possession” Tim Auld, The Telegraph

“Tim Chipping, excellent as the stuffy, honourable Paul” Genni Trickett, Last Minute Theatre Tickets

“Particularly noteworthy is Clare Lawrence Moody who plays the simpering Mavis Wittersham with deft humour” London Pub Theatres

“The star of the show, however, has to be Clare Lawrence Moody, playing Mavis Wittersham” Olivia Gibbs-Fairley, A Young Theatre

“The scene stealer is Robert Hazle, as the manservant” Tim Auld, The Telegraph

“Robert Hazle, who plays the manservant, is a show-stealer with his jazz-age songs” West London Living

“Robert Hazle’s comedic turn as the Butler was impeccable” London Pub Theatres

“The old ladies are divinely eccentric courtesy of Polly Adams and Joanna David” Alison Goldie,

“The relationship between David and Adams is fantastic” Cat Lamin, LondonTheatre1

“Polly Adams and Joanna David both give a masterclass in scathing comments and cutting glances” Ian Foster, There Ought to Be Clowns

“The show is stolen by the not-quite-lovers' mothers, who have the menace of the aunts of PG Wodehouse and the chutzpah that comes with what's now called white privilege. Joanna David and Polly Adams draw on years of experience to maximise the outrage” Gary Naylor,

“Director Martin Parr has now stylishly revived this comedy drama, giving it the production it deserves” Traffic Light Theatregoer, Alice Joseph

“Martin Parr's production does full justice to Coward's sharp wit” Carolin Kopplin, UK Theatre Network

“A delightful production by Martin Parr” Julia Rank, The Stage

“Christopher Nairne’s lighting and Pete Malkin’s sound are original, inventive and atmospheric” Genni Trickett, Last Minute Theatre Tickets

“Special mention has to go to the set design by Rebecca Brower which flawlessly encompasses the roaring twenties” London Pub Theatres

“Charlotte Espiner's costumes and Rebecca Brower's set are both packed with detail” Gary Naylor,

“The strongest period revivals at the Finborough are the ultimate in class” Julia Rank, The Stage


On The Rat Trap

★★★★ Time Out (Time Out Critics' Choice) and The Sunday Telegraph

“Written in 1918, when he was only 18 and not revived since a brief London run in 1926, Noel Coward's The Rat Trap is an absolute revelation.” Nicholas de Jongh, Evening Standard

“A most rewarding evening” Jeremy Kingston, The Times

“This may be Coward juvenilia, but for sheer energy, engrossing performances and entertainment value the production knocks spots off almost every other straight play in London at the moment, and is sure to lead to further revivals or, better still, a transfer.” John Thaxter, British Theatre Guide

On This Was A Man

★★★★ Everything Theatre, West End Frame and The Good Review, and four OffWestEnd nominations

“Why on earth has it taken 88 years? That a really rather fine play by Noël Coward has had to wait until now for its professional UK premiere seems astounding. However, this certainly isn’t the first time that the tiny Finborough, on the London Fringe, has brought a forgotten gem to light.” Kate Bassett, The Times

“He guides us with astonishing acuity and intelligence through the shadowy byways of the human heart.” Lloyd Evans, The Spectator

“The Finborough is unparalleled in bringing to the fore these rarities of fine but unproduced drama.” Lizzie Loveridge, CurtainUp

“The tiny but prodigiously vital Finborough Theater.” Ben Brantley, The New York Times


Tuesday, 30 August – Saturday, 24 September 2016

Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 10 September 2016).

Performance Length: Approximately 2 hours with one interval of 15 minutes.

Prices until 11 September 2016

Tickets £16, £14 concessions

except Tuesday Evenings £14 all seats, and Friday and Saturday evenings £16 all seats.
Previews (30 and 31 August) £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, 3 September 2016 when booked online only.

Prices from 13 September 2016

Tickets £18, £16 concessions

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

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


Directed by Martin Parr

Music by Catherine Jayes

Designed by Rebecca Brower

Costume Design by Charlotte Espiner

Lighting Design by Christopher Nairne

Sound Design by Pete Malkin

Presented by ElmTree Productions in association with Neil McPherson for the Finborough Theatre.