Spring Season | February - May 2017


by Arthur Miller

Tuesday, 28 March – Saturday, 22 April 2017

The first professional London production in over 50 years

Incident At Vichy is now completely sold out for the entire run EXCEPT for extra matinees on:-

Friday, 14 April 2017

Friday, 21 April 2017

At 3.00pm

Tickets will go on sale on Wednesday, 5 April 2017 at 12 noon

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 admin@finboroughtheatre.co.uk or follow us on Twitter at twitter.com/finborough and at https://www.facebook.com/FinboroughTheatre

“Jews are not a race, you know. They can look like anybody.”

The first professional London production in over 50 years.

Arthur Miller’s largely forgotten masterpiece about Jewish registration in Nazi occupied France burns with a terrifying topical intensity.  

In the detention room of a Vichy police station in 1942, eight men have been picked up for questioning but none are told why they are held, or when they can leave. At first, their hopeful guess is that only their identity papers will be checked – but as each man is removed for interrogation, some are set free, some are never seen again, and the stakes rise for those who remain…  

A haunting examination of the cold, bureaucratic efficiency of evil – and the shared humanity that might overcome it.  

Incident at Vichy premiered on Broadway at the ANTA Washington Square Theatre in December 1964, directed by Harold Clurman. The New York Times called it “One of the most important plays of our time…Incident at Vichy returns the theater to greatness.” It was last seen professionally in London in January 1966 at the Phoenix Theatre.


Playwright Arthur Miller (1915-2005) was inarguably one of the greatest American dramatists of the twentieth century with a career that spanned over seven decades. His plays include The Man Who Had All The Luck (1940), All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge (1955), A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop’s Ceiling (1977), The American Clock (1980), recently presented at the Finborough Theatre also directed by Phil Wilmott, Playing for Time (1980), The Last Yankee (1991), The Ride Down Mount Morgan (1991), Broken Glass (1994), Mr Peter’s Connections (1998), Resurrection Blues (2002) and Finishing the Picture (2004).


Director Phil Willmott is a multi-award winning director, artistic director, playwright, composer, librettist, teacher, dramaturg, arts journalist and performer. He trained as an actor at Rose Bruford in the 1980s and was made a fellow of the college in 2012. Alongside his innovative reinterpretations of the classics, musical theatre revivals and new musical development his notable productions of contemporary and recent drama include F**cking Men (Finborough Theatre, Kings Head Theatre and West End), Liza, Liza, Liza (UK tour for Bill Kenwright), Billy Liar, Athol Fugard's Master Harold... and the Boys (Liverpool Playhouse), Angels in America and Kiss of the Spider Woman (Crucible Theatre, Sheffield), The American Clock, The Notebook of Trigorin, Country Magic, Crime and Punishment, The Lower Depths, The Grapes of Wrath, Trelawny of the Wells and Loyalties (Finborough Theatre), Arturo Ui (Bridewell Theatre), Fear and Misery of the Third Reich, Three Sisters in a version by Tracy Letts (Union Theatre) and Encounter, a new gay love story inspired by Brief Encounter (Above the Stag Theatre). As a writer, many of his plays, musicals and adaptations have been published and are regularly produced around the world. The adaptation of Lysistrata he wrote with Germaine Greer was recently presented as part of the Almeida's Greek Season starring Tamsin Grieg, and his adaptation of Gorki's The Lower Depths is published by Oberon Books.


★★★★★ Everything Theatre
★★★★★ Actdrop.UK
★★★★★ The Jewish Chronicle
★★★★ The Reviews Hub
★★★★ LondonTheatre1
★★★★ The Telegraph
★★★★ The Jewish Renaissance
★★★★ Time Out
★★★★ BritishTheatre.com
★★★★ LondonTheatre1
★★★★ Reviews Gate

“Compellingly staged and beautifully acted.” Matthew Lunn, Britishtheatre.Com

“A collection of strong performances, finely controlled.” Edward Lukes, Onceaweektheatre.Com

“This is buried treasure.” Dave Calhoun, Time Out

“Is a marvellous production – a timely examination into the horrors of racial cleansing, and the inertia that allows it to go unchallenged.” Matthew Lunn, Britishtheatre.Com

“Arthur Miller’s chillingly believable play.” Scott Matthewman, The Reviews Hub.

“A piece which expertly grapples with the ineffability of evil.” Matthew Lunn, Britishtheatre.Com

“This Arthur Miller play – written in 1964, but set in 1942 – has not been seen on a professional London stage for decades.” Dave Calhoun, Time Out

“This excellent revival.” Dominic Cavendish, The Telegraph

“An extraordinarily moving and provocative production of a vitally important piece of drama In Phil Willmott's highly capable directorial hands, supported by intensely gripping performances from an admirable cast, Arthur Miller's cautionary play still bristles with unsettling, yet compelling relevance, producing an engrossing and unmissable evening's drama.” Peter Brown, Actdrop.Uk

“This piece is utterly watchable, incredibly powerful and sadly awakens the fear that history may repeat itself.” Faye Stockley, Londontheatre1

“Is a beautiful and harrowing portrait of man at its most fearful.” Matthew Lunn, Britishtheatre.Com

“Incredibly Topical.” Keith Mckenna, Theatreguide.london

“Powerful, thought provoking and moving.” William Russell, Reviews Gate

“Do go to see Incident at Vichy. But be prepared to be very afraid.” Bill Hagerty, Fulham Sw6

“Finborough Theatre’s production of Arthur Miller’s scarcely seen Incident at Vichy does great justice to a play that deserves a far wider audience.” Matthew Lunn, Britishtheatre.Com

“An impressive and timely revival of a classic play.” Carolin Kopplin, Uk Theatre Network

“Superb revival of neglected play strikes chords today.” Bill Hagerty, Fulham Sw6

“Incident at Vichy glisters with fascinations.” Dominic Cavendish, The Telegraph

“There are lines that burst out with such brutal clarity and force, you’d have thought they were written just yesterday.” Carole Woddis, Woddis Reviews

“This long-forgotten Miller play receives a powerful fringe revival.” Dave Calhoun, Time Out

“Incident at Vichy settles flawlessly into today’s world a stunning ensemble cast.” Bill Hagerty, Fulham Sw6

“Phil Wilmott’s direction is seamless.” Felicity Peel, Everything Theatre

“Superbly written.” Faye Stockley, Londontheatre1

“Forgotten Miller comes powerfully alive.” William Russell, Reviews Gate

“An exceptional opportunity to see a rarely performed play in a production that Miller would surely have adored.” Judi Herman, The Jewish Renaissance

“Phil Willmott’s superbly acted production.” John Nathan, The Jewish Chronical

“Outstanding performances.” John Nathan, The Jewish Chronical

“Two members of the strong cast convey the arguments, which lie heavily on the page, superbly: Brendan O’Rourke as a politicised working man and Gethin Alderman as a psychiatrist hailing from Vienna.” Edward Lukes, Onceaweektheatre.Com

“Excellent contributions from Brendan O’Rourke as a communist electrician, Edward Killingback as an Austrian Prince and PK Taylor as an actor.” Carole Woddis, Woddis Reviews

“Edward Killingback is very touching.” Carolin Kopplin, Uk Theatre Network

“Outstanding performances from Edward Killingback and PK Taylor.” Alice Josephs, Traffic Light Theatre Goer

“Henry Wyrley-Birch is simply devastating.” Cindy Marcolina, Broadway World

“A skilful cameo by Andro Crespo.” Philip Fisher, British Theatre Guide

“Lawrence Boothman a well-conceived and perfectly executed performance as Lebeau, a Jewish painter.” Felicity Peel, Everything Theatre

“Boothman’s Leabeau is heartbreakingly human.” Matthew Lunn, Britishtheatre.Com

“Taylor’s Monceau is quite brilliant.” Matthew Lunn, Britishtheatre.Com

“A particularly strong performance by Gethin Alderman.” Keith Mckenna, THEATREGUIDE.LONDON

“The cast is strong, the play worth reviving.” William Russell, Reviews Gate

“The production contains a host of strong performances.” Matthew Lunn, Britishtheatre.Com

“A faultless and generous ensemble.” Judi Herman, The Jewish Renaissance

“Wilmott’s setting – just plain, stark white walls – adds an admirable wider context to Miller’s words.” Carole Woddis, Woddis Reviews

“Phil Wilmott’s direction is seamless.” Felicity Peel, Everything Theatre

“Willmott’s casting is exemplary.” Carole Woddis, Woddis Reviews

“Phil Willmott’s authoritative revival.” William Russell, Reviews Gate

“Phil Willmott directs a production of great clarity.” Alice Josephs, Traffic Light Theatre Goer

“Phil Wilmott’s direction is seamless.” Felicity Peel, Everything Theatre

“Designer Georgia de Grey’s cold white box of a set makes the perfect environment for this clinical questioning.” Edward Lukes, Onceaweektheatre.Com

“Simple and very effective set design by Georgia De Grey.” Felicity Peel, Everything Theatre

“The tension, assisted by the Finborough’s cramped confines, is stoked to perfection by director Phil Willmott and his 13-strong cast.” Dominic Cavendish, The Telegraph

“Not seen in London for more than 50 years, it’s already almost completely sold out.” Dominic Cavendish, The Telegraph

“Set above a brilliant pub.” Felicity Peel, Everything Theatre

“This pointed and unsettling revival at the Finborough makes a strong case for its relevance.” Dave Calhoun, Time Out


“Beautifully lucid direction from Phil Wilmott.” Giles Cole, WhatsOnStage.

“A tremendous production of an intelligent play.” Jon Wainwright, Atomies.

“Director Phil Willmott's rare revival is timely: the parallels with our own situation are numerous and disturbing.” Laura Barnett, Time Out.

“An engrossing production from Finborough favourite Phil Willmott.” Phillip Fisher, British Theatre Guide.

“Phil Wilmott’s slick and sharp production…It cannot be argued that the Finborough’s revival of The American Clock is anything other than timely. In fact, the true surprise lies in its not having been programmed anywhere else since the beginning of the financial crisis. Arthur Miller’s richly woven tapestry of the lives affected by the Wall Street Crash in 1929 sits uncomfortably close to our own recent past” Mary Halton, Stagewon.

“The Finborough Theatre’s inclusion of Arthur Miller’s sweeping Great Depression drama in its Rediscoveries season has ‘timely revival’ written all over it – the resonance smacks you full in the face.” Catherine Love, Fourthwall Magazine.


Tuesday, 28 March – Saturday, 22 April 2017

Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm. (from Saturday 8 April 2017)

Performance Length: Approximately 90 minutes with no interval.

Prices until 9 April 2017

Tickets £16, £14 concessions

except Tuesday Evenings £14 all seats, and Friday and Saturday evenings £16 all seats.
Previews (28 and 29 March) £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, 1 April 2017 when booked online only.

Prices from 11 April 2017

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 Phil Willmott

Designed by Georgia de Grey

Lighting by Robbie Butler

Sound Design and Music by Theo Holloway

Costume Design by Penn O'Gara

Produced by Anita Creed Productions for The Phil Willmott Company and The Steam Industry.