Summer Season | July - September 2017


by Cicely Hamilton

Tuesday, 25 July – Saturday, 19 August 2017

The first London production in over 100 years

“It takes a confirmed spinster to be as sentimental as you are.
What’s to happen to me if I don’t marry – what’s to be the end of me?”

Approaching her 30th birthday in early 20th Century England, the clever and poor Georgiana Vicary is waiting for the handsome but shy Adam Lankester to propose to her. 

Her friends expect her to get married, her adoptive parents expect it and more importantly, she expects it of herself – but will her conscience allow it?

From a time when marriage was a socio-economic - rather than just a romantic – decision, Just to Get Married asks how we can have a marriage of equals when the genders are unequal.

Written by actress, journalist, playwright and suffragette Cicely Hamilton, and first produced at the Little Theatre in London in 1910, Just to Get Married was last produced in the UK at Birmingham Rep in 1918, and is directed by Melissa Dunne, founder of the acclaimed gender blind play festival XY

The run will be accompanied by the FINBOROUGHFORUM, an informal post-show discussion and a space for the audience to share their response to the performance, on Wednesday 2 August. The event is free to ticketholders for that evening's performance of the play. FINBOROUGHFORUM events will all be Twitter friendly with live tweets from @FinboroughForum. Using the hashtag #finfor. 

Wednesday 2 August

Bechdel Theatre pop-up discussion. An informal post-show discussion hosted by Beth Watson of Bechdel Theatre, with a selection of the cast and the director of Just To Get Married.


Playwright Cicely Hamilton (1872-1952) co-founded the Women Writers’ Suffrage League and supplied the lyrics for The March of the Women, the anthem of Mrs Pankhurst’s Women’s Social and Political Union. Known for her novel and play Diana of Dobson’s (1908), revived at the Orange Tree Theatre, Richmond, in 2007, her polemic Marriage as a Trade (1909), and her play How The Vote Was Won (rediscovered at the Finborough Theatre in 2003), Hamilton also wrote A Pageant of Great Women, a highly successful women's suffrage play based on the ideas of her friend, the theatre director Edith Craig. During the First World War, Hamilton joined the army as an auxiliary nurse. After the war, she worked extensively as a freelance journalist writing about issues such as birth control.


Director Melissa Dunne is a theatre director, writer and dramaturg. She is Artistic Director of Papercut Theatre and has directed work in venues as diverse as Theatre503, Arcola Theatre, the Houses of Parliament and the Royal Festival Hall. Direction includes I’m Not Jesus Christ (Theatre N16, supported by the Romanian Cultural Institute), I Still Get Excited When I See A Ladybird (Theatre503), Extraction (Etcetera Theatre) and The Space Between My Head and My Body (Theatre503 and Edinburgh Festival). She founded and continues to creatively manage the acclaimed XY playwriting festival which has been produced at Hackney Showroom, Latitude Festival, Pleasance Edinburgh and Theatre503. She has read scripts for the literary departments of the National Theatre, Bush Theatre, the Verity Bargate Award and Soho Theatre. She is also a Visiting Lecturer at the Royal Central School of Speech and Drama.


Tania Amsel | Frances Melliship

Trained at Royal Conservatoire of Scotland.
Theatre includes Finishing Touches (Barbican Centre), Kate’s Expectations and Never Have I Ever (Arcola Theatre), Flood (National Youth Theatre) and Whistle Down the Wind (National Youth Music Theatre).
Film includes Exchange And Mart.
Television includes Waterloo Road, Dawn of the Deaf and Shieldinch Nights.

Nicola Blackman | Lady Catherine Grayle

Trained at Guildhall School of Music and Drama.
Theatre includes The Lion King (Lyceum Theatre), Animal Farm, Measure for Measure and Pied Piper (National Theatre), Shutters (3 American Plays) (Park Theatre), Elegies (Criterion Theatre), Twelfth Night, Tiger Tale and The Count of Monte Cristo (Nuffield Theatre, Southampton), Snakes and Ladders (Arcola Theatre and National Tour), Babe: The Sheep Pig (Polka Theatre and UK Tour), Destry Rides Again (Donmar Warehouse) and Comedy of Errors (West Yorkshire Playhouse).
Film includes The Savage and Live and Let Die.
Television includes Madam Manhattan, Casualty, Killer Net, The Bill, Fathers and Families, Angels, Birds of a Feather and Us Girls.

Joanne Ferguson | Mrs Macartney

Trained at London Academy of Music and Dramatic Art.
Theatre includes The Play That Goes Wrong (Duchess Theatre), Wait (Arcola Theatre), Blindness (Theatre503), Invisible Thread (Lakeside Theatre) and Failed States (Latitude Festival).
Film includes Bridge Over Blue and Resurrecting the Streetwalker.
Radio includes Severed Threads and The Danny Baker Show.

Lauren Fitzpatrick | Bertha Grayle

Trained at Guildford School of Acting.
Theatre includes The Play List, Presenting: I Don’t Know Where I Am and Drinking Concrete: The Concept Album (Royal Court Theatre), Club Life (Theatre Royal Stratford East) and Slick (National Youth Theatre).
Film includes Northern Soul.
Television includes Tracy Ullman’s Show

Stuart Nunn | Footman/Dobbins

Trained at Royal Welsh College of Music and Drama.
Theatre includes Elegies for Angels, Punks And Raging Queens (Charing Cross Theatre), The Secret Garden (Ambassadors Theatre), The Last Ambulance (Sherman Theatre and Gate Theatre), Hobson’s Choice (Theatre Royal Bath and Vaudeville Theatre), Little Eyolf – Young Friends Tour (Almeida Theatre), and Caged (Old Red Lion Theatre).
Radio includes BBC Carleton Hobbs Radio Competition

Jonny McPherson | Adam Lankester

Trained at Webber Douglas Academy of Dramatic Art.
Theatre includes The Robbers (Theatre Royal Bath), Toad (Southwark Playhouse), It Falls (Theatre 503), Hamlet, Thebes, Blood Wedding and Strindberg’s Apartment (New Diorama Theatre), The 39 Steps and Fallen Angels (Theatre by the Lake, Keswick) and The End of Longing (Playhouse Theatre).
Film includes Inhabit and Night Owls.
Television includes Emmerdale, Countdown to Revolution, and ‘Til Death.

Philippa Quinn | Georgiana Vicary

Trained at Royal Academy of Dramatic Art.
Theatre includes Because We Want To (Rose Theatre, Bankside), Pride and Prejudice, Bard on Board (National Tour), Writers Block (BAC), Random Acts of Kindness (Old Red Lion Theatre and The White Horse), Breathing Space (Courtyard Theatre) and Block 59 (Glastonbury Festival).

Simon Rhodes | Sir Theodore Grayle

Productions at the Finborough Theatre include Laburnum Grove and Cornelius which transferred to 59E59 Theaters, New York City.
Theatre includes No Man's Land (Wyndham's Theatre and UK Tour), A Pit Of Clay and Styx (Site Specific), Billy Chickens Is A Psychopath Superstar (Theatre503 at Latitude Festival), Volpone (The Rose Lipman Building), Venice Preserv'd (Site Specific), Mark Watson's The Hotel (Assembly Rooms, Edinburgh Festival), Accomplice (Menier Chocolate Factory), Peace, The Bacchae, The Persians (Cyprus Tour), The Plebeians Rehearse The Uprising (Arcola Theatre) and Julius Caesar (Barbican Theatre). 
Film includes The World We Knew, The Sky In Bloom and Screwed.

Joshua Riley | Tod Grayle

Trained at The BRIT School for Performing Arts and Technology.
Theatre includes Richard III (Almeida Theatre and Ulysses Festival, Croatia), As You Like It (Brighton Festival) and WWI Performance Project (National Youth Theatre).
Film includes Richard III, A Silent Voice and Homeless Truths.
Television includes Casualty and Doctors.


★★★★★ The Upcoming
★★★★ Evening Standard
★★★★ The Times
★★★★ London Pub Theatres
★★★★ Critigal Reviews
★★★★ London-Olios

“Catch this now or risk waiting a century…When one thinks of the hundreds of productions that the often ponderous social-issue plays of George Bernard Shaw have enjoyed over the past 99 years, it’s more than a little dispiriting to learn that Cicely Hamilton’s cracking examination of the ‘marriage business’ hasn’t been presented in this country since 1918.” Fiona Mountford, Evening Standard

“This is a terrific production.” Ann Treneman, The Times

“A terrific production.” Critigal Reviews

“A welcome rediscovery.” Julia Rank, The Stage

“Both provocative and a delight to watch.” Paul Ewing, Paul in London

“An involving evening…Best catch this now, or risk waiting until 2116.” Fiona Mountford, Evening Standard

“Revived for the first time in a century, her 1910 play has the power of a brick through a lace-curtained window.” Alice Saville, Time Out

“A real find – a little hundred-year-old gem that begins as a rom-com and morphs effortlessly into a serious drama with a feminist edge.” Gerald Berkowitz, Theatre Guide London

“Eminently worth reviving.” Michael Billington, The Guardian

“Well worth reviving.” Robert Tanitch, Mature Times

“Just To Get Married is an enjoyable, finely acted piece that still provokes discussion about women’s role in society and the limitations imposed on them.” Annie Power, London Pub Theatres

“Despite being written 107 years ago it is still startlingly pertinent.” Annie Power, London Pub Theatres

“An enjoyable, finely acted piece that still provokes discussion.” Annie Power, London Pub Theatres

"A hugely refreshing feminist insight into all the brutal realities behind those Edwardian happy-ever-afters.” Alice Saville, Time Out

“There is even a touch of a home counties Hedda Gabler about Georgiana.” Michael Billington, The Guardian

“Georgiana's honesty about her desire to take control of her own fate - and defying society in the process - makes her a budding feminist, and makes this production feel thoroughly modern.” Cindy Marcolina,

“It reminds us that female playwrights were grappling with gender equality more than a century ago.” Michael Billington, The Guardian

“Cicely Hamilton lays out her feminist argument in convincing and emotionally involving human terms.” Gerald Berkowitz, Theatre Guide London

“The acting in this production is superb.” Catherine Sedgwick, The Upcoming

“A timely revival of an early feminist work brought to life by an exquisite cast.” Critigal Reviews

“Melissa Dunne’s production is well cast and full of attack.” Michael Billington, The Guardian

“The cast do a sterling job.” Annie Power, London Pub Theatres

“Philippa Quinn is a spirited lead.” Alice Saville, Time Out

“Philippa Quinn captures the many facets of Georgiana's emotional journey.” Gerald Berkowitz, Theatre Guide London

“Philippa Quinn perfectly embodies the desperation of Georgiana.” Michael Billington, The Guardian

“Quinn is perfect as Georgiana.” Paul Ewing, Paul in London

“Philippa Quinn’s first-rate performance.” Catherine Sedgwick, The Upcoming

“Philippa Quinn is excellent.” George Althaus, London-olios

“Philippa Quinn has compelling stage presence.” Julia Rank, The Stage

“Philippa Quinn brings presence and great likability to Georgina.” Annie Power, London Pub Theatres

“Quinn plays this multi-faceted character admirably, capturing all aspects of her personality and varying emotions with conviction.” Critigal Reviews

“The two leading roles, not the easiest to act, are extremely well acted by Philippa Quinn and Jonny McPherson.” Robert Tanitch, Mature Times

“Jonny McPherson’s performance as the bashful Mr Lancaster is beautifully understated.” Annie Power, London Pub Theatres

“McPherson plays Lankester with exceptional depth and subtlety.” Catherine Sedgwick, The Upcoming

“The excellent Jonny McPherson.” Ann Treneman, The Times

“Jonny McPherson also charms as the tongue-tied but devoted Adam.” Julia Rank, The Stage

“Nicola Blackman steals the show as Lady Catherine Grayle.” Cindy Marcolina,

“Blackman is a powerhouse.” Catherine Sedgwick, The Upcoming

“Nicola Blackman and Simon Rhodes give a lovely performance.” George Althaus, London-olios

“Sensitively directed by Melissa Dunne.” Gerald Berkowitz, Theatre Guide London

“Melissa Dunne’s production keeps us gripped.” Fiona Mountford, Evening Standard

“Very elegantly mounted by designers Katherine Davies Herbst and Lottie Smith.” Howard Luxton, British Theatre Guide


“This may be a delightful romp, but it’s also an insightful social history of pleasing substance.” Time Out

“An evening that combines erudite social commentary with comic pleasure. Unmissable.” The Times “A forgotten gem of early 20th century feminist literature. The wit and economy of Hamilton’s script…is revelatory.” The Sunday Telegraph

“But even though Hamilton was capable of writing plays of this quality, you’ll still find any number of Shaw’s secondary works ahead in the queue for revival. One rule for the men and another for women, as usual.” Alfred Hickling, The Guardian


“If Papercut Theatre’s aim was a great argument for more gender-neutral writing and casting, and an entertaining hour’s theatre, then they have succeeded.” Broadway World on XY

“XY is an entertaining and interesting collection of new writing, showcasing a range of styles and performed by an exceptionally strong cast.” Broadway Baby on XY

“A clever production … kept the audience involved and interested throughout.” One Stop Arts ★★★★ on XY

“Melissa Dunne's astutely cast production also makes a set of interesting decisions to force us to look at the almost cartoonish way we view violence, particularly towards sex workers…constantly but interestingly challenging.” There Ought to be Clowns on I’m Not Jesus Christ

“I’m Not Jesus Christ packs a powerful punch” A Younger Theatre on I’m Not Jesus Christ


Tuesday, 25 July – Saturday, 19 August 2017

Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 5 August 2017).

Performance Length: Approximately 2 hours including one interval.

Prices until 6 August 2017

Tickets £16, £14 concessions

except Tuesday Evenings £14 all seats, and Friday and Saturday evenings £16 all seats.
Previews (25 and 26 July) £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, 29 July 2017 when booked online only.

Prices from 8 August 2017

Tickets £18, £16 concessions

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

Group Bookings - 1 free ticket for every 10 tickets booked.

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


Directed by Melissa Dunne

Designed by Katharine Davies Herbst

Lighting by Robbie Butler

Costume Design by Lottie Smith

Sound by Jon McLeod

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