by Sarah Daniels

Tuesday, 24 April – Saturday, 19 May 2018

The first professional London production in 35 years

★★★★ The Reviews Hub
★★★★ Close-Up Culture
★★★★ London Pub Theatres
★★★★ Reviews Gate
★★★★ Theatre Monkey
★★★★ Paul in London

"You are not at liberty to avenge the pornography industry in this country. We have the censorship laws for that."

Masterpieces opens on three couples – Rowena and Trevor, their friends Yvonne and Ron, and Rowena’s mother Jennifer and stepfather Clive - having dinner in a restaurant. They exchange sexist jokes to a variety of responses: some laugh uproariously, some uncomfortably, and one is deeply unhappy. Masterpieces is the story of Rowena, and her journey from seeing a pornographic magazine for the first time, to a thwarted attempt to help an unhappy prostitute, from uncomfortable laughter, to radical and disgusted protest at female subjugation.

A passionate indictment of pornography, the objectification of women and those who condone violence against them.

Masterpieces was originally produced in 1983 at the Royal Exchange Theatre, Manchester, before transferring to the Royal Court Theatre where it won Sarah Daniels the London Theatre Critics Award for Most Promising Playwright. Extracts from the play were also performed at the National Theatre in a one-off platform performance in 1999 as one of their '100 Most Significant Plays of the 20th Century'. 


Playwright Sarah Daniels is an acclaimed writer whose work has been performed all over the world. She has worked extensively as a playwright having work produced at the Royal Court Theatre, National Theatre, Clean Break Theatre Company, Crucible Theatre, Sheffield and Palace Theatre, Watford among others. Her plays include Ripen Our Darkness, The Devil’s Gateway, Byrthrite and Beside Herself (Royal Court Theatre) and Best Mates and Dust (National Theatre). In addition to her work for the stage and radio she has written extensively for television including EastEnders, Holby City and Grange Hill (which she wrote for twenty years).


Director Melissa Dunne returns to the Finborough Theatre where she directed Just to Get Married, named in The Observer’s ‘Best Theatre Of 2017’ list. 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.


Nicholas Cass-Beggs | Clive/Prologue/Policeman/Teacher/Man in Tube Station/Judge

Productions at the Finborough Theatre include Proud and Velocity.
Trained at Oxford School of Drama.
Theatre includes Antigone (The Lowry, Manchester, and National Tour), Dracula (Bristol Old Vic and National Tour), Four Days in Hong Kong (Orange Tree Theatre, Richmond), The Zero Hour and 6 Degrees (West Yorkshire Playhouse, Contact Theatre, Manchester, and National Tour), Carousel (Barbican Theatre, Théâtre du Châtelet, Paris, and The Lowry, Manchester), The Temperamentals (Greenwich Theatre), The Lion, the Witch and the Wardrobe (New Vic Theatre, Newcastle-under-Lyme), Ménage à Trois (Cochrane Theatre), Antigone (Royal Exchange Theatre, Manchester), The Snowman (The Peacock, Sadler’s Wells, and Seoul, Korea), Park Avenue (Lilian Baylis Theatre, Sadler's Wells), The Pajama Game (Union Theatre), Kismet (London Coliseum), Trailer (Camden People’s Theatre) and La Fille du Régiment, Tamerlano, The Rakes Progress and Orlando (Royal Opera House, Covent Garden).
Prior to becoming an actor, Nicholas had a career as a contemporary dancer including five years as a soloist with Ballet Theatre Munich and three years with Ballett Nordhausen. Nicholas has performed in works choreographed by Kim Brandstrup, Mark Bruce, Philip Taylor, Jiri Kylian, Rui Horta, Jonathon Lunn, Stefan Haufe and Henning Paar.

Olivia Darnley | Rowena

Productions at the Finborough Theatre include Pig Girl, Accolade (and its subsequent transfer to St. James Theatre) and The Rat Trap.
Trained at the Royal Conservatoire of Scotland.
Theatre includes Ugly Lies the Bone (National Theatre), Wolf Hall and Bring Up The Bodies (Royal Shakespeare Company at Swan Theatre, Stratford upon Avon, Aldwych Theatre and Broadway), Twelfth Night (National Tour for Filter Theatre), Pride and Prejudice, A Midsummer Night's Dream, Macbeth (Open Air Theatre, Regent's Park), A Day in the Death of Joe Egg (Citizens Theatre, Glasgow), A Marvellous Year For Plums (Chichester Festival Theatre), All My Sons (Apollo Theatre), Artist Descending A Staircase (Old Red Lion Theatre), Hay Fever (Theatre Royal, Haymarket), Arms and the Man (Salisbury Playhouse) Private Lives, Much Ado About Nothing and The Importance of Being Earnest (Theatre Royal Bath), As You Like It and The Little Fir Tree (Crucible Theatre, Sheffield).
Film includes Death Defying Acts.
Television includes Call the Midwife, Grantchester, The Five(ish), You, Me and Him, Titanic, Miss Marple, Doctors, Hughie Green: Most Sincerely, Agatha Christie: A Life in Pictures, Essential Poems to Fall in Love With, Hear the Silence and The Inspector Lynley Mysteries.
Radio includes Wild Honey, The Reserve Rope, Lost in Mexico and African Beauty.

Sophie Doherty | Jennifer/ Policewoman/Judge/Irene Wade

Trained at Guildford School of Acting
Theatre includes The Three Sisters (Albery Theatre), Death and the Maiden (Royal Court Theatre and National Tour), The Mousetrap (St Martin’s Theatre), And Then There Were None (Strand Theatre), The Taming of the Shrew, Romantic Comedy, Cards on the Table and Double Cut (National Tours), The Wizard of Oz (Royal and Derngate Theatres, Northampton), Homestead (Tristan Bates Theatre), The House of Bernarda Alba (King’s Head Theatre), Romeo and Juliet (Broadway Theatre, Catford), Lost in the Quagmire, Underneath A Stone, The Effects of Gamma Rays on Man-in-the-Moon Marigolds and Spring Awakening (Brockley Jack Theatre).
Television includes Red Dwarf.
Radio includes A Suitable Boy.

Edward Killingback | Trevor/Psychiatrist

Productions at the Finborough Theatre include Incident At Vichy.
Trained at Royal Welsh College of Music and Drama
Theatre includes Hay Fever and Posh (Duke of York’s Theatre), The Low Road (Royal Court Theatre), Versailles (Donmar Warehouse), A Passage To India (Royal and Derngate Theatres, Northampton, and Park Theatre), Journey’s End (Watermill Theatre, Newbury) and Clybourne Park, The Merchant of Venice, Arabian Nights, Night Must Fall, The Importance of Being Earnest, Under Milk Wood, Pride and Prejudice and Richard III (Royal Welsh College of Music and Drama).
Film includes Don’t Hang Up and A Royal Night Out.

Tessie Orange-Turner | Yvonne/Hilary

Trained at Royal Welsh College of Music and Drama
Theatre includes All The Little Lights (Nottingham Playhouse and Arcola Theatre), Sket (Park Theatre), Blister (Gate Theatre), Bassett (Soho Theatre), No Border (Theatre503), The Wonderful World of Dissocia, You Can’t Take It With You, Relationshit, Thebans, Twelfth Night and A Chorus of Disapproval (Richard Burton Company).
Film includes You, Me and Him.
Television includes Casualty.

Rob Ostlere | Ron/Man in Street/Man in Tube Station/Prosecutor

Trained at Royal Academy of Dramatic Art
Theatre includes A Woman Killed With Kindness (National Theatre), The Indian Wants the Bronx (The Young Vic), Sweet Bird of Youth (Chichester Festival Theatre), The Trial of Ubu (Hampstead Theatre), Confessional (Southwark Playhouse), Sixty-Six Books (Bush Theatre) and Playlist, Epic and Slaves (Theatre503).
Film includes The Task.
Television includes Game of Thrones, Holby City, Restless and Doctors.


“Neil McPherson, the long-serving head of this London fringe theatre, has a brilliant record of succeeding where many other venues have failed — namely in reviving both modern postwar classics and restaging the forgotten plays of recent decades. And all on a shoestring. His current revival of Sarah Daniels’s 1983 feminist classic, Masterpieces, is his latest good idea. It’s a play that is often seen, in textbooks, as typical of a militant femintern style of theatre-making so, in the #MeToo moment, it now acquires a renewed relevance.” Aleks Sierz, Aleks Sierz

“It has lost none of its bite, and its warnings remain as sadly relevant as ever.” Scott Matthewman, The Reviews Hub

“Compelling.” Steve Rich, Theatre Monkey

“A most timely revival.” William Russell, Reviews Gate

“Bravely, the Finborough Theatre, never frightened of a challenge, has now resurrected the play, resulting in its first London showing since 1983.” Jeff Prestridge, Close-Up Culture

“A timely revival.” Lyn Gardner, the Guardian

“An important and provocative work.” Ben Lawrence, The Telegraph

“We are reminded repeatedly that we have so much still to consider, and that this mere opening of the debate remains closer than we would like it to be.” Steve Rich, Theatre Monkey

“In the wake of the #MeToo movement, with women finally feeling they are able to speak out about harassment and violence they have experienced, it is clear that little has changed in 35 years.” Scott Matthewman, The Reviews Hub

“A magnificent, provocative play for today from yesterday.” William Russell, Reviews Gate

“Topical and contemporary in its portrayal of rape culture.” Amelia Brown, The Spy In The Stalls

“A coruscating piece of work.” Jeff Prestridge, Close-Up Culture

“One wishes that Masterpieces could have been consigned to history as a play of its time: instead, it is sickeningly relevant.” Scott Matthewman, The Reviews Hub

“A lesson from history.” Steve Rich, Theatre Monkey

“A fascinating example of radical non-linear storytelling.” Lyn Gardner, the Guardian

“The writing is so sharp, the characters so defined, the actors’ portrayals so engaging that it is impossible not to be swept up by Daniels’s premise.” Scott Matthewman, The Reviews Hub

“Orange-Turner delivers it magnificently.” Jeff Prestridge, Close-Up Culture

“Tessie Orange-Turner excels in two distinct roles.” Scott Matthewman, The Reviews Hub

“Olivia Darnley…delivers a standout performance, tight, energetic and committed.” Amelia Brown, The Spy In The Stalls

“Played brilliantly by Olivia Darnley.” Shanine Salmon, View From The Cheap Seat

“Olivia Darnley [gives a] memorable performance.” Lyn Gardner, the Guardian

“Darnley expertly conveys Rowena’s righteous rage.” Ben Lawrence, The Telegraph

“The excellent Olivia Darnley.” Aleks Sierz, Aleks Sierz

“A delightfully snobby Sophie Doherty.” Jeff Prestridge, Close-Up Culture

“Acting honours go to Sophie Doherty, working at a level rarely seen even on the largest and most sophisticated stage.” Steve Rich, Theatre Monkey

“Doherty transforms with ease from the haughty Jennifer to a sympathetic Irish policewoman.” Jeff Prestridge, Close-Up Culture

“Strong performances from Rob Ostlere…and Tessie Orange-Turner.” Keith McKenna, British Theatre Guide

“Strong performances.” Shanine Salmon, View From The Cheap Seat

“The acting is sensational.” Jeff Prestridge, Close-Up Culture

“An impressive cast of six.” Keith McKenna, British Theatre Guide

“The cast are magnificent.” Steve Rich, Theatre Monkey

“Cass-Beggs, Ostlere and Killingback nail their parts.” Jeff Prestridge, Close-Up Culture

“Well directed by Melissa Dunne and equally well played by a first rate cast led by Olivia Darnley.” William Russell, Reviews Gate

“Well directed in Melissa Dunne’s interesting revival.” Aleks Sierz, Aleks Sierz

“An important reprise from Dunne. Yet again, Finborough Theatre’s daring pays off.” Jeff Prestridge, Close-Up Culture

“The energy of the cast under Melissa Dunne’s tight direction and continued relevance of the themes give this play a new and modern lease of life.” Siân Rowland, London Pub Theatres “A brilliantly simple Verity Quinn ‘Adult Magazine Store’ set.” Steve Rich, Theatre Monkey

“Brilliantly designed by Verity Quinn.” Jeff Prestridge, Close-Up Culture

“Costume designer Leah Mulhern has sourced some fabulously authentic outfits.” Siân Rowland, London Pub Theatres

“Effective sharp yet shadowy lighting from Jack Coleman.” Steve Rich, Theatre Monkey

“A powerful story.” Paul in London


“A very powerful evening of theatre…Daniels has established herself as a distinct voice with real theatrical flair.” Michael Coveney, Financial Times

“Ultimately powerful and deeply disturbing…I came out overwhelmed by the sincerity of Sarah Daniels's writing in her play Masterpieces, a play that finally adds up to the most persuasive argument I've heard for banning pornography.” – Manchester Evening News

“Almost three decades after its premiere, British playwright Sarah Daniels' daring dark comedy Masterpieces remains pertinent and powerful… Daniels casts a lacerating eye on the porn industry, suggesting its potentially devastating effects on individuals and society.” LA Theater Review

“The play has bite, anger and tenacity and many of its arguments are true…The supreme merit of Ms Daniels's combative work is that it makes me want to argue back.” Michael Billington, The Guardian

“A writer with a natural talent for disturbance ” The Observer


‘Best Theatre Of 2017’ list, Susannah Clapp, The Observer

“Staged with wit and efficiency by Melissa Dunne.” Ben Brantley, The New York Times

“Catch this now or risk waiting a century.” ★★★★ Fiona Mountford, Evening Standard

“This is a terrific production and, indeed, since it is the first in the UK since 1918, that is just as well. Melissa Dunne directs and keeps it moving.” ★★★★ The Times

“Cicely Hamilton’s forgotten feminist drama hits home.” ★★★★ The Observer

“Eminently worth reviving.” Michael Billington, The Guardian

“A welcome rediscovery.” Julia Rank, The Stage


Tuesday, 24 April – Saturday, 19 May 2018

Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 5 May 2018).

Performance Length: Approximately two hours with one interval of fifteen minutes. 

Prices until 6 May 2018

Tickets £18, £16 concessions

except Friday and Saturday evenings £18 all seats.
Previews (24 and 25 April) £14 all seats.

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

£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, 28 April 2018 when booked online only.

Prices from 8 May 2018

Tickets £20, £18 concessions

except Tuesday Evenings £18 all seats, and Friday and Saturday evenings £20 all seats. 

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



Book Tickets for Masterpieces

Tuesday, 24 April – Saturday, 19 May 2018

Please note that if a show is marked as Sold Out, there are no more tickets available. Please do NOT contact the theatre as we have no more tickets left for these shows. Please see our returns and exchanges policy for more information.

Directed by Melissa Dunne

Designed by Verity Quinn

Lighting by Jack Coleman

Costume Design by Leah Mulhern

Sound by Domenico Menghini and Josh Robins

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