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On this site you will find my full CV as Director, Actor, Playwright and Teacher, my brief memoir, A Life with Shakespeare, together with a host of downloadable resources including:

edited Shakespeare texts and Shakespeare source material derived from my 18 years as Artistic Director of Shakespeare at the Tobacco Factory;

 the four plays I wrote in the 1970s and 1980s for the Mermaid Theatre's Molecule Theatre of Science, and those I have written much more recently in collaboration with Dominic Power;

 and some of Dominic's own performed work.

From time to time you will see advertised the courses on 

Interpreting Shakespeare

that I hold in both Bristol and Cornwall. 

But first, some news:

October - December 2021

I shall be running 'Interpreting Shakespeare' Courses - available to all and to be conducted via Zoom - on TWELFTH NIGHT on both Tuesday and Wednesday evenings from late October to mid December. Here is the University of Bristol link: http://www.bristol.ac.uk/english/study/part-time/short-courses/interpreting-shakespeare/.

For more details about these courses, see below.

July 2021:

I have directed a streamed reading of KING LEAR with a very distinguished cast:





























The performance, which has attracted some high praise, remains available on YouTube:



November 2020:

As part of the University of Bristol’s online ‘Good Grief Festival’ (October 30th - November 1st) Saskia Portway and I delivered a 40-minute Lewis Fry Memorial Lecture on ‘Grief in Shakespeare’. You can purchase on-demand access to recordings of all the festival events for 1 year - including the contributions from Robert Webb, Alice Roberts, Nikesh Shukla and Valentine Warner - for only £20, via the festival website:  www.goodgrieffest.com


December 2019:

Jonathan Miller - A personal appreciation

Like so many of my generation working in the theatre, I was deeply saddened to hear of the death last month of Sir Jonathan Miller. Jonathan directed a very much admired HAMLET for Shakespeare at the Tobacco Factory in 2008, in a single stroke widening the company’s reach and reputation. That production was a mere breath in an extraordinarily wide-ranging and distinguished career in comedy, medicine, theatre, documentary and opera – few have packed so much into a single life – but it may also be thought that it was a fortunate but rather random moment in stf’s own career.

   The truth is that it was Jonathan who inspired, and enabled me to become a Shakespeare actor and director. Had I not been fortunate to be cast by him in student productions of Hamlet and Julius Caesar when he was seeking to establish his own credentials in classical theatre in the early 1970s, or then to be promoted by him in the professional theatre as both actor and director, it is all but certain that I would never have taken the path I did, and certainly never conceived the idea of a Shakespeare company in an old Tobacco Factory. At one remove Jonathan Miller was stf’s chief begetter.

   I last met him in February 2017 when his wonderful wife Rachel invited me to have lunch with them in their Camden Town home. It was immediately obvious that his memory was affected – for a disconcerting moment he looked blankly at me on the doorstep – perhaps I had come to read the meter, or urge him to repent – but with the materials of memory nudged back into place, he was himself again; charming, witty, irreverent and at times caustic, his enviable command of language seemingly undimmed. I left that day, so thankful to Rachel for the opportunity to be reacquainted with them both, but rightly fearing that I would not see Jonathan again.

   In commentary immediately following his death, I was surprised to hear a reference on the radio to his occasional cruelty to those he worked with. Sadly, there are many directors who find whipping boys on whom to unload their frustrations and insecurities, but in the five productions of his that I performed in, I never witnessed anything of the kind, nor have I ever heard it said of him before. His command of language could run away with him, and he could never resist the witty but outrageous comment when interviewed by the press or by Michael Parkinson. The world of opera was a particular target; I remember him musing that he could never understand a director wishing to put ‘such an inert mass’ at the centre of his production, or talking of the ‘dinosaur’ sopranos who normally held the stage. The ‘inert mass’ in question was Luciano Pavarotti, and the ‘dinosaurs’ almost comparably distinguished. This failure to self-censor made for entertaining television, but probably hurt him professionally and made enemies of those that would never encounter him in the rehearsal room where, face to face, he was unfailingly courteous, warm and generous; and anyone and everyone was a fit partner – if often a largely silent one – in an urgent and untiring debate about art, science and politics. We were charmed and stimulated – and often helpless with laughter.

   Kate Bassett’s 2012 biography – In Two Minds – is an engrossing account of Jonathan’s astonishing achievement. When I picked it up (I had contributed a few small details to it myself) I expected to recognise every event, every programme, every production. But I discovered I had known only a fraction of the whole.

   He was a very remarkable man indeed, and I owe him more than I can express.

Andrew Hilton.jpg


Andrew Hilton

Director, Actor, Playwright & Teacher




I am an English actor, theatre director and author, perhaps best known for the creation of the Shakespeare at the Tobacco Factory (stf) company in Bristol in 1999.


I have taught, freelance, at the Bristol Old Vic Theatre School and the University of Bristol, and am a Patron of Warwick’s Shakespeare Young Company, and of the Bridge Foundation for Psychotherapy and the Arts. During 2013 I received an Honorary D.Litt from the University of Bristol for my services to theatre in the City.

I stepped down from stf in 2017 to pursue a freelance career as director, actor and writer.

Background & Education

I was born in Bolton, Lancashire, and educated at Bolton School. I read English at Churchill College, Cambridge, studying under George Steiner and Michael Long. I worked as a student actor for Jonathan Miller in productions of Hamlet and Julius Caesar and then entered the professional theatre as a trainee director at Bernard Miles' Mermaid Theatre in London. There I worked from 1971 to 1975, much of my time writing and directing plays about science for the theatre's educational wing, the Molecule Theatre. I became a Mermaid Associate Director in 1974.

In 1975 I joined the Greenwich Company as an actor, quickly followed by a 3-year contract with the National Theatre, beginning at the London Old Vic and moving to the new complex on the South Bank. There I appeared in the Peter Hall/Albert Finney Hamlet and Tamburlaine the Great, the John Schlesinger/John Gielgud Julius Caesar, Elijah Moshinky's production of Troilus & Cressida (as Diomedes), and Michael Blakemore's production of Ben Travers’ Plunder.

I then joined the Bristol Old Vic company for the first time in 1978, where I have played in over twenty productions, roles including Haig and the Sergeant-Major in Oh What a Lovely War!, Flavius in Timon of Athens, Agamemnon in Troilus & Cressida, Kershaw in Destiny, Ludwig in Cabaret, Major Booth Voysey in The Voysey Inheritance, Tim in Ten Times Table, Ross in The Crucifer of Blood, Sullen in The Beaux Stratagem, Charleson in Plenty, Polixenes in The Winter's Tale and Andrew Wyke in Sleuth. It was there in 1983 that I met my wife-to-be, the stage manager and artist, Diana Favell.

There followed several years of TV and radio work, interspersed with theatre jobs in Manchester (Frank in Educating Rita) and York (Bill in Woman in Mind), a UK tour of The Royal Hunt of the Sun, a British Council tour of the Far and Middle East, and a return to Bristol to play Lionel & Parrot in the premiere of Peter Nichols' Blue Murder for the Show of Strength Company.

Film & TV : 20 Select Credits

Richard                       The Lost Honour of Christopher Jefferies, Carnival Productions, Roger Michell

Alec Spencer              New Tricks, BBC TV, Paul Seed

Brian Oliver                Casualty, BBC TV, Tim Holloway

Dineage                      One Foot in the Grave, BBC TV, Christine Gernon

Melford Stevenson     Ruth Ellis: A Life for a Life, BBC TV, Farren Blackburn

Peter Gilmore             A Likeness in Stone, BBC TV, Charles Beeson

Archdale                     The Wyvern Mystery, BBC TV, Alex Pillai

Philip Webster            London Bridge, c. 20 episodes, Carlton TV, various

Hugo Patterson          The Politician’s Wife, Producers Prods, Graham Theakston

Dr Matthews               The Brittas Empire, BBC TV, Mike Stephens

D.C.S. Wisley              The Bill, Thames TV, Chris Lovett

Barrington Ricketts     Joint Account, 8 episodes, BBC TV, Mike Stephens

Military Interviewer     A Perfect Spy, BBC TV, Peter Smith

Stephen’s Father        The Children of Dynmouth, BBC TV, Peter Hammond

Soames                        A Very Peculiar Practice, BBC TV, David Tucker

Henderson                  Howards’ Way, 4 episodes, BBC TV, various

Group Captain           The Winds of War, Paramount, Dan Curtis

Ebert                           The Professionals, LWT, Denis Lewiston

Lucilius                        Julius Caesar, BBC TV, Herbert Wise

Stephen Salter            A Most Public Affair, BBC TV, Michael Latham

Shakespeare at the Tobacco Factory (stf)

In 1989 Diana Favell and I joined a group of actors, writers and directors to start the first regular pub theatre in Bristol, dedicated largely to new writing. The company, Show of Strength, found the Hen & Chicken pub in the Southville area of the city and inaugurated winter seasons there that were to last for six years and attract national attention.

I directed six productions for the company – the world premières of Tales of the Undead by Dominic Power, and Let's Do It and Rough Music by James Wilson; the UK premieres of Michael Gow's Away and Brian Friel's Living Quarters; and an in-the-round production of Measure for Measure. In 1998, after Diana and I had both left the company, Show of Strength moved its operation to the Tobacco Factory – then in process of restoration and redevelopment by George Ferguson – and it was this that inspired us to create Shakespeare at the Tobacco Factory in 1999.

stf began as a commercial venture and survived as such for five spring seasons at the Factory, winning a Peter Brook/Empty Space Award in 2001 and culminating in the transfer of the 2004 season of Macbeth and The Changeling to the Barbican's Pit Theatre. The company was then reformed as a charity, as it now continues. In addition to spring seasons at the Factory it has co-produced twice with the Bristol Old Vic, played at the Galway Festival, and toured to several UK cities, and to Craiova in Romania and Neuss in Germany.

While Shakespeare has clearly been my main focus, my three Chekhov productions – Three Sisters, Uncle Vanya and The Cherry Orchard – have attracted high praise.

I have long worked in collaboration with the playwright, Dominic Power, who has edited Shakespeare with me and has contributed new scenes to Measure for Measure, The Changeling, The Taming of the Shrew, The Comedy of Errors, Two Gentlemen of Verona, The School for Scandal and All’s Well that Ends Well. We now work together – as ‘H&P Playwrights’ – on new projects, the first being a stage adaptation of James Hogg’s novel, The Private Memoirs and Confessions of a Justified Sinner, and a music-theatre version of Chekhov’s short story, The Lady with the Little Dog.


I have also enjoyed longstanding collaborations with the designers James Helps, Andrea Montag, Vicki Cowan-Ostersen and Harriet de Winton, the lighting designers Andy Collins, Tim Streader, Paul Towson and Matthew Graham, and the composer & sound designers, Dan Jones, Elizabeth Purnell and John Telfer.

Praise for stf’s work has been fulsome in the national press. In 2001 Jeremy Kingston in The Times called it “one of the most exciting theatre companies in the land”; in 2005 Lyn Gardner of The Guardian added “one of the great tellers of Shakespeare” and in 2013 Susannah Clapp in The Observer dubbed it “the Shakespearean powerhouse”.


Gillfins by Dominic Power (Mind's Eye Theatre at the Old Red Lion, 1982)

Tales of the Undead by Dominic Power (Show of Strength 1989)

Let's Do It by James Wilson (Show of Strength 1990)

Living Quarters by Brian Friel (Show of Strength 1991)

Measure for Measure by Shakespeare (Show of Strength 1992)

Away by Michael Gow (Show of Strength 1993)

Serious Money by Caryl Churchill (Bristol Old Vic Theatre School 1996)

Rough Music by James Wilson (Show of Strength 1996)

King Lear and A Midsummer Night's Dream (stf 2000)

Measure for Measure and Coriolanus (stf 2001 - Peter Brook/Empty Space Award))

The Winter's Tale and Twelfth Night (stf 2002)

Troilus & Cressida and As You Like It (stf 2003)

Macbeth and Middleton & Rowley's The Changeling (stf 2004 in Bristol and at the Barbican Pit)

Pericles and Chekhov's Three Sisters (stf 2005)

Titus Andronicus and Love's Labours Lost (stf 2006)

Othello and Much Ado about Nothing (stf 2007)

The Taming of the Shrew (stf 2008)

Julius Caesar and Antony & Cleopatra (stf 2009)

Chekhov's Uncle Vanya (stf/Bristol Old Vic Co-production, 2009, and Galway Festival 2010)

The Tempest and A Midsummer Night's Dream (stf 2010)

Molière/Tony Harrison'sThe Misanthrope (stf/Bristol Old Vic Co-production, Theatre Royal, 2010)

Richard II (stf 2011)

The Comedy of Errors (stf and Exeter Northcott, 2011)

King Lear (stf 2012)

Chekhov'sThe Cherry Orchard andOn the Evils of Tobacco (stf and Kingston Rose 2012)

Richard III  (stf 2013)

Two Gentlemen of Verona (stf & National Tour 2013)

As You Like It (stf & National Tour 2014)

Tom Stoppard’s Arcadia (stf 2014)

Sheridan’sThe School for Scandal (stf 2015)

Brian Friel’s Living Quarters (a Tobacco Factory Theatres/stf co-production 2015)

Hamlet and All’s Well that Ends Well (stf and national and international tours 2016)

Molière’sTartuffe in a new version by Andrew Hilton and Dominic Power (stf 2017)

Novello & Son by Arnold Evans, performed by Rosamund Shelley (various venues, 2019 & 2020)

Pericles in a version by Dominic Power & Andrew Hilton, Bristol Old Vic Theatre School 2020


Backfire! (Mermaid Theatre and UK Tours, 1972 & 1973)

Sparks! (Mermaid Theatre and UK tour 1974; revived 1975, 1977, 1979, 1982)

The Patent-Office Robbery (Mermaid Theatre and UK tour 1978; revived 1983, 1984, 1986, 1987)

Fire Island (Mermaid Theatre and UK Tour 1984; revived 1985)

Chekhov’s Gun (Radio 3 Talk in the Essay Series on directing Uncle Vanya, 2010)

Shakespeare on the Factory Floor, a book about Shakespeare production, scheduled for publication by Nick Hern Books in 2021.

Co-Authorship with Dominic Power: Tartuffe, after Molière (Tobacco Factory 2017); The Justified Sinner (completed 2019, a stage adaptation of James Hogg’s novel, The Private Memoirs & Confessions of a Justified Sinner); and (in preparation) Lady with Dog, a music-theatre version of Chekhov’s The Lady with the Little Dog.




Interpreting Shakespeare

Explore great Shakespeare texts with me to gain insight into theatrical as well as academic

techniques of interpretation. To date (Spring, 2020) I have conducted highly successful courses on Macbeth (Bristol), King Lear (Mousehole, Cornwall), The Winter’s Tale (Bristol University), As You Like It (Mousehole), and Measure for Measure (Bristol University). The Bristol courses have been held on one evening over 6-8 weeks, and the Mousehole courses as week-long events, conducted in the beautiful Solomon Browne hall.

Despite the theatrical emphasis, these are not actors’ workshops, but are devised specifically for Shakespeare's audience and readership. On each course I am joined by one or more actors from the stf company to add variety to the sessions and explore alternative readings.                                                                     


'what I hoped, and was looking for … to study the play from the point of view of an experienced director … insightful and more revealing as time went on.'  [Macbeth, 2014]

'a hugely informative and enjoyable week, facilitated by a skilled and knowledgeable tutor and organiser, and a great group of participants.' [King Lear, 2016]

'the use of actors really helped me understand the creative process that goes on in producing, directing and realising the play … far exceeded my expectations' [The Winter’s Tale, 2018]

'beautifully managed and timed ... we learnt so much about context, Shakespearian English and, thanks to your direction and our young actress, how to read better.' [As You Like It, 2019]

'It's amazing how much is new in a play I've often enjoyed and thought I knew ... met my expectations completely.' [Measure for Measure, 2019]

My next courses will be conducted by the University of Bristol on Tuesday and Wednesday evenings via Zoom from late October to mid-December 2021. The text will be Twelfth Night. See http://www.bristol.ac.uk/english/study/part-time/short-courses/interpreting-shakespeare/ for full details.



Here I offer a number of edited Shakespeare texts, and – alongside them – my own editions of some of Shakespeare's principal source texts in accessible, modern-spelling pdf versions for you to read or download. 


The play edits range from small tweaks to language, to cuts and narrative clarifications, to more extensive interventions which amount to versions of the plays, the most radical being Dominic's versions of Measure for Measure and All's Well That Ends Well.


                                                          All's Well  That  Ends Well                                                                                        

                                                                                      Version of the play by Dominic Power,

                                                                                      as performed by Shakespeare at the

                                                                                      Tobacco Factory in 2016.

                                                                                      Lavatch is transformed from a Shakespearian

                                                                                      clown into Bertram's music & dancing master;

                                                                                      and the Florentine wars sequence is


                                                                                                                                                 "A Shakespeare 'problem play' made

                                                                                                                                                     good" – Mark Kidel, The Arts Desk


          Eleanor Yates as Helena   Photo: Kristoph Krey                                                


Sources for All's Well that Ends Well:

Juliet of Narbona (from The Decameron)                 Excerpt from Painter's The Palace of Pleasure


                                                                                      As You Like It 


                                                                                                       Edited text of As You Like It as

                                                                                                       performed by Shakespeare at the 

                                                                                                       Tobacco Factory in 2014.


                                                                                                       Shakespeare's main source for the

                                                                                                       play, Thomas Lodge's prose

                                                                                                       romance, Rosalynde.

                                                                                     The Changeling

                                                         Not by Shakespeare, of course, but by his great

                                                                                     contemporaries, Thomas Middleton &

                                                                                      William Rowley.

                                                                                      A radical version by Dominic Power which

                                                                                      integrates plot and sub-plot to powerful effect.


                                                                                                                                           "you get, as if newly minted, the free-                                                                                                                                                         floating madness of Middleton and                                                                                                                                                          Rowley's play"

                                                                                                                                                       Susannah Clapp, The Observer

        Jamie Ballard as Antonio     Photo: Graham Wyles

                                                                                                                               The Comedy of Errors

                                                       Version by Dominic Power, including a 

                                                                                      number of new songs and the earlier

                                                                                      introduction of both the Courtesan and

                                                                                      Antipholus of Ephesus, in an extension to

                                                                                      Act 1 Scene 2.

‘                                                                                                                                        'a revelation. This early play is more than a                                                                                                                                               comedy. Voltaire announced that 

                                                                                                                                         Shakespeare was a barbarian because his

                                                                                                                                         tragedies had comic scenes; the great Gallic

                                                                                                                                         sage would have been appalled to see a

                                                                                                                                         shadow of fear hung over this improbable

s                                                                                                                                       story  … unmissable’

                                                                                                                                                          John Peter, The Sunday Times


Gareth Kennerley as Antipholus of Ephesus    Photo: Hide the Shark



                                                                   My own edition of the play, made for

                                                                                                     production at the Tobacco Factory in




                                                                                                    A modern-spelling edition of the 1st –

                                                                                                    'Bad' – Quarto.





                                                                                                   Shakespeare's principal sources, in

                                                                                                   my own modern-spelling versions.  

                                                                                                                                Measure for Measure

                                                         Another radical version by Dominic Power,

                                                                                      with a new scene for Mariana and the Duke,                                                                                            and the staging of the midnight tryst

                                                                                      between Mariana and Angelo.


                                                                                                                                                                  The Play

                                                                                                                                                                   'my companion, who arrived full of grumbles at a

                                                                                                                                                                   play he considered preposterous, left in tears.'

                                                                                                                                                                                            Susannah Clapp, The Observer


                                                                                                                                                                   A Source: The First Part of                                                                                                                           Promos &Cassandra

                                                                                                             by George Whetstone, 1578

               Peter Clifford as the Duke    Photo: Alan Moore


                                                         Two Gentlemen of Verona

                                                    Version by Dominic Power, with new material                                                                                          for Launce, some narrative reorganisation and

                                                                                      several new songs.



                                                                'an unblinking portrait of love’s madness.'

                                                                                                                                                                Elizabeth Davis, The Independent

Piers Hampton as Proteus & Dorothea Myer-Bennett as Julia

Photo: Hide the Shark

                                                                                                               The Taming of the Shrew

                                                          Version by Dominic Power, with a completely

                                                                                       original Epilogue – unrecognised as such by

                                                                                       the critics – to complete the Christopher Sly

                                                                                       framing device.

                                                                                                                                              ‘… Bill Wallis, as the hoodwinked drunk

                                                                                                                                                                      Christopher Sly, touchingly grunts and

                                                                                                                                                                      tumbles his way through not only the

                                                                                                                                                                      familiar Induction but also the rarely seen

                                                                                                                                                                      Epilogue, neatly inserted from an early                                                                                                                                                                                        Quarto.’ Peter Patston, Bath Chronicle

                                                                                                                                                                      ‘I wish more directors retained the

                                                                                                                                                                       prologue and epilogue; they make the play

                                                                                                                                                                       echo as a cunning, sophisticated fantasy

                                                                                                                                                                       rather than theatrical marriage guidance.'

                                                                                                                                                                       John Peter, Sunday Times



Saskia Portway as Katherina         Photo: Graham Burke



Find here plays and other writings, published and unpublished, by Dominic Power, Allan Monkhouse, and myself.

                                                                                      Tartuffe, by Andrew Hilton & Dominic Power                                                                                            Read or download here the first half of this new

                                                                        version of Moliere's play, premiered by

                                                                                 Shakespeare at the Tobacco Factory in 2017.

                                                                    Moliere's central character, Orgon, is

                                                                        reimagined as Charles Ogden, a junior

                                                                                  Minister in Theresa May's cabinet, enjoying a

                                                                                     mid-life crisis and falling for a political hoaxer's

                       'new way'.

                                                      Written in rhyming couplets.

                                                                          "a wildly entertaining script" – Plays International 


                                                                                                                   The full published text is available

                                                                           from Amazon. 








                                                                         The Justified Sinner by Andrew Hilton &

                               Dominic Power

                                                                            A new stage adaptation of James Hogg's

                                                                                   wonderful 1824 novel, The Private Memoirs &

                                                                           Confessions of a Justified Sinner, about a

                                                                                radical Calvinist falling into the hands of the


                                                                   Read or download the 1st part here.

             James Hogg, portrait by W. Nicholson


                                                              Chekhov's Gun by Andrew Hilton

                                                                               A talk broadcast by BBC Radio 3 in January

                                                                                  2010, following the stf/BOV co-production of

                          Uncle Vanya.

            Anton Chekhov, portrait by Osip Braz


                                                                        Tales of the Undead by Dominic Power

                                                                              It is 15 years since the happy conclusion of

                                                                                 Bram Stoker's Dracula. But Jonathan Harker,

                                                                          its troubled hero, is again in thrall to the

                                                                               voluptuous vampire he met in Transylvania.

                                                                    With his marriage on the rocks, he is

                                                                                persuaded to seek help from Havelock Ellis,

                                                                                   real-life author of Studies in the Psychology of

                                                                                Sex which so scandalised Edwardian society.

                                                                          Will Ellis dare to aid him by entering the

                                                                   terrible dream world of the Undead?

                                                                                                  Premiered in Bristol in 1989

                                                                                                                       "an erotic postscript to Bram Stoker ...

                                                                                                                      excruciatingly funny"   The Guardian




4 Plays for the Molecule Theatre of Science


           as Helen.  Photo: Craig Fuller























































AYLI Image.jpg
2001 Measure 4.jpg


The car is put on trial on a London street for sins of pollution, noise, traffic fatalities and gobbling up urban space, with the young audience appointed as the jury.

‘a vivacious little play in which the motor car is examined in the role of social enemy’ - Ian Breach, THE NEW SCIENTIST


A melodrama set in a tiny mountain principality, cut off from the rest of Europe for 150 years. A villain, who alone has found a route to the outside world, attempts to seize power by pretending that electricity is his own magical power. But hero and heroine thwart his plans, along the way learning about circuits, conductors and insulators and constructing their own simple batteries.

‘a marvellously entertaining tale’ - Sarah McAlister, Time Out

The Patent Office Robbery

A second melodrama, set in Victorian London. Using only simple mechanics, an aggrieved engineer steals a cast iron safe, complete with its valuable contents, from a first floor office in Her Majesty’s Patent Office. Young hero and heroine use the same techniques to rescue the safe and bring the villain to justice.

‘a gloriously dotty play’ - J.E.H., The Kentish Gazette

Fire Island [with John Telfer’s Score]

Three young people are marooned on a treeless and apparently deserted island. One by one their sources of energy run out - their food, their phones, their boat’s fuel and batteries. They are rescued by one of the island’s only two inhabitants, a visionary whose ambition it is to restore the island to fertility and usefulness, using only green forms of energy.

‘packs vitality and fire’ - Anne Pass, Canterbury Times

The Conquering Hero by Allan Monkhouse

This remarkable anti-war play was written during the course of the 1st WW, but not performed until 1926. Shakespeare at the Tobacco Factory gave it a staged reading in 2014. In my opinion it ranks with Sherriff's Journey's End and deserves to be more widely known and produced. It is out of copyright, which is why I am able to reproduce it here.

Gillfins by Dominic Power

Five devotees of the ‘Gillfins Group’ gather for a public celebration of the centenary of its central figure, the novelist Cecilia Brindle, but sinister forces intervene to (literally) bring the house down.

Spoiler alert: devotees of the Bloomsbury Group may be outraged. Premiered at London's Old Red Lion in 1982.

'... Patrons are assured that there is nothing in the least fishy about Cecilia Brindle’s oeuvre; and no truth whatsoever in rumours that the current tribute is being sabotaged by supernatural forces’ Ros Franey, City Limits

The School for Scandal by Richard Brinsley Brinsley Sheridan in a version by Dominic Power

The Money-lender, Moses, is replaced by the Banker, Credit, and Dominic provides a song for Maria, and a new Prologue and Epilogue for Backbite. Produced as the second play in stf's 2015 Season.





My own memoir of 'A Life with Shakespeare'