An East End gangster’s tale as you’ve never heard it before.
Better known as Skinny Dan or Longdog, Danny O’Halloran was a villain in the old fashioned sense of the word. A contemporary of the Great Train Robbers, ‘Mad’ Frankie Fraser and all those old-school London gangsters, he robbed banks for a living. But, unlike the infamous Kray twins, he never sought the spotlight.
After a life spent shuttling in and out of jail, scrapping to survive and leaving plenty of broken bones in his wake, Longdog died in 2005. Prairie Flower is set in that year.
Written and performed by Danny’s son Ryan Simms, this one man play turns a family’s dark past into a compelling new piece of theatre.
An East End gangster’s tale as you’ve never heard it before.
Better known as Skinny Dan or Longdog, Danny O’Halloran was a villain in the old fashioned sense of the word. A contemporary of the Great Train Robbers, ‘Mad’ Frankie Fraser and all those old-school London gangsters, he robbed banks for a living. But, unlike the infamous Kray twins, he never sought the spotlight.
After a life spent shuttling in and out of jail, scrapping to survive and leaving plenty of broken bones in his wake, Longdog died in 2005. Prairie Flower is set in that year.
Written and performed by Danny’s son Ryan Simms, this one man play turns a family’s dark past into a compelling new piece of theatre.
An East End gangster’s tale as you’ve never heard it before.
Better known as Skinny Dan or Longdog, Danny O’Halloran was a villain in the old fashioned sense of the word. A contemporary of the Great Train Robbers, ‘Mad’ Frankie Fraser and all those old-school London gangsters, he robbed banks for a living. But, unlike the infamous Kray twins, he never sought the spotlight.
After a life spent shuttling in and out of jail, scrapping to survive and leaving plenty of broken bones in his wake, Longdog died in 2005. Prairie Flower is set in that year.
Written and performed by Danny’s son Ryan Simms, this one man play turns a family’s dark past into a compelling new piece of theatre.
An East End gangster’s tale as you’ve never heard it before.
Better known as Skinny Dan or Longdog, Danny O’Halloran was a villain in the old fashioned sense of the word. A contemporary of the Great Train Robbers, ‘Mad’ Frankie Fraser and all those old-school London gangsters, he robbed banks for a living. But, unlike the infamous Kray twins, he never sought the spotlight.
After a life spent shuttling in and out of jail, scrapping to survive and leaving plenty of broken bones in his wake, Longdog died in 2005. Prairie Flower is set in that year.
Written and performed by Danny’s son Ryan Simms, this one man play turns a family’s dark past into a compelling new piece of theatre.
January 2010 – one night an earthquake in Haiti results in the death of around 100,000 people and almost two million are left homeless. At the same time, in leafy Muswell Hill, six friends meet over avocado, prawns and a monkfish stew. They worry about their mortgages, careers, phone tariffs, Facebook friends, diets, love lives, alcohol intake… and whether or not history will remember them.
January 2010 – one night an earthquake in Haiti results in the death of around 100,000 people and almost two million are left homeless. At the same time, in leafy Muswell Hill, six friends meet over avocado, prawns and a monkfish stew. They worry about their mortgages, careers, phone tariffs, Facebook friends, diets, love lives, alcohol intake… and whether or not history will remember them.
January 2010 – one night an earthquake in Haiti results in the death of around 100,000 people and almost two million are left homeless. At the same time, in leafy Muswell Hill, six friends meet over avocado, prawns and a monkfish stew. They worry about their mortgages, careers, phone tariffs, Facebook friends, diets, love lives, alcohol intake… and whether or not history will remember them.
January 2010 – one night an earthquake in Haiti results in the death of around 100,000 people and almost two million are left homeless. At the same time, in leafy Muswell Hill, six friends meet over avocado, prawns and a monkfish stew. They worry about their mortgages, careers, phone tariffs, Facebook friends, diets, love lives, alcohol intake… and whether or not history will remember them.
January 2010 – one night an earthquake in Haiti results in the death of around 100,000 people and almost two million are left homeless. At the same time, in leafy Muswell Hill, six friends meet over avocado, prawns and a monkfish stew. They worry about their mortgages, careers, phone tariffs, Facebook friends, diets, love lives, alcohol intake… and whether or not history will remember them.
Helped by his aristocratic lover Edwina Mountbatten, cabaret singer “Hutch” has become Britain’s first black superstar – but a gossip columnist hints at their affair in the Sunday People. In the libel case which follows, Edwina is ordered to appear in court to deny ever having met Hutch. But despite her public denial, Hutch’s records are no longer on the airwaves. Edwina encourages him to go and see the BBC’s Director of Variety – a budding songwriter called Eric Maschwitz. Hutch takes Eric’s as-yet-unknown song These Foolish Things and turns it into a massive hit. The BBC embargo ends – but so too does Hutch’s hope of achieving national recognition.
Helped by his aristocratic lover Edwina Mountbatten, cabaret singer “Hutch” has become Britain’s first black superstar – but a gossip columnist hints at their affair in the Sunday People. In the libel case which follows, Edwina is ordered to appear in court to deny ever having met Hutch. But despite her public denial, Hutch’s records are no longer on the airwaves. Edwina encourages him to go and see the BBC’s Director of Variety – a budding songwriter called Eric Maschwitz. Hutch takes Eric’s as-yet-unknown song These Foolish Things and turns it into a massive hit. The BBC embargo ends – but so too does Hutch’s hope of achieving national recognition.
Helped by his aristocratic lover Edwina Mountbatten, cabaret singer “Hutch” has become Britain’s first black superstar – but a gossip columnist hints at their affair in the Sunday People. In the libel case which follows, Edwina is ordered to appear in court to deny ever having met Hutch. But despite her public denial, Hutch’s records are no longer on the airwaves. Edwina encourages him to go and see the BBC’s Director of Variety – a budding songwriter called Eric Maschwitz. Hutch takes Eric’s as-yet-unknown song These Foolish Things and turns it into a massive hit. The BBC embargo ends – but so too does Hutch’s hope of achieving national recognition.
Helped by his aristocratic lover Edwina Mountbatten, cabaret singer “Hutch” has become Britain’s first black superstar – but a gossip columnist hints at their affair in the Sunday People. In the libel case which follows, Edwina is ordered to appear in court to deny ever having met Hutch. But despite her public denial, Hutch’s records are no longer on the airwaves. Edwina encourages him to go and see the BBC’s Director of Variety – a budding songwriter called Eric Maschwitz. Hutch takes Eric’s as-yet-unknown song These Foolish Things and turns it into a massive hit. The BBC embargo ends – but so too does Hutch’s hope of achieving national recognition.
Helped by his aristocratic lover Edwina Mountbatten, cabaret singer “Hutch” has become Britain’s first black superstar – but a gossip columnist hints at their affair in the Sunday People. In the libel case which follows, Edwina is ordered to appear in court to deny ever having met Hutch. But despite her public denial, Hutch’s records are no longer on the airwaves. Edwina encourages him to go and see the BBC’s Director of Variety – a budding songwriter called Eric Maschwitz. Hutch takes Eric’s as-yet-unknown song These Foolish Things and turns it into a massive hit. The BBC embargo ends – but so too does Hutch’s hope of achieving national recognition.
Helped by his aristocratic lover Edwina Mountbatten, cabaret singer “Hutch” has become Britain’s first black superstar – but a gossip columnist hints at their affair in the Sunday People. In the libel case which follows, Edwina is ordered to appear in court to deny ever having met Hutch. But despite her public denial, Hutch’s records are no longer on the airwaves. Edwina encourages him to go and see the BBC’s Director of Variety – a budding songwriter called Eric Maschwitz. Hutch takes Eric’s as-yet-unknown song These Foolish Things and turns it into a massive hit. The BBC embargo ends – but so too does Hutch’s hope of achieving national recognition.
The original hippy musical HAIR made its debut on the London stage in Autumn 1968.
Fifty years on, some of the original cast members get back together to talk about their experience of being in the very first rock musical.
Paul Nicholas, Annabel Leventon and Peter Straker have all gone on to be major stars in British theatre.
We are hoping that other cast members from HAIR will join Paul, Annabel and Peter. Come and listen to them talk about that wonderful period of love and peace. Help us recreate the Age of Aquarius and Let The Sunshine In!
There will also be a few old film clips to remind everyone what a hippy happy time we enjoyed in the Swinging Sixties.
Hosted by John Plews
The inspiring true story of football’s greatest ever underdogs.
Set in the early years of Association Football, The Giant Killers follows a ragtag bunch of Lancashire mill workers who defied all odds to become the first working-class team in the country to play in the FA Cup. Left tired and despondent from the cotton famine of the 1870s, this small group of northern lads found pride and hope in a game that up until then had been reserved for the upper classes. Darwen FC rose up against prevailing social prejudice and the might of the Football Association, to earn a place in history as the first real ‘giant-killers’ in English football, and take on the “poshest team of all” – The Old Etonians. Scoring a massive moral victory for all working class people, the team proved that passion and spirit is worth more than wealth and privilege. When the Battlefield is the football pitch, everyone is equal. The Giant Killers is an absorbing, heartfelt story of a town that came together to achieve the impossible and win the respect of the nation. A rip-roaring evening out, whether you know the off-side rule or not!
Directed by Andrew Loudon (director of the West End productions of Carries War, Little Women and Cool Hand Luke).
Recommended Age 12+
★★★★★
“Enthrals from start to finish. A real belter – and not just for footie fans.”
The Reviews Hub
★★★★★
“A remarkable and entertaining show.”
British Theatre Guide
★★★★★
“Fascinating. Absorbing.”
One4 review
★★★★★
“Edge of the seat stuff. High quality theatre!”
Edinburgh Guide
The inspiring true story of football’s greatest ever underdogs.
Set in the early years of Association Football, The Giant Killers follows a ragtag bunch of Lancashire mill workers who defied all odds to become the first working-class team in the country to play in the FA Cup. Left tired and despondent from the cotton famine of the 1870s, this small group of northern lads found pride and hope in a game that up until then had been reserved for the upper classes. Darwen FC rose up against prevailing social prejudice and the might of the Football Association, to earn a place in history as the first real ‘giant-killers’ in English football, and take on the “poshest team of all” – The Old Etonians. Scoring a massive moral victory for all working class people, the team proved that passion and spirit is worth more than wealth and privilege. When the Battlefield is the football pitch, everyone is equal. The Giant Killers is an absorbing, heartfelt story of a town that came together to achieve the impossible and win the respect of the nation. A rip-roaring evening out, whether you know the off-side rule or not!
Directed by Andrew Loudon (director of the West End productions of Carries War, Little Women and Cool Hand Luke).
Recommended Age 12+
★★★★★
“Enthrals from start to finish. A real belter – and not just for footie fans.”
The Reviews Hub
★★★★★
“A remarkable and entertaining show.”
British Theatre Guide
★★★★★
“Fascinating. Absorbing.”
One4 review
★★★★★
“Edge of the seat stuff. High quality theatre!”
Edinburgh Guide
The inspiring true story of football’s greatest ever underdogs.
Set in the early years of Association Football, The Giant Killers follows a ragtag bunch of Lancashire mill workers who defied all odds to become the first working-class team in the country to play in the FA Cup. Left tired and despondent from the cotton famine of the 1870s, this small group of northern lads found pride and hope in a game that up until then had been reserved for the upper classes. Darwen FC rose up against prevailing social prejudice and the might of the Football Association, to earn a place in history as the first real ‘giant-killers’ in English football, and take on the “poshest team of all” – The Old Etonians. Scoring a massive moral victory for all working class people, the team proved that passion and spirit is worth more than wealth and privilege. When the Battlefield is the football pitch, everyone is equal. The Giant Killers is an absorbing, heartfelt story of a town that came together to achieve the impossible and win the respect of the nation. A rip-roaring evening out, whether you know the off-side rule or not!
Directed by Andrew Loudon (director of the West End productions of Carries War, Little Women and Cool Hand Luke).
Recommended Age 12+
★★★★★
“Enthrals from start to finish. A real belter – and not just for footie fans.”
The Reviews Hub
★★★★★
“A remarkable and entertaining show.”
British Theatre Guide
★★★★★
“Fascinating. Absorbing.”
One4 review
★★★★★
“Edge of the seat stuff. High quality theatre!”
Edinburgh Guide
The inspiring true story of football’s greatest ever underdogs.
Set in the early years of Association Football, The Giant Killers follows a ragtag bunch of Lancashire mill workers who defied all odds to become the first working-class team in the country to play in the FA Cup. Left tired and despondent from the cotton famine of the 1870s, this small group of northern lads found pride and hope in a game that up until then had been reserved for the upper classes. Darwen FC rose up against prevailing social prejudice and the might of the Football Association, to earn a place in history as the first real ‘giant-killers’ in English football, and take on the “poshest team of all” – The Old Etonians. Scoring a massive moral victory for all working class people, the team proved that passion and spirit is worth more than wealth and privilege. When the Battlefield is the football pitch, everyone is equal. The Giant Killers is an absorbing, heartfelt story of a town that came together to achieve the impossible and win the respect of the nation. A rip-roaring evening out, whether you know the off-side rule or not!
Directed by Andrew Loudon (director of the West End productions of Carries War, Little Women and Cool Hand Luke).
Recommended Age 12+
★★★★★
“Enthrals from start to finish. A real belter – and not just for footie fans.”
The Reviews Hub
★★★★★
“A remarkable and entertaining show.”
British Theatre Guide
★★★★★
“Fascinating. Absorbing.”
One4 review
★★★★★
“Edge of the seat stuff. High quality theatre!”
Edinburgh Guide
The inspiring true story of football’s greatest ever underdogs.
Set in the early years of Association Football, The Giant Killers follows a ragtag bunch of Lancashire mill workers who defied all odds to become the first working-class team in the country to play in the FA Cup. Left tired and despondent from the cotton famine of the 1870s, this small group of northern lads found pride and hope in a game that up until then had been reserved for the upper classes. Darwen FC rose up against prevailing social prejudice and the might of the Football Association, to earn a place in history as the first real ‘giant-killers’ in English football, and take on the “poshest team of all” – The Old Etonians. Scoring a massive moral victory for all working class people, the team proved that passion and spirit is worth more than wealth and privilege. When the Battlefield is the football pitch, everyone is equal. The Giant Killers is an absorbing, heartfelt story of a town that came together to achieve the impossible and win the respect of the nation. A rip-roaring evening out, whether you know the off-side rule or not!
Directed by Andrew Loudon (director of the West End productions of Carries War, Little Women and Cool Hand Luke).
Recommended Age 12+
★★★★★
“Enthrals from start to finish. A real belter – and not just for footie fans.”
The Reviews Hub
★★★★★
“A remarkable and entertaining show.”
British Theatre Guide
★★★★★
“Fascinating. Absorbing.”
One4 review
★★★★★
“Edge of the seat stuff. High quality theatre!”
Edinburgh Guide
The inspiring true story of football’s greatest ever underdogs.
Set in the early years of Association Football, The Giant Killers follows a ragtag bunch of Lancashire mill workers who defied all odds to become the first working-class team in the country to play in the FA Cup. Left tired and despondent from the cotton famine of the 1870s, this small group of northern lads found pride and hope in a game that up until then had been reserved for the upper classes. Darwen FC rose up against prevailing social prejudice and the might of the Football Association, to earn a place in history as the first real ‘giant-killers’ in English football, and take on the “poshest team of all” – The Old Etonians. Scoring a massive moral victory for all working class people, the team proved that passion and spirit is worth more than wealth and privilege. When the Battlefield is the football pitch, everyone is equal. The Giant Killers is an absorbing, heartfelt story of a town that came together to achieve the impossible and win the respect of the nation. A rip-roaring evening out, whether you know the off-side rule or not!
Directed by Andrew Loudon (director of the West End productions of Carries War, Little Women and Cool Hand Luke).
Recommended Age 12+
★★★★★
“Enthrals from start to finish. A real belter – and not just for footie fans.”
The Reviews Hub
★★★★★
“A remarkable and entertaining show.”
British Theatre Guide
★★★★★
“Fascinating. Absorbing.”
One4 review
★★★★★
“Edge of the seat stuff. High quality theatre!”
Edinburgh Guide
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
In this, his penultimate play, Ibsen explores the effects of hubris on his eponymous character and those around him. Written in the naturalistic style, which was in great favour amongst playwrights of the time, it explores the rise and fall of a man of humble origins – John Gabriel is the son of a miner – who rose to prominence as a banker and financial advisor to the wealthy citizens of his home town and then through greed and ambition is disgraced and brings shame on himself and
his family. In this, as in many of his plays, although Borkman is the central character around whom the action revolves, it is the females in his life who have true strength. It is they who recognise reality and control the final outcome of the story. Though apparently bleak the play offers hope for the future and acknowledges that life goes on, carried forward by the next generation.
A comedy of bad manners which starts with the arrival of four guests, invited independently by different members of the Bliss family for a weekend at their country house. The promise of an idyllic and peaceful weekend is quickly trounced by the self-absorbed eccentricities of the family.
A comedy of bad manners which starts with the arrival of four guests, invited independently by different members of the Bliss family for a weekend at their country house. The promise of an idyllic and peaceful weekend is quickly trounced by the self-absorbed eccentricities of the family.
A comedy of bad manners which starts with the arrival of four guests, invited independently by different members of the Bliss family for a weekend at their country house. The promise of an idyllic and peaceful weekend is quickly trounced by the self-absorbed eccentricities of the family.
A comedy of bad manners which starts with the arrival of four guests, invited independently by different members of the Bliss family for a weekend at their country house. The promise of an idyllic and peaceful weekend is quickly trounced by the self-absorbed eccentricities of the family.
Music & Lyrics by George and Ira Gershwin
Book by Joe DiPietro
Inspired by material by Guy Bolton and P. G. Wodehouse
Presented by arrangement with
TAMS-WITMARK MUSIC LIBRARY, INC
560 Lexington Avenue, NY, 10022
Director: John Plews
Producer: Katie Plews for Ovation
Music & Lyrics by George and Ira Gershwin
Book by Joe DiPietro
Inspired by material by Guy Bolton and P. G. Wodehouse
Presented by arrangement with
TAMS-WITMARK MUSIC LIBRARY, INC
560 Lexington Avenue, NY, 10022
Director: John Plews
Producer: Katie Plews for Ovation
Music & Lyrics by George and Ira Gershwin
Book by Joe DiPietro
Inspired by material by Guy Bolton and P. G. Wodehouse
Presented by arrangement with
TAMS-WITMARK MUSIC LIBRARY, INC
560 Lexington Avenue, NY, 10022
Director: John Plews
Producer: Katie Plews for Ovation