OUTWARD BOUND

“Easily the best fringe production I have ever seen.” Everything Theatre

“Not seen in London for 50 years, Outward Bound is another of the Finborough’s discoveries, startlingly prefiguring the work of J.B. Priestley.” Dan Usztan, Whats On Stage

“This revival, at the delightful Finborough Theatre, is the first in London for over fifty years and it fits the intimate venue perfectly.” Clare Ollerhead, Stage Won

“Certainly one well worthy of a revival and the Finborough Theatre stages it wonderfully.” Clare Ollerhead, Stage Won

“Grippingly paced, economically written, with big characters.” Andrzej Lukowski, Time Out

“Thus, Outward Bound is a third exception that proves the rule and the shock is that such a strong piece, which was a big hit in the West End and then on Broadway in the years after its debut in 1923, has not been revived in so long.” Philip Fisher, The British Theatre Guide

“This is such a good play that one really hopes that it might tour or transfer, allowing audiences to discover the joys of Sutton Vane and an excellent revival.” Philip Fisher, The British Theatre Guide

“It retains an uncanny compulsion.” Sam Marlowe, The Times

“Hill’s production, though, is a delight, steering clear of caricature and preachiness, and acted with great warmth and vivacity. It’s a strange voyage into the past, but it still chills and charms.” Sam Marlowe, The Times

“Louise Hill’s production makes a case for Vane’s mix of psychology, social criticism and mysticism while Alex Marker’s design, transforming the auditorium into a liner’s saloon, is First Class.” Timothy Ramsden, Reviews Gate

“It still emerges as a piece of writing that deserves the attention it is getting here at the Finborough. Louise Hill’s production looks gorgeous in Alex Marker’s design which works perfectly in the space, and she works in layers and texture into the piece that helps up the tension and the intriguing mystery.” Ian, There Ought to Be Clowns Blog

“Outward Bound is a treat, that most Whingerish of delights: an entertaining, absorbing, well-constructed, solid piece of drama with plenty of humour about a voyage that sets sail with a strong moral compass.” West End Whingers

“Sutton Vane's 1923 hit, though structurally creaky, justifies revival as part of the Finborough's Rediscoveries season partly because it tells us a lot about England after the first world war, and partly because it has an insidious moral power.” Michael Billington, The Guardian

“Sutton Vane wrote this play in 1923, which opened in another fringe theatre, the Everyman in Hampstead. From there it tranferred, first to the West End, where it was the biggest hit of the year, and then sailed across to New York, where it met with enormous success. Let us hope that history can repeat itself.” Don Grant, Kensington Chelsea Today

“If Sartre wrote Downton Abbey it would be something like this.” Dan Usztan, Whats On Stage

 “The performances are impressive throughout” Clare Ollerhead, Stage Won

 “Nicholas Karimi delivered a particularly strong performance as the well-meaning but weak-minded alcoholic Tom Prior” Everything Theatre

“Nicholas Karimi is wonderfully watchable” Tom Oakley, One Stop Art

“Derek Howard was superb as the blustering and self-obsessed Mr Lingley” Everything Theatre

“As Mrs Cliveden-Banks, Carmen Rodriguez gets some of the loudest laughs for her snobby put-downs.” Nicholas Hamilton, The Stage

“The humour, mostly occasioned by one Mrs Cliveden- Banks (Carmen Rodriguez), a colossal snob, is toe-curlingly funny.” Sam Marlowe, The Times

“A touchingly weary David Brett” Julia Rank, Exeunt

“David Brett’s ghost-like steward slips in and out of scenes like velvet as he attends to his customers with both drinks and information.” Sebastian de Montmorency, The Public Reviews

“Played with sinister understatement by David Brett” Andrzej Lukowski, Time Out

“Carmen Rodriguez has an excellent way with a withering one-liner and could sneer for England as the dreadful Mrs Cliveden-Banks (who takes her hyphen very seriously).” Julia Rank, Exeunt

“Ursula Mohan wrings a considerable amount of humanity from Mrs Midget” Julia Rank, Exeunt

“Ursula Mohan as the good-hearted prole, Carmen Rodriguez as the hyphenated socialite and David Brett as an omniscient steward all impress” Michael Billington, The Guardian

“I can only say that, if there is an afterlife, it would be good to know you'd be met there by someone as wisely cheerful as Martin Wimbush's Examiner” Michael Billington, The Guardian

“Martin Wimbush’s expertly-played, relaxed colonial administrator of a clergyman.”  Timothy Ramsden, Reviews Gate

“In a strong cast, Carmen Rodreguez as the snooty lady, Derek Howard as a hot-headed businessman, Nicholas Karimi as the self-hating drunk and David Brett as an all-knowing steward stand out.” Gerald Berkowitz, Theatre Guide London

“Director Louse Hill keeps the action on the right side of serious, navigating the tricky material with a firm hand and keeps the balance between morality play and thriller perfectly weighted.” Dan Usztan, Whats On Stage

“Louise Hill’s stylish production” Julia Rank, Exeunt

“Louise Hill's production could dispense with a needless second interval, but otherwise gets the play dead right” Michael Billington, The Guardian

“It is generally a pretty good bet that any play which has disappeared from view for half a century should remain hidden. Louise Hill, who has already had a pair of Finborough successes with revivals of JM Barrie, has never learned this maxim.” Philip Fisher, The British Theatre Guide

“Director Louise Hill builds such an eerie atmosphere of mystery that one is anxious to get back to the story at both the play’s intervals. J B Priestley’s name was being bandied around post-show and if you see it you’ll know why.” West End Whingers

 “Alex Marker’s superb set impressed me from the moment I walked into the space. Using the natural curve of the theatre’s walls, Marker’s set creates a perfect bar inside the cabin of a boat, complete with portholes.” Everything Theatre

“The quality of the design immediately set the production apart from other fringe productions I have seen, and was already starting to understand why people rave about the Finborough.” Everything Theatre


“Finborough resident designer Alex Marker has excelled himself with his art deco saloon bar, complete with a grand drinks cabinet and curtained portholes. The cast are elegantly costumed by Gregor Donnelly and William Morris’s music lends the right amount of eeriness.” Julia Rank, Exeunt

“Beautifully designed by Alex Marker” Michael Billington, The Guardian

“Alex Marker’s set is mighty impressive and surely a contender for award nomination.” Gareth Richardson, Bargain Theatre

“The intimate, thrust stage allows no margin for design complacency and the detail is perfect. Everything from the labels on the beer bottles to the sweet scent of tobacco. This is the first time the play has been produced in over fifty years – and what a welcome return.” Jo Sutherland, Spoonfed

“The saloon is brilliantly realised by the most impressive set (Alex Marker) ever seen by Whingers’ eyes at this tiny venue.” West End Whingers

“Gregor Donnelly’s detailed costumes are period perfect.” Dan Usztan, Whats On Stage

“Fringe theatre at its best, wonderful venue, fantastic performances and a completely engaging performance. Best fringe production we've seen.” Everything Theatre