Home Chat

by Noël Coward

30 August – 24 September 2016

“I am shirking off the chains that have shackled me for so long – I have suddenly come to realise that I am a woman – a living, passionate, pulsating woman – it never occurred to me before.”

The first UK production in nearly 90 years

HOME CHAT is now completely sold out for the entire run including the additional matinee on Thursday, 15 September at 3.00pm.

★★★★★ Five stars, RemoteGoat.com
★★★★ Four stars, The Telegraph
★★★★ Four stars, The Stage
★★★★ Four stars, The Reviews Hub
★★★★ Four stars, BroadwayWorld.com
★★★★ Four stars, LondonTheatre1
★★★★ Four stars, Last Minute Theatre Tickets

Four OffWestEnd Award nominations

A unique rediscovery in its first UK production since its premiere in 1927.

Janet Ebony and her best friend Peter Chelsworth are innocently sharing a sleeping compartment when their train to Paris is involved in a disastrous railway accident. Outrage and scandal ensue as Janet’s husband Paul and her fearsome mother-in-law accuse Janet and Peter of adultery. Aghast at their families’ accusations, Janet and Peter decide to take revenge by inventing an adulterous affair…

Written with Noël Coward’s trademark wit and insight, Home Chat is a distinctly modern comedy about female sexuality and fidelity, in a society rigidly governed by decorum and reputation.

About The Playwright Noёl Coward

Playwright Noёl Coward was born in 1899, and died in 1973. He was an actor, playwright, screenwriter, composer, lyricist, artist, novelist, short story writer, poet and cabaret artist. His many plays include The Vortex, Hay Fever, Easy Virtue, Bitter Sweet, Private Lives, Fallen Angels, Cavalcade, Design for Living, Tonight At 8.30, This Happy Breed, Present Laughter and Blithe Spirit. His screenplays include In Which We Serve and Brief Encounter. His songs include Mad Dogs and Englishmen. The Finborough Theatre has previously presented his very first play The Rat Trap in 2006 and the UK professional premiere of This Was a Man in 2014.

About The Director Martin Parr

Director Martin Parr was nominated for an Off West End Award for Best Director for his production of Hamlet (Rose Theatre, Bankside). Theatre includes Sense and Sensibility (Liverpool Institute for the Performing Arts), The Eighth Wonder of the World (Brunel Tunnels), The Devil to Pay on Brook Street (Handel House, Mayfair), Where Late the Sweet Birds Sang and Doctor Faustus (Rose Theatre, Bankside), The Three Georges (Gottingen Festival), A Door Must be Kept Open or Shut (Osborne Studio), A Night in CDU (Landor Theatre) and Romeo and Juliet (St George's, Bloomsbury). Opera includes Acis and Galatea (Canons, London), Teixeira's Te Deum and Handel's Messiah (Casa Da Musica, Portugal), L'Ippolito (Festival de Sable and Ambronnay Festival) and Comus (London Handel Festival). Assistant Direction includes 84 Charing Cross Road (Salisbury Playhouse). Martin is also an Associate with Actors From The London Stage, who tour Shakespeare plays to the USA twice a year. Martin originally trained and worked as an actor, working at theatres across the United Kingdom and America.

The Press on Director Martin Parr

“This ambitious production soars…an unexpected delight...the experience is a fascinating one.” The Telegraph on Hamlet

“Martin Parr’s fast and fresh adaptation is a pleasure to behold…clever and original in the most unexpected way, Parr’s adaptation is a must-see.” The Public Reviews on Hamlet

“Staggeringly good.” The Stage on Hamlet

“Witty, poised and risky.” The Arts Desk on Where the Late Sweet Birds Sang

“Outstanding panache.” The Public Reviews on Doctor Faustus

“Polished and satisfying.” The New York Times on L’Ippolito

The Press on Home Chat

★★★★★ RemoteGoat.com
★★★★ The Telegraph
★★★★ The Stage
★★★★ The Reviews Hub
★★★★ BroadwayWorld.com
★★★★ LondonTheatre1
★★★★ Last Minute Theatre Tickets

Four OffWestEnd Award nominations – Best Male Performance in a Supporting Role, Best Director, Best Sound Designer Best Set Designer

“Home Chat, a 1927 script by Noël Coward, has not been performed for nearly 90 years. It was not greeted well when it was first produced in the West End, and no one has championed it since. But they ought to have done…It turns out to be a searingly powerful, anti-establishment expression of female individuality” Tim Auld, The Telegraph

“An unexpectedly splendid surprise…it's a genuine marvel that that play turns out to be a sparkling diamond…on the evidence of Martin Parr's revelatory production here, you wouldn't be surprised to see it take it place alongside the more familiar of Coward's works that frequently pepper the repertoire” Ian Foster, There Ought to Be Clowns

“One of the brightest, sparkiest proto-feminists to be found in English drama. Janet Ebony is a fantastic character” Alison Goldie, RemoteGoat.com

“An enjoyable and polished production” London Pub Theatres

“This revival shows the strength of Coward's compact wit and stagecraft with a polished production” Traffic Light Theatregoer, Alice Joseph

“Rapier sharp dialogue” Genni Trickett, Last Minute Theatre Tickets

“Splendid performances from a highly skilled cast” Gary Naylor, BroadwayWorld.com

“Zoe Waites is just superb” Ian Foster, There Ought to Be Clowns

“Played with devil-may-care vivacity by Zoe Waites” Julia Rank, The Stage

“Janet is made compulsively watchable by Zoe Waites, a whirlwind of energy and luminosity” Alison Goldie, RemoteGoat.com

“Zoe Waites gives a masterclass in flippant insouciance and steely self-possession” Tim Auld, The Telegraph

“Tim Chipping, excellent as the stuffy, honourable Paul” Genni Trickett, Last Minute Theatre Tickets

“Particularly noteworthy is Clare Lawrence Moody who plays the simpering Mavis Wittersham with deft humour” London Pub Theatres

“The star of the show, however, has to be Clare Lawrence Moody, playing Mavis Wittersham” Olivia Gibbs-Fairley, A Young Theatre

“The scene stealer is Robert Hazle, as the manservant” Tim Auld, The Telegraph

“Robert Hazle, who plays the manservant, is a show-stealer with his jazz-age songs” West London Living

“Robert Hazle’s comedic turn as the Butler was impeccable” London Pub Theatres

“The old ladies are divinely eccentric courtesy of Polly Adams and Joanna David” Alison Goldie, RemoteGoat.com

“The relationship between David and Adams is fantastic” Cat Lamin, LondonTheatre1

“Polly Adams and Joanna David both give a masterclass in scathing comments and cutting glances” Ian Foster, There Ought to Be Clowns

“The show is stolen by the not-quite-lovers' mothers, who have the menace of the aunts of PG Wodehouse and the chutzpah that comes with what's now called white privilege. Joanna David and Polly Adams draw on years of experience to maximise the outrage” Gary Naylor, BroadwayWorld.com

“Director Martin Parr has now stylishly revived this comedy drama, giving it the production it deserves” Traffic Light Theatregoer, Alice Joseph

“Martin Parr's production does full justice to Coward's sharp wit” Carolin Kopplin, UK Theatre Network

“A delightful production by Martin Parr” Julia Rank, The Stage

“Christopher Nairne’s lighting and Pete Malkin’s sound are original, inventive and atmospheric” Genni Trickett, Last Minute Theatre Tickets

“Special mention has to go to the set design by Rebecca Brower which flawlessly encompasses the roaring twenties” London Pub Theatres

“Charlotte Espiner's costumes and Rebecca Brower's set are both packed with detail” Gary Naylor, BroadwayWorld.com

“The strongest period revivals at the Finborough are the ultimate in class” Julia Rank, The Stage

The Press on Previous Finborough Theatre Productions of Noël Coward Rediscoveries

On The Rat Trap

★★★★ Time Out (Time Out Critics' Choice) and The Sunday Telegraph

“Written in 1918, when he was only 18 and not revived since a brief London run in 1926, Noel Coward's The Rat Trap is an absolute revelation.” Nicholas de Jongh, Evening Standard

“A most rewarding evening” Jeremy Kingston, The Times

“This may be Coward juvenilia, but for sheer energy, engrossing performances and entertainment value the production knocks spots off almost every other straight play in London at the moment, and is sure to lead to further revivals or, better still, a transfer.” John Thaxter, British Theatre Guide

On This Was A Man

★★★★ Everything Theatre, West End Frame and The Good Review, and four OffWestEnd nominations

“Why on earth has it taken 88 years? That a really rather fine play by Noël Coward has had to wait until now for its professional UK premiere seems astounding. However, this certainly isn’t the first time that the tiny Finborough, on the London Fringe, has brought a forgotten gem to light.” Kate Bassett, The Times

“He guides us with astonishing acuity and intelligence through the shadowy byways of the human heart.” Lloyd Evans, The Spectator

“The Finborough is unparalleled in bringing to the fore these rarities of fine but unproduced drama.” Lizzie Loveridge, CurtainUp

“The tiny but prodigiously vital Finborough Theater.” Ben Brantley, The New York Times

30 August – 24 September 2016

Tickets and Times

Tuesday 7:30pm
Wednesday 7:30pm
Thursday 7:30pm
Friday 7:30pm
Saturday 3:00pm
Sunday 3:00pm

2 hours with one interval of 15 minutes