Playwright and Performer Jack Klaff’s productions at the Finborough Theatre include The Representative, Drama at Inish, Trilby, Nagging Doubt, But it Still Goes On and as a regular host for the Finborough Forum.
Theatre includes Behan (Irish Cultural Centre and Lennon-Ono Hall, Liverpool), Catastrophe (Zoom), Ice Cream Boys (Jermyn Street Theatre), Ballad of the Cosmo Café (St Peters, Belsize), Shirleymander (Playground Theatre), Richard II (Rose Theatre, Kingston), Screaming Secrets (Tristan Bates Theatre), The Cherry Orchard, The Lower Depths (Arcola Theatre), Beyond Price (Summerhall), Dracula (New Vic Theatre, Newcastle-under-Lyme), Ivy and Joan and Statements (Jermyn Street Theatre), Henry VI, Sons of Light, As You Like It and Tamburlaine (Royal Shakespeare Company), Othello, Troilus and Cressida, Donkey’s Years and I’m Not Rappaport (Bristol Old Vic), Map of the Heart (Globe Theatre), Insignificance (Donmar Warehouse) and Stockwell (Tricycle Theatre).
Film includes Two Decadent Years, The Eyes of Orson Welles, For Your Eyes Only, King David, Pasternak and Olga, 1871, Ten Pence and Star Wars.
Television includes Citizens’ Jury, Behan, The English, Last Duel, Red Dwarf, Vanity Fair, Ruth Rendell’s Road Rage, Midsomer Murders and his own works Nagging Doubt, Fifty Minute Hour and Maybe Baby.
Radio includes Fountainbridge Spy, Sea Wolf, Comandante, The Hunchback of Notre Dame, Byron, I Regress and
Bleeding Edge.
Radio includes Radio 4 Books of the Week – Young Orson, Last Resort, Tynan Diaries; Books at Bedtime –The Phantom of the Opera and The Promise; and his own works Flying Backwards, Three-Five-Silly-Twerp, Nagging Doubt, Freud and Jung the Sitcom and Kafka.
Theatrical works he has written and performed include The Cuddles Trilogy, Kafka, The Fifty Minute Hour, Bosom Buddies, and verses for The Shakespeare Revue (West End and International Tour).
He has written for The Guardian, The Independent, and Vogue, and has presented on BBC Radio, LBC, BBC Four TV, Discovery and Granada. He has rewritten his theatrical show Whole Shebang as a book, and he is also the author of Bluff Your Way in the Quantum Universe. Jack has held Visiting Professorships at Starlab – a science and technology think tank in Brussels – and at Princeton University.
Klaff has won two Fringe Firsts, a Summerhall Lustrum award for Heartstopping Moments, the Three Weeks Editors’ Award,  the Seabiscuit Award for Science and Art, Two Sony Certificates for radio acting, and a Glasgow Herald Archangel statuette. He has been nominated for a Golden Rose Award at Montreux, and a Writers Guild Tinniswood Award for Radio Writing. He won BBC TV’s Jack Hargreaves Award for Innovative Use of TV Drama.

Director Colin Watkeys returns to the Finborough Theatre after founding and running the Finborough Cabaret in the early 1980s. He is the founding director of the Face to Face Festival of Solo Theatre, and has been directing solo performers for over thirty years. He specialises in working with writers who perform their own work including Ken Campbell, Claire Dowie and Jack Klaff. He studied philosophy in London, Japanese theatre, music and dance in Tokyo, and worked at the Royal Court Theatre for the Young Writers Festival. He is currently Associate Theatre Director at Lyrici Arts in Medway, and is directing Desiree Baptiste in Incidents in the Life of an Anglican Slave (Lambeth Palace Library, All Souls College, Oxford and Jesus College, Cambridge). Amongst his many notable productions are Adult Child/Dead Child, Why Is John Lennon Wearing a Skirt, Death and Dancing and H to He (I'm turning into a man) by Claire Dowie (Finborough Theatre, Drill Hall and Worldwide), and Pigspurt, Jamais Vu and Theatre Stories by Ken Campbell (National Theatre and Royal Court Theatre). Colin's previous collaborations with Jack Klaff span revivals of his fringe classics as well as original productions of Jack the Knife (Edinburgh Festival and The Drill Hall), Newton (Gravity Festival and Edinburgh Festival) and Hunger (Biscuit Factory).

‘With Kafka the protean Jack Klaff takes the one man show and the art of theatrical performance generally to new heights.’ The Scotsman
‘Not since Peter Sellers have critics and pseuds been skewered with such relish. Blissful.’ London Evening Standard
‘You want to know what good is? This is good. However much you know about Kafka - and whether you think Kafka is Gothic and depressing or a scathing satirist - Klaff’s one person offering is for you. Unmissable.’ ABC, Perth Australia
‘Like the man says, Jack Klaff ‘s Kafka ‘bites and stings’. Orlando Sentinel
‘I don’t know how he does it. Mountains of unimpeachable research so lightly deployed; flabbergasting insights with every breath; time for more spot-on and staggering dramatisations than even the greediest Kafka nut deserves; comic brilliance – a ‘stand up’ as it were for our entire species. Someone recently called Jack Klaff’s work a ‘precious theatrical secret’. This makes me very cross. Time for him to be a secret no more. People should bash down doors to see Kafka.’ Cheltenham Notes

‘Five stars aren’t enough.’ The List on Bosom Buddies

‘The best thing I saw on the Fringe. Indeed it was enough to make the Festival worthwhile.’ James Fenton, Sunday Times on The Fifty-Minute Hour

‘A triumph.’ The New York Times on Nagging Doubt

‘A gift for clarifying even the most complex and confusing material with joy, wonder, emotion and hilarity’. Jack Tinker, Daily Mail on Klaff's Donmar Season: Cuddles and Nagging Doubt

‘He fills every corner of the stage with his twisting tale and holds your attention every step of the way. This is touching, vital, humanistic drama that in its scope and intelligence strips all else bare before it. Remarkable.’ The List on The Whole Shebang

‘It’s remarkable to encounter tragedy and comedy in such full measure within the work of a single present-day artist’. Times Literary Supplement

‘When the actor plays all the parts we are reminded of our and their common humanity. Klaff also writes or compiles his own material. Actor and writer are literally of the same mind. …. This is the most talented and powerful drama I have seen for a very long time.’ Godfrey Hodgson, Financial Times on Nagging Doubt on Channel 4

‘He may be a smart arse but he’s a fantastically entertaining one.’ Lyn Gardner, The Guardian on The Whole Shebang