Playwright Sidney Howard (1891-1939) won a Pulitzer Prize for Drama for They Knew What They Wanted (1924), and is best known today for his screenplay for Gone with the Wind (1939) which won him a posthumous Academy Award™ for Best Adapted Screenplay. Born in California, he studied playwriting at Harvard under George Pierce Baker in his legendary ‘47 workshop’, alongside Eugene O'Neill, Thomas Wolfe, Philip Barry and S. N. Behrman. Following service as an ambulance driver in the First World War, he became Literary Editor of Life, and had an overnight theatrical success with They Knew What They Wanted which went on to be filmed three times (in 1928, 1930, and 1940) and later became the Broadway musical, The Most Happy Fella. He ultimately wrote or adapted more than seventy plays, and also directed plays, and co-founded the Playwright’s Company with fellow writers including Maxwell Anderson, Robert Sherwood and Elmer Rice. His many plays include The Late Christopher Bean (1933), Alien Corn (1933), Yellow Jack (1934) and Paths of Glory (1935), later filmed by Stanley Kubrick. Howard was also much in demand in Hollywood where his screenplays included Bulldog Drummond (1929), Raffles (1930 and 1940), A Lady to Love (1930), and two Oscar™ nominations for Arrowsmith (1931) and Dodsworth (1936). He died in a freak accident on his Massachusetts farm at the age of 48. Howard was posthumously inducted into the American Theatre Hall of Fame in 1981.

Director Joe Harmston has directed for over thirty years. He has directed over 100 productions around the world and forged associations with some of British theatre’s most significant voices including Harold Pinter, Ronald Harwood, Michael Frayn, Trevor Nunn, Peter Hall, Peter Ustinov and Bill Kenwright. He has worked as Associate Director for Chichester Festival Theatre and to Peter Hall and Trevor Nunn, as Artistic Director of Tour de Force Productions, and the Agatha Christie Theatre Company, and was a Creative Associate at the Belgrade Theatre, Coventry. His many productions include The Lover and The Collection (Donmar Warehouse) starring their writer, Harold Pinter, King James’ Ear (Old Red Lion Theatre), Howerd’s End (King’s Head and Jermyn Street Theatres), The Rubenstein Kiss (Southwark Playhouse), Miss Nightingale (The Vaults), Murder in the Cathedral (Temple Church), Octopus Soup (Belgrade Theatre, Coventry, and National Tour), The Dead Wait (Park Theatre), The Handyman (Yvonne Arnaud Theatre, Guildford), The Father (Belgrade Theatre, Coventry), nominated for the TMA Award for Best Director, and national tours of Dead Lies, Dracula, And Then There Were None, Black Coffee and Star Quality. His directing for radio has been Critic’s Choice in both The Independent and Radio Times.

Producer Andrew Maunder’s productions at the Finborough Theatre include the world premiere of Robert Graves’ But it Still Goes On, the first London production since 1944 of St John Ervine’s Jane Clegg, the first London production since 1926 of Kate O’Brien’s Distinguished Villa, and, most recently, a triple bill of Edwardian one-act plays: Makeshifts and Realities by Gertrude Robins and Honour Thy Father by H. M. Harwood which won the 2023 London Pub Theatres Award for Best Ensemble Acting and was nominated for Best Revival. He also teaches at the University of Hertfordshire. He is the author of British Theatre and the Great War 1914-1919 (2016), R.C. Sherriff’s Journey’s End, A Guide (2017) and Enid Blyton. A Literary Life (2021).

‘A dramatic work of real quality…an important play.’ London Evening Standard.
‘An extremely powerful but singularly painful play…The author, Mr. Sidney Howard has chosen for his subject the rivalry which not infrequently is found to exist between a mother and her daughter-in-law.’ Daily Telegraph.
‘So tense and violent that they made Greek tragedy seem tame and colourless.’ Daily Express.
‘Characters drawn with insight and restraint….The work is alive and moving.’ The Times.
‘A wonderfully engrossing play.’ News of the World.
‘Drama fit for grown people, and not childish entertainment…The Silver Cord makes amend for much dubious stuff imported from America.’ The Guardian.
‘A trenchant drama…after the stimulating manner of George Bernard Shaw…Enormously exhilarating.’ Brooks Atkinson, The New York Times
‘A ‘Best Play of the Year’, and one of the better remembered plays of the decade, The Silver Cord was a fierce indictment of the emotional and psychological havoc that possessive maternal affection could wreak… As a study of one woman’s selfish obsession, it was compared to plays such as…August Strindberg’s The Father.’ Encyclopedia of the New York Stage, 1920-1930.
‘It ranks with the finest of dramas the theatre of this town has produced over a stretch of years.’ New York Daily News.
‘Shows Howard’s technique and treatment at their best. As a searching, unsparing, some might say even cruel, analysis of a certain type of over-possessive mother, it is unique in American drama... Certainly it is more searching and subtle than is characteristic of even the better of recent realistic American plays.’ Professor S. Marion Tucker

‘A tender, original, merciful drama.’ Brooks Atkinson, The New York Times on They Knew What They Wanted
‘He has written the most fascinating new play in town.’ The New York Evening Post on Lucky Sam McCarver.
‘Sidney Howard, who, before he journeyed to Hollywood, had established himself as one of our leading dramatists by writing such vigorous and expert plays as They Knew What They Wanted, Lucky Sam McCarver, The Silver Cord, and Ned McCobb’s Daughter.’ Theatre Arts Monthly.
‘One of the most accomplished of living American playwrights.’ Charles Whitman, Representative Modern Dramas (1936)
‘His death was a Broadway calamity…Broadway and the Playwrights' Company lost one of its most admirable people...in the midst of an active career and full of ideas for more plays.' Brooks Atkinson, The New York Times

‘Joe Harmston directs this ice-cold gem of a play (The Collection) with immaculate precision. The Lover is equally compelling. They are without doubt, the most disturbingly erotic dramas on the London stage.’ The Daily Telegraph.
‘Joe Harmston's production offers a tremendous evening.’ The Guardian on The Father.
‘Only rarely do all the facets of a single production combine to produce such a fine cut crystal as this one, flashing with fire and clarity for two-and-a-half memorable hours.’ Time Out on King James’s Ear.
‘Catch it before they ban it.' ★★★★★ Dominic Cavendish, The Daily Telegraph on The Father.

On Makeshifts and Realities, and Honour thy Father –
‘Both plays, beautifully and subtly executed, linger in the mind.’ ★★★★ London Pub Theatres Magazine.
‘Fine examples of the Finborough’s continuing genius in finding forgotten plays, applying the highest of technical standards to the production.’ ★★★★ The Arts’ Desk.
‘Carefully paced, finely detailed and beautifully acted.’ ★★★★ Reviews Hub.
‘Hidden gem…These plays should transfer, be far better-known…grab a ticket if you possibly can.’ Fringe Review.
On Distinguished Villa –
‘A thumping good play quite superbly acted and directed… as good a play as you will currently find In London.’ Michael Billington, Country Life.
‘A dark and angry play, as cross as Osborne in its way…real emotional chaos and tragedy.’ ★★★★ Libby Purves, Theatre Cat
‘Superbly acted and directed…a play not to be missed.’ ★★★★★ London Theatre.
‘This sparkling revival at the Finborough…a tremendous piece of writing.’ ★★★★ Reviews Hub.
‘A production full of class…the chance to see such top-notch craft shouldn’t be missed.’ Once a Week Theatre.

“This is the finest revival of any play all year.” Simon Jenner, Fringe Review

“The best play and the best production that I have seen this year.” John Groves, LondonTheatre1

“Rare revival of Sidney Howard’s acidic portrayal of toxic family relationships is wickedly entertaining.” Holly O’Mahony, The Stage

 “I have no hesitation in saying that this is one of the Finborough’s real discoveries! Why it has lain unperformed in London since 1927 is in one sense a mystery.” John Groves, LondonTheatre1

“A darkly thrilling masterpiece, given what might be its finest UK revival.” Simon Jenner, Fringe Review

“The Finborough Theatre continues to delight audiences with such glorious rediscoveries in their dramatic attic. And this jewel of a play is no exception.” Niligun Yusuf, London Pub Theatres

“The Finborough have now revived the play for its first London production since 1927. And it’s a zinger.” Carole Gordon, North West End UK

“One of the Finborough Theatre’s Artistic Director, Neil McPherson’s, gifts is an uncanny ability to find long-forgotten plays that work, right here, right now. He’s struck gold again with The Silver Cord, presenting its first London production for over 95 years.” Gary Naylor, The Arts Desk

“Artistic director Neil McPherson proves his weight in gold, again, as he pursues his mission to bring forgotten gems back to the London stage.” Mary Conway, Morning Star

“It was a huge hit in London in the 1920s and is revived here by the Finborough, ever widening our knowledge of theatre history.” Lizzie Loveridge, Theatre Vibe

“Although The Silver Cord is now almost a century old, the story resonates.” Carole Gordon, North West End UK

“A terrific choice by Neil McPherson. And a beautifully realised production that speaks volumes to us today.” Mary Conway, Morning Star

“This play is no museum piece, but an essential lesson.” Gary Naylor, The Arts Desk

“Terrifying and humorous.” J.C., London Living Large

“Grab some metaphorical popcorn and enjoy.” Holly O’Mahony, The Stage

“This drama doesn’t let up.” Simon Jenner, Fringe Review

“A gripping, timeless family drama with fabulous female characters.” Clare Annamala, Everything Theatre

“The sort of play that provides much food for thought and discussion afterwards.” John Groves, LondonTheatre1

“As relatable now as ever.” Carole Gordon, North West End UK

“Emotionally resonant.” Ashvin Vasudeva, Plays To See

“The Silver Cord still resonates with chilling clarity in Joe Harmston’s gripping revival.” Ruweyda Sheik-Ali, The Upcoming

“This really is an event. A majestic, criminally overlooked play, rediscovered in an utterly marvellous staging.” Alun Hood, AJH Loves Theatre

“Who you really see when you see Mrs Phelps will depend on your own experiences, your own politics, your own values, but you will see someone.” Gary Naylor, The Arts Desk

“Tensions between mothers and daughter-in-laws are as old as time itself… this is one of the many things that makes the play still relevant today.” Michael Davis, Breaking the Fourth Wall

“Playwright Sidney Howard’s absolutely cracking drama looks at the mother-son relationship and the changing place of women in society. He has written three vibrant female characters who suffer believable pain and wrestle with questions about happiness and fulfilment that still resonate today.” Clare Annamala, Everything Theatre

“Quietly blazing.” Simon Jenner, Fringe Review

“Gripping.” Ashvin Vasudeva, Plays To See

“One can hear the audience continually drawing breath with shock or laughter.” John Groves, LondonTheatre1

“We watch in delighted horror.” J.C., London Living Large

“Gives audiences a delightfully emotional ride.” Niligun Yusuf, London Pub Theatres

“Intense.” Ashvin Vasudeva, Plays To See

“Very engrossing.” John Groves, LondonTheatre1

“Highly entertaining.” Holly O’Mahony, The Stage

“Absorbing melodrama.” Stephen Bates, The Reviews hub

“Deeply engaging and emotionally impactful.” Ashvin Vasudeva, Plays To See

“Magnificent mothering melodrama.” Niligun Yusuf, London Pub Theatres

“Melodrama that is palatable and wholly enjoyable.” Stephen Bates, The Reviews hub

“Beautifully staged and acted.” Gary Naylor, The Arts Desk

“Written sharply and staged beautifully.” Stephen Bates, The Reviews hub

“Both tense and beautifully written.” Ashvin Vasudeva, Plays To See

“Beautifully written, well-structured, totally engrossing, shocking, amusing, giving all five actors great roles to portray.” John Groves, LondonTheatre1

“Sidney Howard’s thriller-like unmasking of the toxic potential of mother-son relationships hadn’t been seen on the London stage in almost 100 years until this tense revival.” Holly O’Mahony, The Stage

“Sidney Howard was one of the most important stage dramatists in the early 20th century. He was nominated for numerous Academy Awards and won the 1925 Pulitzer Prize for drama. One of the first Broadway writers to make the leap to screenwriting, he was tasked with adapting Gone with the Wind for the screen. So, how wonderful to have this chance to hear his work.” Niligun Yusuf, London Pub Theatres

“Sharply observed and darkly comedic.” Aliya Al-Hassan, Broadway World

“A “well-made play” – the sort that Coward, Rattigan et al wrote.” John Groves, LondonTheatre1

“The arrival of new spouses threatens to unravel the tightly-knit, sheltered family, as different forms of love—maternal and romantic—clash in desperate and insidious ways. This dynamic is as unsettling as it is true, and the play examines it both admirably and terrifyingly.” Ashvin Vasudeva, Plays To See

“This is the point of theatre: to commandeer our imagination and enable us to inhabit lives other than our own. In this the Finborough and this production excel.” Mary Conway, Morning Star

“A Freudian fairground of dramatic possibility.” Niligun Yusuf, London Pub Theatres

“Howard taps into something deep in the psyche of many.” J.C., London Living Large

“As objectionable as Mrs. Phelps is, audiences will still be able to understand and sympathise with her, perhaps even feel sorry for her. Such is the mastery of Howard’s writing.” Niligun Yusuf, London Pub Theatres

“The acid script, carefully constructed plot and emotional tug of war remains wickedly enjoyable.” Holly O’Mahony, The Stage

“The language is vivid, the plot pushes the characters to their limits.” Ashvin Vasudeva, Plays To See

“A splendid production with performances worthy of the National Theatre” Mary Conway, Morning Star

“This powerful ensemble piece has a terrific cast and unforgettable characters who will stay with you long after the long play is over.” Niligun Yusuf, London Pub Theatres

“A flawless cast.” Simon Jenner, Fringe Review

“The exceptional cast.” Carole Gordon, North West End UK

“Five standout performances.” Ruweyda Sheik-Ali, The Upcoming

“A masterpiece of up-close acting.” Gary Naylor, The Arts Desk

“Strongly focused performances.” Stephen Bates, The Reviews hub

“All are outstanding and Dunmore, and certainly Ward, should be up for some glittering prizes.” Simon Jenner, Fringe Review

“The performances are very fine, especially Sophie Ward’s domineering, wheedling and manipulative matriarch.” Lizzie Loveridge, Theatre Vibe

“Ward is quite terrifying in the part… my pulse quickened each time she appeared, cooing and spectre-like.” Holly O’Mahony, The Stage

“Sophie Ward is delightfully arch. She positively purrs.” J.C., London Living Large

“Sophie Ward's Mrs Phelps is a masterclass.” Aliya Al-Hassan, Broadway World

“Mrs Phelps is a wonderful role and Ward is brilliant in it… In less capable hands she could become a caricature, but Ward keeps her real, showing us the tiny moments of doubt or disquiet under the preternaturally poised exterior.” Clare Annamala, Everything Theatre

“Sophie Ward is compellingly repellent.” Gary Naylor, The Arts Desk

“A riveting performance by Sophie Ward.” Niligun Yusuf, London Pub Theatres

“Sophie Ward’s impressive portrayal.” Lizzie Loveridge, Theatre Vibe

“Sophie Ward’s compelling performance.” Ruweyda Sheik-Ali, The Upcoming

“Ward is absolutely superb.” John Groves, LondonTheatre1

“Sophie Ward is outstanding.” Carole Gordon, North West End UK

“Sophie Ward as fiendishly manipulative matriarch Mrs Phelps gives the performance of her life.” Simon Jenner, Fringe Review

“Mrs Phelps is a wonderful role and Ward is brilliant in it… In less capable hands she could become a caricature, but Ward keeps her real, showing us the tiny moments of doubt or disquiet under the preternaturally poised exterior.” Clare Annamala, Everything Theatre

“Ward gives a nuanced and totally believable performance.” Carole Gordon, North West End UK

“Sophie Ward… commands centre stage, punctuating her refined elegance with raw possessiveness so powerful it makes us gasp.” Mary Conway, Morning Star

“Dunmore is exquisite.” Simon Jenner, Fringe Review

“Alix Dunmore is totally believable in this role, especially in building to the final scene where the playwright gives her an impassioned monologue, of which she makes the very most.” John Groves, LondonTheatre1

“Dunmore delivers a performance that gradually gains momentum before erupting in a spectacular final showdown.” Holly O’Mahony, The Stage

“Dunmore rivets us.” Simon Jenner, Fringe Review

“Alix Dunmore does an excellent job as the strong-minded and rational Christina.” J.C., London Living Large

“The other three roles are also exceedingly well played.” John Groves, LondonTheatre1

“Jemma Carlton, all pixieish energy and Noo Yawk accent is winning as Hester.” Gary Naylor, The Arts Desk

“Jemma Carlton gives feisty Hester a youthful and naive charm.” Carole Gordon, North West End UK

“Jemma Carlton effectively captures the naïve and abused Hester.” J.C., London Living Large

“Carlton brings just the right amount of hysteria to a jilted Hester.” Holly O’Mahony, The Stage

“Carlton emerges from sharp interjection … to explosive fury in a heart-stopping performance.” Simon Jenner, Fringe Review

“I liked also Jemma Carlton’s Hester who has some of the most perceptive lines in the play.” Lizzie Loveridge, Theatre Vibe

“Jemma Carlton lights up the stage.” Mary Conway, Morning Star

“George Watkins is impressive.” John Groves, LondonTheatre1

“George Watkins is forceful.” Carole Gordon, North West End UK

“George Watkins is convincingly credulous and vacillating.” J.C., London Living Large

“Watkins quietly simmers as a spineless David.” Holly O’Mahony, The Stage

“Coates shows beautifully the weakness and jealousy that fuel Robert.” Carole Gordon, North West End UK

“Dario Coates creates a wonderfully wounded and fawning Robert.” J.C., London Living Large

“Coates is wonderfully conflicted as mummy’s boy Robert.” Holly O’Mahony, The Stage

“Played with aching vulnerability by Dario Coates.” Niligun Yusuf, London Pub Theatres

“Joe Harmston’s powerful production.” John Groves, LondonTheatre1

“Director Joe Harmston has mounted a worthy revival of this lost work.” J.C., London Living Large

“Director Joe Harmston draws great performances not just from Ward but from the whole cast, allowing them to bring out every nuance of the subtly comic, but deadly serious dialogue.” Clare Annamala, Everything Theatre

“The director subtly builds the tension continually from the moment the play starts, right up to the very end, which is moving and ultimately unexpected.” John Groves, LondonTheatre1

“We’re in it too, director Joe Harmston staging the play in the round, our backs to the wall in more senses than one.” Gary Naylor, The Arts Desk

“It’s a masterstroke to set the play in the round, Alex Marker’s design giving the production an intensity.” Carole Gordon, North West End UK

“Harmston’s in-the-round staging heightens the intensity.” Holly O’Mahony, The Stage

“Alex Marker has designed a lavish in-the-round set.” John Groves, LondonTheatre1

“Alex Marker’s set oozes into your consciousness: the paintings of mother and child, tacky but pricey; the claustrophobic lack of windows, all shut; the drawing room as prison cell.” Gary Naylor, The Arts Desk

“Set designer Alex Marker… brings out the play’s suffocating family tensions.” Ruweyda Sheik-Ali, The Upcoming

“Alex Marker set’s echoes this: a parqué floor of hexagonal wood design, beautifully inlaid, centres like a spider’s web.” Simon Jenner, Fringe Review

“Alex Marker's set makes brilliant use of the space.” J.C., London Living Large

“Set designer Alex Marker has transformed the tiny space of the theatre into an elegant home.” Aliya Al-Hassan, Broadway World

“The acting, staging, and effects are consistently impressive.” Ashvin Vasudeva, Plays To See

“Set, lighting and costume are all on point.” Carole Gordon, North West End UK

“Carla Joy Evans' costumes are a definite highlight.” J.C., London Living Large

“Carla Joy Evans' period costumes are also a delight.” Aliya Al-Hassan, Broadway World

“Carla Joy Evans’ beautifully observed costumes set the tone.” Gary Naylor, The Arts Desk

“Mike Robertson’s lighting is suffused with wintry snow outside, and dimmed half-lights.” Simon Jenner, Fringe Review

“Amanda Priestley does something inspired in her sound.” Simon Jenner, Fringe Review