New CV for 2014!
What the Women Did
Luck of War by Gwen John
Handmaidens of Death by Herbert Tremaine
The Old Lady Shows Her Medals by J M Barrie
Mia Austen, Emily Bowker, Matthew Cottle, Simon Darwen, Alix Dunmore, Polly Eachus, Victoria Gee, Joseph Miller, Lucy Shaw, Fiona Sheehan, Alex Stuart, Jack Swift, Beatrix Taylor, George Taylor, Andrew Watkins, Susan Wooldridge
Revived to mark the 1914 Centenary, Two’s Company’s has mounted a collection of forgotten gems written during WW1.
The talented cast features BAFTA award-winning actress Susan Wooldridge, best known for her role as Daphne Manniers in The Jewel in the Crown as well as many successful TV drama series, together with Matthew Cottle who played Martin Henson in the long-running sitcom Game On and more recently played alongside Rowan Atkinson in the West End in Simon Gray’s Quartermaine’s Terms.
**** Four Stars – Time Out
‘Tightly and fluidly directed by Tricia Thorns, with an excellent, versatile set of men-less homes from Alex Marker, this is a complex and funny evening. It’s a snapshot of some of the unlikely issues faced by women during that brutal conflict, which still speak to us today, 100 years on.’
Daisy Bowie Sell – Time Out
‘Set designer Alex Marker has devised a set that intriguingly adapts to fit all three plays, the transitions becoming part of the action and the whole production team contributes to a time machine switch that captures the attitudes and feelings of our forbears.’
Howard Loxton – British Theatre Guide
‘Get seated ten minutes early. In Alex Marker’s humbly clever set, a bricky terraced house, the cast sing casually round a piano and the long, long trail of the century winds backward: Pack up your Troubles, a soldiers’ jokey “If you were the only Boche in the trench..” and the sinister jollity of “We don’t want to lose you but we think you ought to go..”. So before any theatre has even taken place, tears spring for the dead boys of long ago. Director Tricia Thorns has craftily primed us.’
Libby Purves - TheatreCat.com
‘Between the first and second plays, the stage undergoes a transformation. Whilst in the first scene we are in the kitchen, in the second we are outside of a house. The set, designed brilliantly by Alex Marker, moves like sliding doors to show the change from inside to outside. I expected a similar change to happen between the second and third plays but, keeping us on our toes, the stage is changed part way through the action.’
Eleanor Baggley – Whats on London
‘The set by Alex Marker is a triumph’
Aline Waites – Remotegoat.com
‘Alex Marker’s fluid design is also interesting and inspired, moulding itself perfectly to the three different settings.’
Helen Elizabeth Macdonald – Girloutside.com
‘With three plays taking place in the span of just over two hours, an audience might expect a very simple set with minimal props and changes, but Set Designer Alex Marker was more ambitious than that. What at first appeared a simple box set of the inside of a home, changed quickly to the outside of a tea and lemonade café for the second piece. The set gain transformed before the audiences’ eyes to the interior of a London apartment similar to, but with noticeable differences from, the first interior at the beginning of the third piece. By creating three noticeably different sets, Marker gave the audience a clear distinction from piece to piece, so that even if an audience member had not received a programme, they would have still understood the transition to a completely different work.’
Elena Robertson – Robertson Reflections (Blog)
Writer and Director: Gareth Machin
Designer: Alex Marker
Musical Supervisor and arrangements: Kate Edgar
Choreographer: Joanne Redman
Lighting: Dave Marsh
Sound: Mark Noble
Production photographs: Richard Davenport
A musical journey through the streets of London - perfect entertainment for the festival season.
Piccadilly Circus, The East End, The West End, Carnaby Street, The Thames, a London bus… each one evokes something about our capital city.
London Calling is an affectionate celebration of the city in all its guises. From the stillness of dawn, to the excesses of its nightlife – the sights and sounds, style and romance – all told through words and music.
Songs include A Foggy Day, A Transport of Delight, Underneath the Arches, Baker Street, Waterloo Sunset and many more.
The company of performers includes Glyn Kerslake (The Phantom of the Opera, Merrily We Roll Along), Stuart McLoughlin (Brief Encounter for Kneehigh Theatre) and Lauren Storer (Dreamboats & Petticoats).
**** Four Stars – Whats On Stage
‘Picture the scene; a dim lamp light flickers on a damp, foggy night close to the banks of the River Thames and here we find our trio of highly accomplished and versatile performers, who sing, play numerous instruments, act and dance through nearly two hours of sheer enchantment. They weave us through an eclectic assortment of songs describing the many diverse aspects of London town. The intimate atmosphere of the Salberg Studio is perfect for this original piece of theatre.’
Veronica Crowley – Whats On Stage
‘THIS is yet another superb show produced by Salisbury Playhouse.
In the intimate Salberg Studio, this hugely enjoyable musical has a simple yet effective set, including an atmospheric background of historical London, a red telephone box, a lamp-post, and an Underground sign with its map picked out on the stage floor and walls.’
Brendan McCusker – Southern Daily Echo
‘The show, devised and directed by Gareth Machin, with designer Alex Marker, and music arranged by Kate Edgar, is a total delight.’
‘Waterloo Sunset, a ’60s hit, and the Piccadilly Line Song, complete with illuminated map around the balcony, are among many treats in a great night out.’
Stella Taylor – This is Wiltshire
The White Carnation by R.C.Sherriff - Finborough Theatre
The White Carnation by R.C.Sherriff
The Finborough Theatre
Directed by Knight Mantell
Set Designed by Alex Marker
Costume Design by Janet Hudson Holt
Lighting Design by Peter Harrison
Sound Design and Original Composition by Lucinda Mason Brown
Cast: Robert Benfield, Daisy Boulton, Ashley Cook, Lynette Edwards, Aden Gillett, Harriett Hare, Josie Kidd, Bruce Panday, Joss Porter, Benjamin Whitrow, Derek Wright, Philip York.
November – Saturday, 21 December 2013
The first production in sixty years
“There have been strange rumours about this house. Although it was in a state of ruin, lights were seen in the windows every Christmas Eve: music was heard: voices and laughter…”
With a superlative cast led by Aden Gillett (Winner of the OffWestEnd Award for Best Actor for Accolade at the Finborough Theatre) and Benjamin Whitrow.
Christmas Eve, 1951. As Britain rebuilds itself after the war, John Greenwood has it all – a successful business, a beautiful house and an aristocratic wife. But as he bids farewell to the guests leaving his annual Christmas party, a gust of wind slams the front door shut, starting a chain of events that makes him doubt everything he has ever known…
From the writer of one of the 20th century’s most acclaimed plays, Journey’s End, The White Carnation is a ghostly tale of one man’s chance to do things differently. This rediscovery marks the first production since its premiere, starring Sir Ralph Richardson, in 1953.
‘Alex Marker, however, comes up with a stunning set that does a couple of lightning conversions.’
Michael Billington – The Guardian
‘Alex Marker once again gets the most out of the Finborough’s minute stage with a haunting monochrome design which possesses an ethereal quality, adding yet another layer of ambiguity to what really exists.’
Nathaniel Kent – The Public Reviews
‘The set design was similarly well done, with care and consideration shown to the look and feel of the post-war time in which the play was written. As an audience we were taken straight into the situation of the text, and I genuinely felt like we were outside in this scene – an achievement considering I was upstairs in an old pub in West Brompton.’
First London production for 60 Years
Summer Day’s Dream
**** Four Stars, The Guardian
Directed by Alex Marker
Set Design by Philip Lindley
Lighting Design by Simeon Miller
Costume Design by Josie Thomas
Sound design by Max Pappenheim
Cast: Lisa Armytage, Kevin Colson, Tom Grace, Helen Keeley, Keith Parry, Patrick Poletti, Peter Singh, Eleanor Yates.
“After two very successful revivals of neglected J.B. Priestley classics -Laburnum Grove and Cornelius, the Finborough tackles A Summer’s Day, a play that has not been performed on stage in more than 60 years…Thought-provoking and well worth seeing.” Carolin Kopplin, UK Theatre Network
“A strangely compelling play from the heart of an anguished romantic.” Michael Billington, The Guardian
“Priestley explores a surprisingly modern take on global politics and the role of the national versus the international” Seb de Montmorency, The Public Reviews
“Inside that burly pragmatist, JB Priestley, there was always a mystic struggling to get out. It is the latter that finally gains control in this extraordinary futuristic fantasia that has not been seen in London since its 1949 premiere.” Michael Billington, The Guardian
“Priestley’s strong moral message and criticisms of class systems shine through, and the audience is captured by the strangeness and drama of this wonderful play.” Alice Fitzgerald, The Upcoming
“The play not only has strong echoes of A Midsummer Night’s Dream in its faith in rural magic and of Shaw’s Heartbreak House in its vision of a natural kinship between age and youth. It is also uncannily topical at a time when Britain is being forced to ask whether its real influence lies in its cultural values rather than its militaristic posturing.” Michael Billington, The Guardian
“A well-constructed and well-timed revival, and inspires questions in the audience of what exactly our place is in global society, and it is certainly immensely enjoyable for its performances and individual nuances” Kirsty Emmerson, A Younger Theatre
“Kevin Colson is Priestley’s voice in the play. Tired of his former life that revolved around obtaining riches, he has now found the peace that he has craved for so long. Colson and Keith Parry, as the seemingly simple minded but wise farm bailiff Fred Voles, live their characters.” Carolin Kopplin, UK Theatre Network
“It is Colson’s performance that holds the entire production together.” Alice Fitzgerald, The Upcoming
“Eleanor Yates is lovely as the vivacious and stubborn Rosalie” Carolin Kopplin, UK Theatre Network
“Patrick Poletti’s Yankee industrialist, Peter Singh as the Indian scientist and particularly Helen Keeley as the Soviet commissar make strong impressions as the interlopers” Seb de Montmorency, The Public Review
“There is strong support, in Alex Marker’s production, from Lisa Armytage as Dawlish senior’s daughter-in-law and from Helen Keeley as the iron Soviet lady who melts under the influence of rural life.” Michael Billington, The Guardian
“Alex Marker, who is better known as a wondrous designer, directs a capable cast” Philip Fisher, British Theatre Guide
“The Finborough Theatre has done a splendid job at bringing this eerie classic to life” Alice Fitzgerald, The Upcoming
Read the Guardian review here: http://www.theguardian.com/culture/2013/sep/10/summer-days-dream-review
More information on how to book can be found at http://www.finboroughtheatre.co.uk/productions/2013/summer-days-dream.php
The Moment of Truth
by Peter Ustinov.
★★★★ ”Often plays think they are better than they are that it is refreshing to see one that is better than it thinks. Southwark Playhouse’s revival of Ustinov’s witty, light and largely forgotten play, The Moment of Truth is one with more insight into the effect of conflict on the human condition than any number of recent dour slogs that masquerade as serious political theatre. Laycock’s production is both well pitched and well paced’ Exeunt
★★★★ ‘Much comedy to be enjoyed… the acting in this play is sublime… The set, designed by Alex Marker, is also very malleable, transforming from a cabinet office to a cliff-top exile’. FourthWall
‘Following the early cancellation of Tanzi Libre, this ended up being my first experience of Southwark Playhouse’s new main house, and although not as atmospheric as the old railway tunnels I quickly warmed to the venue - apparently its seating capacity is larger than at London Bridge but it actually has a real intimacy to it, at least as configured here by Alex Marker. Used to making a little go a long way at the Finborough, the designer has here created a versatile thrust set that goes from government office to blasted battlements.’ Partially Obstructed View
In its first professional staging since an acclaimed 1951 premiere, Peter Ustinov’s largely forgotten play is about the mechanics of toppling governments, the pretences of war and the power of propaganda.
A republic is poised to fall. The only remaining members of an unpopular government are its cynical Prime Minister and a naïve, emotional Foreign Secretary. The invading army has it’s boots upon the soil of this crumbling nation. Inside the cabinet office, toy soldiers and old icons of military glory veil the realities of war and bloodshed. Death, in a moment of truth was never so real.
Directed by Robert Laycock
Set Design by Alex Marker
Lighting Design by Alex Marshall
Sound Design by Mathew Tarbuck
Composer Christopher Littlewood
Cast: Rodney Bewes, Mark Carey, Callum Coates, Toni Kanal, Damian Quinn, Miles Richardson, Daniel Souter and Bonnie Wright
by John Van Druten
Directed by: Tricia Thorns
29 Jan – 23 Feb 2013 Finborough Theatre
7 May – 1 June 2013 St James Theatre
The Two’s Company production of LONDON WALL by John Van Druten transfers to the St. James Theatre, for a limited run. Originally performed at the Finborough Theatre as part of their series of rediscovered early 20th century plays, LONDON WALL sold out at the Finborough where it was garlanded with praise by critics and audiences.
In a solicitor’s office, Brewer, the office manager, sees pretty new typist Pat as fair game, even though she is a green 19 and going steady with a reliable boyfriend. Some of the more experienced secretaries try to warn her. Others leave her to her fate. Meanwhile, cynical Miss Janus is jilted by her lover and at the desperate age of 35 her romantic life seems to be over.
LONDON WALL first appeared in the West End in 1931 and offered contemporary audiences a rare look at the life of women office workers in the City. An 80 year old play arrives on stage at a time when the continuing inability of men to see women as professional equals and colleagues is exceedingly topical.
Tricia Thorns directs with set design by Alex Marker, costume design by Emily Stuart, lighting design by Duncan Coombe and sound design by Dominic Bilkey.
The cast includes: Maia Alexander as Pat Milligan; Mia Austen as Miss Bufton; Emily Bowker as Miss Hooper; Marty Cruickshank as Miss Willesden; Alix Dunmore as Miss Janus; Timothy O’Hara as Hec Hammond; Alex Robertson as Mr. Brewer; Craig Vye as Birkinshaw and David Whitworth as Mr. Walker.
I DIDN’T ALWAYS LIVE HERE
By Stewart Conn
**** Four Stars - Whats On Stage
‘The set and costume design by Alex Marker and Susan Kulkarni respectively are impressive, imbued with detail as they are.’
Amy Stow - Whats on Stage
'…there’s much to enjoy in this thoughtful production, not least Alex Marker’s atmospheric design'
Laura Barnett - Time Out
‘Alex Marker’s design is nothing short of impressive. Creating a two level home in such a small space is no mean feat and it really captures the atmosphere of the dilapidated homes.’
Sarah Nutland – The Public Reviews
The English premiere
Directed byLisa Blair
Designed by Alex Marker
Lighting Design by Brendan Albrey
Costume Design by Susan Kulkarni
Music by Josh Sneesby
Sound Design by Max Pappenheim
Cast: CHRISTOPHER BIRCH, ALICE HAIG, CAMERON HARRIS, JENNY LEE, JOSHUA MANNING, EILEEN NICHOLAS, CARL PREKOPP, LEWIS RAE, JAMES ROBINSON, ROSS F. SUTHERLAND
“Not as if I always lived here, mind you…I started off in Govan. Never dreamt in those days I’d end up this side of the river. Real step up in the world that was…I’m grateful for it. Despite everything, I’m grateful for it ”
Glasgow, the 1970s. Martha and Amie are old neighbours, trapped in their decaying tenement and cut off from family and friends. With the present closing in and the future uncertain, Martha and Amie’s real companions are the past and their memories of ordinary lives peopled by extraordinary characters and their struggles and triumphs.
I Didn’t Always Live Here is a compassionate and heart rending journey into the forgotten lives of the dispossessed and elderly, as well as an uplifting journey into the human spirit’s capacity to cope with social exclusion and financial hardship.
One of multi-award-winning playwright and poet Stewart Conn’s earliest works, I Didn’t Always Live Here received its world premiere at Glasgow’s Citizens Theatre in 1967. It now receives its English premiere and its first ever production since a production at Dundee Rep in June 1973. It also marks Lisa Blair’s debut as a freelance director following her work with both the Royal National Theatre and the Royal Shakespeare Company.
Click below for promotional film.
By Stephen Belber
10th October 2012 – 10th November 2012
‘A motel room in Michigan provides the setting for Belber’s fast-paced drama, but what begins as a dull and lifeless space boasting little more than a single bed and a bathroom soon comes to resemble a dramatic bullring in which these two men see out their personal conflict.
The overwhelming sense of entrapment that pervades Alex Marker’s set allows for an intimate exploration of the play’s characters, revealing the twists and turns of their every emotion, be it anger or anxiety, as they address the extremely sensitive topic, which even Jon struggles to verbalise.’
Kate Sunbury – OfficialLondonTheatre.co.uk
‘Alex Marker’s set is simple but effective, and his costume designs are entirely apt; the costumes clearly show the varying social status of the characters – Vince in a dirty vest and boxers, Jon in chinos and a shirt, and Amy in a smart black blazer that is a hallmark of many power-dressing modern women.
This is an affecting, stirring and stylish production. It is a visceral experience for the audience, and the three actors give stunning performances. This is a beautiful gem; a very exciting piece of theatre.’
Ed Theakston – Fourth Wall Magazine
‘Set design by Alex Marker is decent. The cold motel room is simple and successful, not imposing and does what it says on the tin.’
Deborah Parry. One Stop Arts
‘Alex Marker’s set definitely communicated motel: muted colours, framed in a way that confines the characters almost claustrophobically.’
Veronica Aloess – A Younger Theatre
Directed by Thomas King
Set and Costume Design by Alex Marker
Lighting Design by Neill Brinkworth
Sound Design by Ed Borgnis
Produced by Louisa Norman
Vince – Marc Elliot
Jon – Darren Bransford
Amy – Kate Loustau
When aspiring filmmaker Jon meets up with his best friend from high school, Vince – a volatile drug-dealing dropout, the conversation turns to Amy, Vince’s first love, whom they both dated. Vince finally gets Jon to confess a disturbing secret, only then to reveal he has taped the entire conversation and that Amy is about to arrive any minute…
Frankie & Johnny In The Clair de Lune
By Terrence McNally
The Theatre Chipping Norton September 2012
After one too many hurtful relationships, the last thing that waitress Frankie wants is a new man. Yet here she is, lying next to Johnny, a compulsive talker and hopeless romantic, listening to Bach and Debussy on the radio and the sound of a city that never sleeps. Two very normal, very real people sparring, spatting and sparkling their way through all the one hundred and one reasons why people never fall in love.
Steeped in 1980’s America, and made famous by Al Pacino and Michelle Pfeiffer’s film performances, Tony award-winning playwright Terrence McNally’s play is a modern classic of bittersweet laughter and love.
Directed by John Terry
Set and Costume Design by Alex Marker
Lighting Design by Amy Southeard
Frankie – Caroline Lawton
Johnny – Marcus D’Amico