A Number

by Caryl Churchill

seen at the Bridge Theatre on 26 February 2019

Polly Findlay directs Roger Allam as Salter (the father) and Colin Morgan as Michael, B1 and B2 (the sons) in a new production designed by Lizzie Clachan of Caryl Churchill's 2002 play concerning a man who, it transpires, has arranged for his son to be cloned, but is unaware of how many 'copies' were made.

In an ordinary slightly rumpled living room, an insecure son confronts his father, having just discovered that he not unique (though he hasn't actually met any of his 'twins'). Salter's immediate reaction is to stall and to muse about suing whoever is responsible, though he eventually has to admit that he condoned 'a single' cloning, and that the boy is not the first son. Unsurprisingly, the boy, already fragile, is very discomposed, rocked by the realisation that much of his family story is a fiction.

The Prime of Miss Jean Brodie

adapted by David Harrower

seen at the Donmar Warehouse on 14 June 2018

Polly Findlay directs Lia Williams as Jean Brodie with Angus Wright as Gordon Lowther (the Music Master), Sylvestra le Touzel as Miss Mackay (the Headmistress), Edward MacLiam as Teddy Lloyd (the Art Master), Kit Young as the journalist and Rona Morison, Grace Saif, Emma Hindle, Nicola Coughlan and Helena Wilson as the girls Sandy, Monica, Mary, Joyce Emily and Jenny respectively in this new adaptation of Muriel Spark's novel about the charismatic but unorthodox teacher at a prestigious girls' junior school in Edinburgh in the 1930s.

A hint from the novel, which itself recounts events in the school lives of the girls while also looking forward to their adult careers, provides a framing device for this adaptation, whereby Sandy, the observant prospective writer, is being interviewed by a journalist on the day before she takes final vows in a convent. The ostensible reason for the interview is the publication of Sandy's book on psychology, but the journalist is keen to explore Sandy's memories of her schooldays, and it is his probing which generates the flashbacks telling the story of Miss Brodie's extraordinary influence on 'her' girls, an influence which begins with her dazzling teaching methods when they are eleven, but which continues to affect the favoured set (the only pupils that we actually see in the play) throughout their later years. 

Limehouse

by Steve Waters

seen at the Donmar Warehouse on 16 March 2017

Polly Findlay directs Nathalie Armin as Debbie Owen, Tom Goodman-Hill as David Owen, Paul Chahidi as Bill Rodgers, Debra Gillett as Shirley Williams and Roger Allam as Roy Jenkins in a new play set on Sunday 25 January 1981 when the so-called 'Gang of Four' finally decided to leave the Labour Party and set up the SPD. 

The play is set in the open-plan kitchen of the Owens' Limehouse house, beginning in the early hours of the morning when Debbie persuades an irate David to host a meeting there, in part to repay the hospitality of the others and in part to avoid their catering arrangements. The guests arrive at separate times, allowing private conversations to take place before all of them try to thrash out their next move.

As You Like It

by William Shakespeare

seen at the National Theatre (Olivier) on 15 December 2015

This modern-set production is directed by Polly Findlay with sets designed by Lizzie Clachan and it features Rosalie Craig as Rosalind and Joe Bannister as Orlando, with Patsy Ferran as Celia, Paul Chahidi as Jacques, Philip Arditti as Oliver and Mark Benton as Touchstone.

Banks of computer desks on a carpet of brightly-coloured rectangles greet us, with many besuited employees busy hot-desking. In a nice nod to the later pastoral setting, the screen savers are of lush English trees and the post-it notes are all green; there are bonsai trees on every desk. A young man in overalls arrives with a toolbox and starts tinkering with a machine, then polishing some glass.

Suddenly, he is Orlando, bemoaning his lot, a mere drudge in his brother's prosperous IT firm. Soon, the same set, without the bonsai and with less idyllic screensavers, is the domain of Duke Frederick, and somehow (despite the implausibility) there is a wrestling match set up in front of all the desks.