Theatre

Studio 1919 have taken three shows to the Edinburgh Festival, to superb reviews and full houses

 

Contact us if you are interested in acquiring the amateur or professional performance rights for any of our stage plays

Studio1919’s Afterthought Theatre Productions.

Fanny Hill

Full-length costume drama

adapted by Thomas Everchild
from John Cleland’s notorious 18th century nove

The adventures of Mistress Fanny Hill on a journey through the madams and tarts, sailors and gentlemen of the dark side of Georgian London

What the press say about Fanny Hill

“… a hugely enjoyable bawdy romp . It’s deliciously naughty and well worth staying up for…!

Jane-Ann Purdy, The Scotsman

“… Everchild’s adaptation for the stage catches the essential lusty humour and irreverence of John Cleland’s original book …

… Actress Philippa Hammond is instantly likeable as the much-sought-after Fanny, and brings an unexpected grace and vulnerability to the character…

… the intelligent script explores the base reality behind the veneer of genteel respectability in an enchanting and highly entertaining way…

… a scorcher of a show ..”

Liam Rudden, Edinburgh Evening News

“The Madames, rakes, fops and sailors of this time are wonderfully evoked and the erotic adventures and encounters of our heroine vividly realised…

… it’s very rude, often funny, but without ever descending into bad taste. Fringe drama doesn’t come any more stimulating than this…”

Ross Holloway, The List

Poster for the touring production of Glimpse

Glimpse

Originally produced by Afterthought Theatre Productions.

Comedy, tragedy and mystery – a quartet of one-act plays / monologues for women written by Thomas Everchild and originally performed by Philippa Hammond

The plays glimpse the lives of four characters from different points in history:

An Honorary Man

Drama – Fifth century Egypt: The final hours of scientist, philosopher and teacher, Hypatia of Alexandria

Turning The Handle

Vintage naughty romantic comedy-drama – Edwardian England: an unusual twist to a story set in the early days of cinema as a lady looks back on her life making naughty ‘what the butler saw’ films with her beloved

Little Girls Like to Kiss

Thriller – 1940s New York: Glamorous Marcia Blouse, receptionist to the mysterious private eye Dick Mammal … just what are the Black Hats plotting and what is Marcia’s terrible secret?

Backstage Whispers

Comedy-drama – Edinburgh Festival today: An actress caught backstage in mid performance recounts the true horrors of profit share in the fringe show from hell

Glimpse has an excellent track record and reviews, and may be available for performance, for amateur or professional production

Glimpse consists of four separate one woman pieces, each 25 minutes, which can be performed as a quartet or as individual plays or together in any combination

A full production may be mounted with a single voice or up to four performers

The plays were originally performed as a single 120 minute show (including interval) by Philippa Hammond, but they have since been performed together by different performers and as individual 25 minute plays

The Glimpse plays are flexible enough to be performed in large or small venues and at varying lengths

What the press say about Glimpse

“… a hit from the Edinburgh Fringe festival …

… drama, suspense and genuine laughs….

… graspable, engrossing and very entertaining …

… Hammond expertly places her audience in the scene, deftly moving across centuries and cultures as she embodies the mind and motivations of four women…”

Lyndsey Winship, The Argus

“… three-dimensional, literate and dramatic scripts …

… spellbinding and entertaining, heart rending and humorous….

… brilliant talent … an hour was all too short….”

Roderick Graham, The Scotsman

“… understated and impressively controlled…

… sense of command in script and acting. Hammond excels …

… the writing is taut, wry and understated. At best reminiscent of Alan Bennet’s Talking Heads, Glimpse is impressive, and well-named; fleeting moments of subtle theatrical insight…”

James Kirkup, The Scotsman

Unreliable Romances

A quirky cabaret noir written by Thomas Everchild

Original songs, stories and poems, Martian adventures and jolly hockey sticks – an evening of tall tales set in a 1950s radio show

The Neverland Singularity
Short comedy two-hander play by Thomas Everchild

An uptight scientist meets her match when a traffic jam throws her into philosophical wrangling with an erudite taxi driver

Cascade
by
Thomas Everchild
A full-length two-hander

Science fiction drama mystery

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Edinburgh Evening News (Fanny Hill)

Deliciously risque play makes lust a big laugh

… a scorcher of a show …

Fanny Hill (Edinburgh Evening News)

Fanny Hill

Deliciously risque play makes lust a big laugh

Fanny Hill first appeared with her Memoirs Of A Woman Of Pleasure in literary circles in 1749, and it’s astonishing to think that for more than 200 years, until 1970, this book remained firmly on the banned list.

In Afterthought’s production a company of nine players sets about re-enacting the diary of the naive young country virgin turned expert pleasurer of gentlemen. Thomas Everchild’s adaptation for the stage catches the essential lusty humour and irreverence of John Cleland’s original book, and gives the cast a firm grounding from which to work.

The regal strains of the harpsichord link each scene and are in direct contrast to the starkness of the set, which is completely black but for two tables and a stool. This lack of set dressing concentrated the attention fully on the characters, relieved the audience of unwanted distractions, and brought the intricacies of the 18th century costumes – designed by Isobel Drury – to the fore.

Actress Philippa Hammond is instantly likeable as the much-sought-after Fanny, and brings an unexpected grace and vulnerability to the character. Between them the remainder of the cast portray myriad characters, presenting the illusion of a much larger company. As the perils of Mistress Fanny unfold, they manage a whirlwind of costume and character changes with ease. Some nice comic touches keep the pace up tempo. One scene in particular, in which an unwanted suitor tries to prise Fanny’s legs apart, is priceless. While some scenes are deliberately overplayed, the direction is always tasteful, and you never quite see as much as you imagine you have. Nevertheless, the inclusion of any number of peccadilloes, and an orgy scene, make this very definitely adults-only.

The whole piece is firmly set in the bawdy school of low humour. Touches of Benny Hill and Carry On surface briefly, but mostly the intelligent script explores the base reality behind the veneer of genteel respectability in an enchanting and highly entertaining way. The sex scenes are handled with either the aforementioned comic touch or, more often than not, a sensuality and sensitivity that is surprising and most welcome. While in this day and age Fanny Hill might be considered tame, its capacity to outrage is still there, as demonstrated. last night by the audience reaction to the naughtier scenes, and outrage is an element that this production uses to its best advantage.

Afterthought Productions have a scorcher of a show on their hands with this one. It’s sure to be a hit with Fringe audiences. Get your ticket now, because Fanny Hill is going to sell out.

Liam Rudde

The List (Fanny Hill)

This is a genuinely good production. It is adult and includes a good deal of nudity though nothing too explicit; it’s very rude, often funny, but without ever descending into bad taste. Fringe drama doesn’t come any more stimulating than this.

Fanny Hill

For those of you unaware of the book, Fanny Hill is a scandalous piece of Georgian erotic fiction that falls into the British tradition of bawdiness somewhere between Henry Fielding’s Tom Jones and Joan Collins’ The Stud.

Like Tom Jones, it is an odyssey from innocence and into the high fashion, sophisticated tastes and debauchery of the London of Hogarth and Dr Johnson. The Madames, rakes, fops and sailors of this time are wonderfully evoked and the erotic adventures and encounters of our heroine vividly realised. That Philippa Hammond, in the role of Fanny, can narrate at the same time as simulating a good back-alley rogering is remarkable.

It would be wrong, though, to mistake Fanny Hill for being some sort of cheap thrill theatre. Philippa Hammond, who besides playing the lead is the driving force behind the production, realises the piece in some style. To adapt such a notorious work of fiction as this cannot have been an easy task. But it is one that the ensemble cast uniformly rise to. In this they are aided by an admirable collection of period costumes of West End standard.

This is a genuinely good production. It is adult and includes a good deal of nudity though nothing too explicit; it’s very rude, often funny, but without ever descending into bad taste. Fringe drama doesn’t come any more stimulating than this.

Ross Holloway
The List

The Scotsman

Fanny Hill (The Scotsman)

Fanny Hill

This adaptation of John Cleland’s neglected Georgian masterwork is a hugely enjoyable bawdy romp through one woman’s life and sex life, which for the purposes of the tale appear to be virtually interchangeable.

The eponymous heroine, a naïve country virgin, finds herself all alone in the world with nothing but a bag of second-hand trinkets to her name, when a chance meeting with an old schoolfriend sets her on the path to the big city and a life as a streetwise whore. But Fanny is not wretched at the thought of having to turn tricks to make her way, and in fact fate continually smiles down on this “tart with a heart”: when one brothel door slams in her face another seems courteously to fly open.

The play is packed with erotic adventures of all shapes and sizes nailed by a versatile cast which delights in taking many parts, dropping many breeches and lifting many skirts. It’s deliciously naughty and well worth staying up for.

Jane-Ann Purdy
The Scotsman