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

_

Glimpse

Glimpse by Thomas Everchild. Originally produced by Afterthought Theatre Productions. The plays are now available to other companies.

Glimpse
by
Thomas Everchild

Originally produced by Afterthought Theatre Productions.

The plays are now available to other companies.

It is a sequence of one-act plays / monologues for women, the plays were originally performed as a single 120minute show (including interval) by Philippa Hammond, but they have since been performed together by different performers and as individual 25minute plays.

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

Glimpse has an excellent track record and reviews.

Glimpse consists of separate one woman pieces which can be performed separately, or together in any combination.

Each play is 25 minutes, so a production may be mounted from a single segment up to a full 100 minutes plus interval.
A full production may be mounted with a single voice or up to four performers.

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

The plays:

An Honorary Man (Drama based on a tragic historical story of Hypatia in 450AD)

Turning The Handle (Vintage Naughty Romantic Comedy that gives an unusual twist to a story set in the early days of cinema)

Little Girls Like To Kiss (Thriller in the Film-Noir style, but told from a very different point of view)

Backstage Whispers (Comedy Of Catastrophe set backstage at an Edinburgh Fringe show)

The Scotsman (Glimpse; Part One)

“Hammond is served well by two three-dimensional, literate and dramatic scripts written by Thomas Everchild and she displays brilliant talent in interpreting them for us.”

“It is spellbinding and entertaining, heart rending and humorous. An hour was all too short.”

Glimpse; Part One (Edinburgh Production)

An Honorary Man
Turning the Handle

Philippa Hammond delivers two glimpses in this show, separated by 1,500 years but linked by a theme of women bowing to the will and needs of men. In the first she is Hypatia of Alexandria, a director of the library there. Or a pagan whore, if you believe the Christian hierarchy. Hypatia is, however, a full-blooded and beautiful woman, aware of the pleasures of her body and the delights of her mind. So much so that her students have voted her “an honorary man”. She accepts this dubious accolade with gentle irony. As she accepts her murder and mutilation with the inevitability of the conflict between pure intellect and religious dogma.

In the second piece, we are in Edwardian England and she is married, against her parents’ will, to a prototype film maker whom she supports in everything, even stripping for his “what the butler saw” movies. After losing her husband, she continues her career to support her children, having stoically traded her home life of Hampshire parties and Home Counties ease.

Hammond is served well by two three-dimensional, literate and dramatic scripts written by Thomas Everchild and she displays brilliant talent in interpreting them for us. It is spellbinding and entertaining, heart rending and humorous. An hour was all too short.

Roderick Graham
The Scotsman

The Scotsman (Glimpse; Part Two)

“…Hammond’s best – understated and impressively controlled.”

“Glimpse is impressive, and well-named; fleeting moments of subtle theatrical insight.”

Glimpse; Part Two (Edinburgh Production)

Little Girls Like to Kiss
Backstage Whispers

Glimpse is a collection of four solo shows presented by Philippa Hammond, two at a time on alternate evenings. In this case it’s a smoke-filled 1940s private dick yarn and a take on life at the shallow end of the theatrical talent pool. And very good they are too.

The first, Little Girls Like to Kiss, shows the gumshoe’s ubiquitous breathy secretary in her own right. Marcia Blouse is long-suffering, pouting and wisecracking. She is also fragile – lost without the defining influence of her absent boss? Not likely – more afraid that others are about to discover her guilty secret.

Cracks in the cool, sassy facade grow and meet, forming a portrait of paranoia. Hammond herself twists with the plot her character reports; first manipulative and catty, then desperate and cornered. Ultimately Marcia survives, and takes control again. Fittingly, this brings out Hammond’s best – understated and impressively controlled.

The second vignette, Backstage Whispers, has the same sense of command in script and acting. Hammond excels as the aspiring actor and skirts around the pitfalls of self-indulgence with admirable restraint. Even the “behind the curtain” jokes are sharp and entertaining.

Again the writing is taut, wry and understated. At best reminiscent of Alan Bennet’s Talking Heads, this is a touching tale of a call-box tart who lives and dies in 18 lines. Glimpse is impressive, and well-named; fleeting moments of subtle theatrical insight.

James Kirkup
The Scotsman

The Argus (Glimpse)

Glimpse is graspable, engrossing and very entertaining; channel-flicking glances at scenes you won’t want to switch over.

Glimpse (The Argus)

Glimpse Women Through the Ages

A hit from the Edinburgh Fringe festival was staged at the Marlborough Theatre last week, filling it with drama, suspense and genuine laughs. Glimpse is a collection of four one-act plays by Thomas Everchild, all performed by Philippa Hammond. Each monologue delves into a different character and spins a tale which reels the audience in as the dimensions unfold. Hammond expertly places her audience in the scene, deftly moving across centuries and cultures as she embodies the mind and motivations of four women.

First she is Hypatia, a fifth century scientist and philosopher who has been virtually erased from history. Her questioning curiosity and fascination with physics and philosophy leaves her unwilling to fall in line behind other women. But by opposing political dogma in her quest for knowledge, she poses a threat only to herself.

Transforming in character, Hammond next plays a very proper Edwardian lady, drawn into the seedier side of the emerging motion picture business. Hammond makes real the young girl dazzled by love and impelled by necessity. Her performance is subtle and evades sensation, while Everchild’s writing doesn’t blind us with its intentions.

While the settings may be historical, the themes translate easily into modern concerns. These women have stories which demonstrate a survival of spirit even when the odds are stacked against them.

The third play switches to a cinematic scene, set in Forties New York, behind the frosted glass window of a private eye’s office. Hammond senses her character in every movement, her gait falling into louche photographic poses …. What begins as comic book cliché becomes a plot of love, jealousy, paranoia and missing persons befitting a pulp detective paperback, with its deadly twist on the last page.

Finally, we are snapped back closer to home. Everchild’s understated writing becomes increasingly comic in a deadpan scene of amateur theatre, the confessions of a bit-part in a hopeless fringe production.

Glimpse is graspable, engrossing and very entertaining; channel-flicking glances at scenes you won’t want to switch over.

Lyndsey Winship
The Argus