Studio 1919

Studio 1919
Studio 1919

Studio 1919 is a creative and commercial partnership founded by

Thomas Everchild and Philippa Hammond

Thomas Everchild

Writer, Director and Illustrator []

An acclaimed writer and director of many theatre and film projects

Thomas’ technical skills also encompass set design, DOP / camera, sound and lighting design, editing and post-production

Philippa Hammond

Actor, Writer and Trainer [Spotlight]

As an actor and voice artist, Philippa’s performances have won superb reviews from the press

Founder of Speaking Well in Public and Management Creative business services, she offers a unique combination of experience in performance, training for business and tough corporate and public service environments

The work of Studio 1919

News: The Dan Leno Project features at the British Music Hall Society’s 50th Anniversary celebrations


Broadcast Radio

Graphics, Special Effects and CGI






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)

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)

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 (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

Edinburgh Evening News (Fanny Hill)

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