It’s 1974, and Britain has a hung Parliament. The corridors of Westminster ring with the sound of infighting and backstabbing as the political parties battle to change the future of the nation.
This House is a timely, moving and funny insight into the workings of British politics by James Graham (Ink, ITV's Quiz) and directed by Jeremy Herrin (People, Places and Things). This much-loved production enjoyed two sold-out National Theatre runs, a West End transfer and national tour as well as being filmed by National Theatre Live.
You can watch This House from 7pm UK time on Thursday 28 May until 7pm UK time on Thursday 4 June 2020. It was filmed live on stage at the National Theatre in 2013.
The running time is 2 hours 40 minutes with a very short interval. It is subtitled.
The play is suitable for ages 14+ with some strong language throughout.
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Much Ado About Nothing contrasts the happiness of lovers Claudio and Hero, and the cynicism of sparring partners Beatrice and Benedick, who are united in their scorn for love.

Nobody can doubt John Christie’s passion or his formidable will: he wooed his opera singer wife with a determination befitting a man who won the Military Cross. Now, in 1934, this Etonian science teacher’s admiration for the works of Wagner leads him to embark on an ambitious project: the construction of an Opera House on his estate in Sussex.

But such is the scale of the enterprise that passion alone may not be enough. It’s only when a famous violinist is accidentally fogged in overnight in Eastbourne that Christie first hears word of a group of refugees for whom life in Germany is becoming impossible. Perhaps they can deliver Christie’s vision of the sublime – assuming of course they’re willing to cast his wife in the lead…

Another Country is loosely based on the life of the spy Guy Burgess, renamed "Guy Bennett" in the play, and examines the effect his homosexuality and exposure to Marxism has on his life, and the hypocrisy and snobbery of the English public schools.
The setting is a 1930s public school modelled on Eton, where Guy Bennett and Tommy Judd are friends because they are both outsiders in their own ways. Bennett is openly homosexual, while Judd is a Marxist.
One day a schoolmaster finds a boy named Martineau and a boy from another house having sex. Martineau subsequently kills himself because of the shame of having been found in a homosexual embrace, and chaos erupts as both masters and senior boys try to keep the scandal away from the parents and the rest of the outside world. However, the scandal gives the army-obsessed house captain, Fowler, a boy who dislikes both Bennett and Judd, a welcome reason to scheme against Bennett, aiming to keep him from becoming a "God" - a school name for the boys chosen to join the group of senior boys modelled on "Pop" at Eton. Fowler then intercepts a love letter from Bennett to James Harcourt, and Bennett agrees to accept a punishment in order to avoid compromising Harcourt. On an earlier occasion he had simply blackmailed the other Gods for their own "experiences" with him.
Meanwhile, Judd is reluctant to become a prefect, since he feels that this would amount to endorsing the school's "system of oppression", and he makes a memorable, bitter speech about how the boys oppressed by the system grow up to be the fathers who maintain it. However, he eventually agrees to become a prefect, in the hope of preventing the hated Fowler from becoming Head of House. This never comes about, however, because Devenish agrees to stay at the school and become a prefect if he is nominated to become a God instead of Bennett.
Devastated at the loss of his cherished dream of becoming a God, Bennett comes to realize that the British class system relies strongly on outward appearances, and that to be openly homosexual would be a severe hindrance to his intended career in the diplomatic service. The epilogue of the movie states that Bennett defected to Russia later in life, after having been a spy for the Soviet Union, while Judd died fighting in the Spanish Civil War.

Another Country is loosely based on the life of the spy Guy Burgess, renamed "Guy Bennett" in the play, and examines the effect his homosexuality and exposure to Marxism has on his life, and the hypocrisy and snobbery of the English public schools.
The setting is a 1930s public school modelled on Eton, where Guy Bennett and Tommy Judd are friends because they are both outsiders in their own ways. Bennett is openly homosexual, while Judd is a Marxist.
One day a schoolmaster finds a boy named Martineau and a boy from another house having sex. Martineau subsequently kills himself because of the shame of having been found in a homosexual embrace, and chaos erupts as both masters and senior boys try to keep the scandal away from the parents and the rest of the outside world. However, the scandal gives the army-obsessed house captain, Fowler, a boy who dislikes both Bennett and Judd, a welcome reason to scheme against Bennett, aiming to keep him from becoming a "God" - a school name for the boys chosen to join the group of senior boys modelled on "Pop" at Eton. Fowler then intercepts a love letter from Bennett to James Harcourt, and Bennett agrees to accept a punishment in order to avoid compromising Harcourt. On an earlier occasion he had simply blackmailed the other Gods for their own "experiences" with him.
Meanwhile, Judd is reluctant to become a prefect, since he feels that this would amount to endorsing the school's "system of oppression", and he makes a memorable, bitter speech about how the boys oppressed by the system grow up to be the fathers who maintain it. However, he eventually agrees to become a prefect, in the hope of preventing the hated Fowler from becoming Head of House. This never comes about, however, because Devenish agrees to stay at the school and become a prefect if he is nominated to become a God instead of Bennett.
Devastated at the loss of his cherished dream of becoming a God, Bennett comes to realize that the British class system relies strongly on outward appearances, and that to be openly homosexual would be a severe hindrance to his intended career in the diplomatic service. The epilogue of the movie states that Bennett defected to Russia later in life, after having been a spy for the Soviet Union, while Judd died fighting in the Spanish Civil War.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

Act I

In August 1946 Joe Keller, a self-made businessman, is visited by neighbor, Frank. At the request of Kate, Joe's wife, Frank is trying to figure out the horoscope of the Kellers' missing son Larry, who disappeared three years earlier. While Kate still believes Larry is coming back, the Kellers' other son Chris believes otherwise. Furthermore, Chris wishes to propose to Ann Deever, who was Larry's girlfriend at the time he went missing and who has been corresponding with Chris for two years. Joe and Kate react to this news with shock but are interrupted by Bert, the neighbor boy next door. When Bert brings up the jail Kate reacts sharply. After Ann Deever enters, it is revealed that Ann's father, Steve Deever, is in prison for selling cracked cylinder heads to the Air Force, causing twenty-one planes to crash. Joe was his partner but was exonerated of the crime. Ann admits that neither she nor her brother keep in touch with their father anymore and wonders aloud whether this was responsible for Larry's death. After a heated argument Chris breaks in and later proposes to Ann, who says yes. Chris also reveals that, while leading a company, he lost all his men and is experiencing survivor's guilt. Meanwhile, Joe receives a phone call from George, Ann's brother, who is coming there to settle something.
Act II

While Chris avoids telling his mom about the engagement, their next door neighbor Sue emerges and reveals that everyone on the block still thinks Joe is guilty. Shortly thereafter George arrives and reveals that he has just been to visit his father. Steve Deever had been told by Joe to cover up the cracked cylinders and send them out; Joe is equally guilty of the crime. George insists Ann will not marry Chris, son of the man who destroyed their family. Joe and the rest of the family deny this, but Kate reveals that Joe hasn't been sick in fifteen years. Since Joe's story was that the flu laid him up on that fateful day, George attacks them once more. Frank comes in with the horoscope, which implies that Larry is alive, which is just what Kate wants to hear. Chris, however, is furious at his father despite Joe's explanations that he was merely building a business for his sons, which Chris never accepted.
Act III

Chris has gone missing. Kate, having finally believed the accusations, tells Joe that should Chris come back, Joe must turn himself in. Joe, who only made money because his family wanted to, is stunned at how they are turning on him. Ann emerges soon after and reveals to Kate that she has a letter from Larry. She hadn't wanted to share it, but she knows that Kate must face reality. In the letter, Larry confesses that he plans to kill himself because of his father's guilt. With this final blow, Joe says he'll turn himself in, goes inside to get his coat, then kills himself with a gunshot to the head. At the end, Chris reveals this, and Kate tells him to not blame himself.

《暴风雨》是莎士比亚的最后一部作品。
　　米兰公爵普洛斯彼罗被弟弟篡权，和女儿米兰达一起被放逐海上，流落荒岛。普洛斯彼罗依靠书中学得的强大魔法，解救了岛上受苦的精灵，并借助精灵的力量呼风唤雨，引仇人前来，令他们悔悟认错。最后兄弟和解，普洛斯彼罗恢复爵位，米兰达与王子一同回到意大利。
　　童话故事就这样结束了吗？
　　当然不。这可是莎士比亚的最后一部作品。
　　关于莎士比亚，我们了解多少？
　　剧作家的内心，总是要比他呈现出来的角色更加复杂。如果要写一个剧本做一出戏，在想象中进入这个大文豪的思想宫殿，那么这辉煌才气背后的黑暗地窖，大概会是什么呢？酗酒，嗑药，滥交？不，这些都太普通了。《一个人的莎士比亚》的导演编剧及演员约瑟夫•格雷夫斯，这个对莎士比亚痴迷的戏剧人，想象了一个有趣又浪漫的症结。作为继乔叟后英国最伟大的文学家，莎士比亚一生都在致力于构建组装出最动听的文字，一种能在讲述中，在表演里绽放的语言。作为语言的上帝，他的一生，理应是得意的。可是在他小试牛刀获得一些成功以后，却被迫面对了无法承受的恐惧。那么，莎翁是在谁的帮助下，开启了创作的全盛时期？在他艺术生涯的最后一部作品中，他又将对这一切，做出怎样的了结，写下怎样的嘱托？
　　导演兼改编约瑟夫•格雷夫斯，将《莎翁绝唱：暴风雨》中，给出他的答案。
　　如果说《暴风雨》是莎士比亚留下的“诗的遗嘱”，那么主人公普洛斯彼罗一定是作家自我的表达。因为他们有一个显而易见而且十分可爱的共同点：话唠。

《暴风雨》是莎士比亚的最后一部作品。
　　米兰公爵普洛斯彼罗被弟弟篡权，和女儿米兰达一起被放逐海上，流落荒岛。普洛斯彼罗依靠书中学得的强大魔法，解救了岛上受苦的精灵，并借助精灵的力量呼风唤雨，引仇人前来，令他们悔悟认错。最后兄弟和解，普洛斯彼罗恢复爵位，米兰达与王子一同回到意大利。
　　童话故事就这样结束了吗？
　　当然不。这可是莎士比亚的最后一部作品。
　　关于莎士比亚，我们了解多少？
　　剧作家的内心，总是要比他呈现出来的角色更加复杂。如果要写一个剧本做一出戏，在想象中进入这个大文豪的思想宫殿，那么这辉煌才气背后的黑暗地窖，大概会是什么呢？酗酒，嗑药，滥交？不，这些都太普通了。《一个人的莎士比亚》的导演编剧及演员约瑟夫•格雷夫斯，这个对莎士比亚痴迷的戏剧人，想象了一个有趣又浪漫的症结。作为继乔叟后英国最伟大的文学家，莎士比亚一生都在致力于构建组装出最动听的文字，一种能在讲述中，在表演里绽放的语言。作为语言的上帝，他的一生，理应是得意的。可是在他小试牛刀获得一些成功以后，却被迫面对了无法承受的恐惧。那么，莎翁是在谁的帮助下，开启了创作的全盛时期？在他艺术生涯的最后一部作品中，他又将对这一切，做出怎样的了结，写下怎样的嘱托？
　　导演兼改编约瑟夫•格雷夫斯，将《莎翁绝唱：暴风雨》中，给出他的答案。
　　如果说《暴风雨》是莎士比亚留下的“诗的遗嘱”，那么主人公普洛斯彼罗一定是作家自我的表达。因为他们有一个显而易见而且十分可爱的共同点：话唠。

《暴风雨》是莎士比亚的最后一部作品。
　　米兰公爵普洛斯彼罗被弟弟篡权，和女儿米兰达一起被放逐海上，流落荒岛。普洛斯彼罗依靠书中学得的强大魔法，解救了岛上受苦的精灵，并借助精灵的力量呼风唤雨，引仇人前来，令他们悔悟认错。最后兄弟和解，普洛斯彼罗恢复爵位，米兰达与王子一同回到意大利。
　　童话故事就这样结束了吗？
　　当然不。这可是莎士比亚的最后一部作品。
　　关于莎士比亚，我们了解多少？
　　剧作家的内心，总是要比他呈现出来的角色更加复杂。如果要写一个剧本做一出戏，在想象中进入这个大文豪的思想宫殿，那么这辉煌才气背后的黑暗地窖，大概会是什么呢？酗酒，嗑药，滥交？不，这些都太普通了。《一个人的莎士比亚》的导演编剧及演员约瑟夫•格雷夫斯，这个对莎士比亚痴迷的戏剧人，想象了一个有趣又浪漫的症结。作为继乔叟后英国最伟大的文学家，莎士比亚一生都在致力于构建组装出最动听的文字，一种能在讲述中，在表演里绽放的语言。作为语言的上帝，他的一生，理应是得意的。可是在他小试牛刀获得一些成功以后，却被迫面对了无法承受的恐惧。那么，莎翁是在谁的帮助下，开启了创作的全盛时期？在他艺术生涯的最后一部作品中，他又将对这一切，做出怎样的了结，写下怎样的嘱托？
　　导演兼改编约瑟夫•格雷夫斯，将《莎翁绝唱：暴风雨》中，给出他的答案。
　　如果说《暴风雨》是莎士比亚留下的“诗的遗嘱”，那么主人公普洛斯彼罗一定是作家自我的表达。因为他们有一个显而易见而且十分可爱的共同点：话唠。

作为莎士比亚四大喜剧之一，《无事生非》写作于1598-1599年，是莎士比亚喜剧写作最成熟的时期。剧中数条线索巧妙穿插，最吸引人的是培尼狄克和贝特丽丝的恋情。他们起初誓抱独身，相互讽嘲，各不相让，最后彼此倾倒，完满结合。相比莎士比亚其它喜剧，《无事生非》场景及语言更接近真实生活，彷佛是一般人也会发生的故事。剧情热闹欢乐，富有哲思，人物性格鲜明，妙语连珠。剧中人物探寻的则是两性关系中的自我意识以及真诚与尊重。

作为莎士比亚四大喜剧之一，《无事生非》写作于1598-1599年，是莎士比亚喜剧写作最成熟的时期。剧中数条线索巧妙穿插，最吸引人的是培尼狄克和贝特丽丝的恋情。他们起初誓抱独身，相互讽嘲，各不相让，最后彼此倾倒，完满结合。相比莎士比亚其它喜剧，《无事生非》场景及语言更接近真实生活，彷佛是一般人也会发生的故事。剧情热闹欢乐，富有哲思，人物性格鲜明，妙语连珠。剧中人物探寻的则是两性关系中的自我意识以及真诚与尊重。

I do solemnly declare, of my own accord and without coercion, according to the constitution of this country, and the oath I have sworn to its people and its leadership, that I know not of any lawful impediment why I Joel may not be joined in marriage to Leyla.
With great pleasure Leyla and Joel invite you to celebrate their marriage. Dress code is smart casual. Doors at 7.30pm, followed by the exchange of vows. And at the signal, the entertainment will begin.
(This performance is being staged without a licence from the Ministry. We recognise the risk that each and every one of you is taking by attending, and we salute your courage.)
Jonny Lee Miller (Trainspotting), Tanya Reynolds (Sex Education) and Micheal Ward (Top Boy) feature in the world premiere of Sam Holcroft’s (Rules for Living) elusive and explosive new play. Interrogating censorship, authorship and free speech, A Mirror is directed by Jeremy Herrin (Best of Enemies).

“A man should never turn down two things. Sex, and appearing on television.”
1968 – a year of protest that divided America. As two men fight to become the next President, all eyes are on the battle between two others: the cunningly conservative William F Buckley Jr., and the iconoclastic liberal Gore Vidal.

Beliefs are challenged and slurs slung as these political idols feud nightly in a new television format, debating the moral landscape of a shattered nation. Little do they know they're about to open up a new frontier in American politics, and transform television news forever...

Best of Enemies is the bold new play by James Graham (Quiz, Labour of Love), directed by Jeremy Herrin (This House, People, Places and Things).

Emma was having the time of her life.
Now she’s in rehab.
Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing.
The lead Denise Gough won Olivier Award on Best Actress 2016 for her portrayal of this title role at National Theatre.

Emma was having the time of her life. Now she’s in rehab. Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up?

This House is a 2012 play by James Graham. It premiered at the Cottesloe Theatre from 18 September to 1 December 2012 in a production directed by Jeremy Herrin and transferred to the larger Olivier Theatre in February 2013.



It derives its title from the name given to the House of Commons by MPs. It covers the period in British parliamentary history between the February 1974 general election and the 1979 vote of no confidence in the government of James Callaghan. It is set in the House of Commons, the Palace of Westminster and the offices of the Labour and Tory Chief Whips - party leaders such as Ted Heath, Harold Wilson and Margaret Thatcher remain offstage characters.