An ornithologist at the turn of the 20th century transports hundreds of songbirds to an ailing prime minister in South Africa and falls for a political activist trying to stop the impending Boer War.

I'm celebrating my 80th birthday by touring a new solo show to theatres I know well and a few that I don't. The show starts with Gandalf and will probably end with an invitation to act with me on stage. In-between there will be anecdotes and acting. I open at my local arts centre in January and end up by August in Orkney.

Live theatre has always been thrilling to me, as an actor and in the audience. Growing up in Lancashire, I was grateful to those companies who toured beyond London and I've always enjoyed repaying that debt by touring up and down the country myself, with the National Theatre, Royal Shakespeare Company, Prospect Theatre, the Actors' Company, as well as with commercial productions. Sean Mathias, the director and I have worked together for stage and screen, many happy times.

I'm celebrating my 80th birthday by touring a new solo show to theatres I know well and a few that I don't. The show starts with Gandalf and will probably end with an invitation to act with me on stage. In-between there will be anecdotes and acting. I open at my local arts centre in January and end up by August in Orkney.

Live theatre has always been thrilling to me, as an actor and in the audience. Growing up in Lancashire, I was grateful to those companies who toured beyond London and I've always enjoyed repaying that debt by touring up and down the country myself, with the National Theatre, Royal Shakespeare Company, Prospect Theatre, the Actors' Company, as well as with commercial productions. Sean Mathias, the director and I have worked together for stage and screen, many happy times.

19世纪末20世纪初，俄国资本主义迅速发展，贵族庄园逐渐崩溃。
天蒙蒙亮，柳苞芙带着她的小女儿还有仆人，从巴黎回到了俄罗斯。柳苞芙的樱桃园即将被拍卖抵债，她必须回来看看，想想办法，如何保住她心爱的庄园。
虽然樱桃园拍卖在即，但庄园里的人还是整天悠闲自在地消磨时光，他们更多的在幻想而非身体力行。庄园早已资不抵债，却要给一张书柜开个纪念晚会，柳苞芙早已囊中羞涩，却要在乞丐面前装阔气，女仆幻想着自己是位小姐，白发的先生依然把自己当成一名在校大学生……
远处传来空空的砍树声、天边外神秘的弦裂声，在众人的幻想中，樱桃园被拍卖了，而它的新主人竟然是……

On a bare country road Vladimir and his friend Estragon wait in hope of salvation from a man called Godot. Their hope of salvation lies in Godot's arrival. While waiting they play games, entertain one another with vaudevillian tricks, question whether Godot will arrive and how they will benefit when he does. They are interrupted by the arrival of Pozzo (a land owner) and Lucky (Pozzo's slave). Pozzo questions their reasoning for waiting. Lucky performs a staggering burst of a monologue. Pozzo and Lucky exit, night falls and a young boy arrives and tells Vladimir and Estragon that "Mr Godot won’t come here today but he'll surely arrive tomorrow.” In Act two Pozzo returns but he is blind and Lucky is mute. Vladimir and Estragon continue waiting. Still determining to go, the tramps do not move.

“I cannot express how much this show means to me,” writes artistic director, Peter Reid. “It is undoubtedly the greatest show of the 20th Century and has revolutionised the fabric of theatre.”

On a bare country road Vladimir and his friend Estragon wait in hope of salvation from a man called Godot. Their hope of salvation lies in Godot's arrival. While waiting they play games, entertain one another with vaudevillian tricks, question whether Godot will arrive and how they will benefit when he does. They are interrupted by the arrival of Pozzo (a land owner) and Lucky (Pozzo's slave). Pozzo questions their reasoning for waiting. Lucky performs a staggering burst of a monologue. Pozzo and Lucky exit, night falls and a young boy arrives and tells Vladimir and Estragon that "Mr Godot won’t come here today but he'll surely arrive tomorrow.” In Act two Pozzo returns but he is blind and Lucky is mute. Vladimir and Estragon continue waiting. Still determining to go, the tramps do not move.

“I cannot express how much this show means to me,” writes artistic director, Peter Reid. “It is undoubtedly the greatest show of the 20th Century and has revolutionised the fabric of theatre.”

The first act opens with Hirst's offering a drink to Spooner: "As it is?" – that is, neat (UK) or straight (U.S.) – and Spooner's reply: "As it is, yes please, absolutely as it is" (15). During the first act, Spooner claims to be a fellow poet and to have known his more illustrious literary host and mutual acquaintances and relationships in the past. Toward the end of act one, Hirst's keepers (quasi-body guards) "vagabond cock" Foster and Briggs seek to fend off the self-insinuating Spooner, leading Hirst "out of the room (52) and away from him. The act ends with a "Blackout" – visually demonstrating Foster's taunt: "Listen. You know what it's like when you're in a room with the light on and then suddenly the light goes out? I'll show you. It's like this. ... He turns the light out" (53).
During Act Two, in his increasingly inebriated state, Hirst may mistake or feign recognition of Spooner as an Oxbridge classmate from the 1930s, an apparently false impression which Spooner nevertheless encourages (68–78), leading both of them into a series of increasingly questionable reminiscences, which Hirst finally and abruptly undercuts: "This is outrageous! Who are you? What are you doing in my house?" going on to accuse Spooner of being an impostor: "You are clearly a lout. The Charles Wetherby I knew was a gentleman. I see a figure reduced. I am sorry for you. Where is the moral ardour that sustained you once? Gone down the hatch." – allusively and both wistfully and comically combining the clichés "Gone with the wind" and "Down the hatch," after which, Briggs "enters, pours whisky and soda, gives it to" Hirst, who "looks at it" and then says, "Down the hatch. Right down the hatch. (He drinks.)" (78). Hirst proclaims, "Let us change the subject. Pause. For the last time." (91), but immediately asks, "What have I said?" That leads the characters to debate what Hirst's phrase for the last time precisely "means" (91–94), leaving all of them, according to Spooner, "in no man's land. Which never moves, which never changes, which never grows older, but which remains forever icy and silent." Following the illustrative "Silence", Hirst utters the play's final words and provides its final action: "I'll drink to that" (95): "He drinks," paralleling the opening words of the first act ("As it comes?"), and the play ends, ambiguously, with a "SLOW FADE" of lights (95).

The first act opens with Hirst's offering a drink to Spooner: "As it is?" – that is, neat (UK) or straight (U.S.) – and Spooner's reply: "As it is, yes please, absolutely as it is" (15). During the first act, Spooner claims to be a fellow poet and to have known his more illustrious literary host and mutual acquaintances and relationships in the past. Toward the end of act one, Hirst's keepers (quasi-body guards) "vagabond cock" Foster and Briggs seek to fend off the self-insinuating Spooner, leading Hirst "out of the room (52) and away from him. The act ends with a "Blackout" – visually demonstrating Foster's taunt: "Listen. You know what it's like when you're in a room with the light on and then suddenly the light goes out? I'll show you. It's like this. ... He turns the light out" (53).
During Act Two, in his increasingly inebriated state, Hirst may mistake or feign recognition of Spooner as an Oxbridge classmate from the 1930s, an apparently false impression which Spooner nevertheless encourages (68–78), leading both of them into a series of increasingly questionable reminiscences, which Hirst finally and abruptly undercuts: "This is outrageous! Who are you? What are you doing in my house?" going on to accuse Spooner of being an impostor: "You are clearly a lout. The Charles Wetherby I knew was a gentleman. I see a figure reduced. I am sorry for you. Where is the moral ardour that sustained you once? Gone down the hatch." – allusively and both wistfully and comically combining the clichés "Gone with the wind" and "Down the hatch," after which, Briggs "enters, pours whisky and soda, gives it to" Hirst, who "looks at it" and then says, "Down the hatch. Right down the hatch. (He drinks.)" (78). Hirst proclaims, "Let us change the subject. Pause. For the last time." (91), but immediately asks, "What have I said?" That leads the characters to debate what Hirst's phrase for the last time precisely "means" (91–94), leaving all of them, according to Spooner, "in no man's land. Which never moves, which never changes, which never grows older, but which remains forever icy and silent." Following the illustrative "Silence", Hirst utters the play's final words and provides its final action: "I'll drink to that" (95): "He drinks," paralleling the opening words of the first act ("As it comes?"), and the play ends, ambiguously, with a "SLOW FADE" of lights (95).

咱们走吧。

　　咱们不能。

　　为什么不能？

　　咱们在等待戈多。

　　第一幕：黄昏时分，两个流浪汉戈戈和狄狄，迷离恍惚，浑浑噩噩，他们在乡间小道上等待着从来没有见过的戈多，但戈多迟迟不来，等来的却是波卓和幸运儿。波卓随意虐待幸运儿，幸运儿也惟命是从。波卓吃饱喝足，逼幸运儿为他们跳了一通舞后才牵着幸运儿和流浪汉告别。天将黑时，戈多的信使小男孩来到，他传达戈多的旨意：今天不来了，明天一定来。

　　第二幕：次日黄昏，还是同样的小路，同样的流浪汉，同样的目的──等待戈多。等待得无聊至极，彼此争吵谩骂，但仍不见戈多来。以至于烦闷得想到自杀。总算等到了人，却是眼瞎了的波卓，哑巴的幸运儿。接着还是信使小男孩来，宣布戈多今天不来了，明天一定来。两个无望的流浪汉又想起了上吊，解下裤带子，但一拉就断了。死又死不成，只好明天再等，再等……。

咱们走吧。

　　咱们不能。

　　为什么不能？

　　咱们在等待戈多。

　　第一幕：黄昏时分，两个流浪汉戈戈和狄狄，迷离恍惚，浑浑噩噩，他们在乡间小道上等待着从来没有见过的戈多，但戈多迟迟不来，等来的却是波卓和幸运儿。波卓随意虐待幸运儿，幸运儿也惟命是从。波卓吃饱喝足，逼幸运儿为他们跳了一通舞后才牵着幸运儿和流浪汉告别。天将黑时，戈多的信使小男孩来到，他传达戈多的旨意：今天不来了，明天一定来。

　　第二幕：次日黄昏，还是同样的小路，同样的流浪汉，同样的目的──等待戈多。等待得无聊至极，彼此争吵谩骂，但仍不见戈多来。以至于烦闷得想到自杀。总算等到了人，却是眼瞎了的波卓，哑巴的幸运儿。接着还是信使小男孩来，宣布戈多今天不来了，明天一定来。两个无望的流浪汉又想起了上吊，解下裤带子，但一拉就断了。死又死不成，只好明天再等，再等……。

19世纪末20世纪初的瑞典，中年律师弗雷德里克.伊格曼娶了一位18岁的续妻安妮，妻子虽然爱他却没准备好面对真正的婚姻生活，结婚11个月仍然没和他同房。律师的儿子亨利克，比继母还年长一岁，他的对生活十分沮丧，尽管他是神学院学生却形成了消极的世界观。安妮被他的举止吸引，却不能明白他字里行间的深意。同时她对丈夫许诺，将尽快与他同房。安妮愚昧的女仆佩特拉只稍微年长一点，给她女主人提了很多粗陋的同房建议。
此时，女主角，当红演员迪塞丽.阿姆菲尔德闪亮登场，她与弗雷德里克是老情人，同时也是个相当自私的女人，她把女儿弗雷德里卡交给其外祖母阿姆菲尔德夫人抚养。女儿非常想念母亲，但迪塞丽始终为了演出而推脱不去见女儿。听说她所在剧团将来到弗雷德里克家乡演出，她邀请他前去欣赏。弗雷德里克携妻同行，安妮怀疑女明星与丈夫有染。于是安妮谎称头疼要求丈夫带她回家，在家里佩特拉正在勾引亨利克。
弗雷德里克对迪塞丽旧情难忘，偷偷溜出家见她，两人的重逢场景相当欢乐也很做作，他们告诉彼此自己的生活现状，弗雷德里克一直说他多爱他妻子，迪塞丽饱含揶揄的回应他。她则告诉他自己的新相好——已婚的卡尔伯爵。听说弗雷德里克结婚11月尚未行房，她决定送给老友一个礼物，满足他的欲望。
阿姆菲尔德夫人向外孙女讲述所谓人生真谛，并回忆了她的动荡人生，并追忆她年轻时的幽会。卡尔伯爵来到迪塞丽家，弗雷德里克和迪塞丽用极其粗糙的谎言让伯爵相信两人是清白的，但伯爵仍满腹狐疑。他回到妻子夏洛特处，妻子知道他的不忠，而伯爵沉浸在对迪塞丽的耿耿于怀中。夏洛特建议丈夫把事情弄清楚，同时意识到自己也可以参与其中，她妹妹和安妮是同学。
夏洛特拜访安妮，透露了弗雷德里克的不忠行经，安妮十分惊讶害怕。夏洛特劝戒她，这就是妻子的宿命，必须要接受这份痛苦。迪塞丽去母亲家声称要为弗雷德里克家举办一次晚会，母亲勉强同意。受到邀请的弗雷德里克家一片骚动，安妮拒绝前往，夏洛特则希望她去让迪塞丽显得黯然失色。卡尔则决定给妻子一个意外的生日礼物，不请自来的参见迪塞丽晚会。卡尔决定要和弗雷德里克决斗，而夏洛特则打算勾引弗雷德里克让丈夫嫉妒，从而终结他的不忠。
所有人各怀鬼胎来到阿姆菲尔德夫人家，除了佩特拉，但她意外的被主宅仆人弗里德吸引。所有贵夫人相互挤兑，亨利克遇到弗雷德里卡，向她承认自己深爱继母。 弗雷德里克和卡尔暗自发现自己对迪塞利无条件服从。大家怀着心事开始了一吨鸿门宴。
夏洛特在晚餐时于弗雷德里克调情，安妮与迪塞利相互攻击。大家迅速陷入争吵中，惟独亨利克第一次主动表达自己的情绪，他高声斥责大家的不道德行为并离开餐桌。所有人都被他震惊，也离开了晚餐。弗雷德里卡向安妮透露了亨利克的爱意，于是两人出去寻找他。迪塞利胸有成竹的问弗雷德里克是否需要她把他从生活的桎梏中解救出来，但弗雷德里克说他对她的爱只能在梦里。原本一切都在掌握之中的迪塞利突然感到人生的无常。
亨利克在庄园湖畔准备自杀，被安妮拦下，两人互诉衷情，并导致安妮献出初夜。离他们不远处，佩特拉和弗里德也在享受云雨之欢，佩特拉庆幸自己在进入婚姻牢笼前能享受如此多的快乐。亨利克与安妮满心欢喜称火车离开，准备开始新生活。弗雷德里克发现了他们的秘密，却发现自己并不恼怒。夏洛特向他坦白了自己的计划，离开了他。卡尔不明就里，嫉妒的要求决斗，决斗中弗雷德里克伤了耳朵。卡尔对自己的胜利非常满意，夏洛特看到丈夫如此在意自己也很满意。没有任何束缚的弗雷德里克也想迪塞利表达了自己的爱意，女明星终于吐露实情，原来弗雷德里卡正是他女儿。
在故事宁静而强有力的结尾时刻，阿姆菲尔德夫人询问外孙女对当晚发生事件的感想，她平静的回答，爱情充满坎坷也导致很多诡异的结果，但是这些都是无可避免的，最终人们能意识到爱情才是唯一真实的东西。夫人微笑点头睡过去，并平静的死去。

19世纪末20世纪初的瑞典，中年律师弗雷德里克.伊格曼娶了一位18岁的续妻安妮，妻子虽然爱他却没准备好面对真正的婚姻生活，结婚11个月仍然没和他同房。律师的儿子亨利克，比继母还年长一岁，他的对生活十分沮丧，尽管他是神学院学生却形成了消极的世界观。安妮被他的举止吸引，却不能明白他字里行间的深意。同时她对丈夫许诺，将尽快与他同房。安妮愚昧的女仆佩特拉只稍微年长一点，给她女主人提了很多粗陋的同房建议。
此时，女主角，当红演员迪塞丽.阿姆菲尔德闪亮登场，她与弗雷德里克是老情人，同时也是个相当自私的女人，她把女儿弗雷德里卡交给其外祖母阿姆菲尔德夫人抚养。女儿非常想念母亲，但迪塞丽始终为了演出而推脱不去见女儿。听说她所在剧团将来到弗雷德里克家乡演出，她邀请他前去欣赏。弗雷德里克携妻同行，安妮怀疑女明星与丈夫有染。于是安妮谎称头疼要求丈夫带她回家，在家里佩特拉正在勾引亨利克。
弗雷德里克对迪塞丽旧情难忘，偷偷溜出家见她，两人的重逢场景相当欢乐也很做作，他们告诉彼此自己的生活现状，弗雷德里克一直说他多爱他妻子，迪塞丽饱含揶揄的回应他。她则告诉他自己的新相好——已婚的卡尔伯爵。听说弗雷德里克结婚11月尚未行房，她决定送给老友一个礼物，满足他的欲望。
阿姆菲尔德夫人向外孙女讲述所谓人生真谛，并回忆了她的动荡人生，并追忆她年轻时的幽会。卡尔伯爵来到迪塞丽家，弗雷德里克和迪塞丽用极其粗糙的谎言让伯爵相信两人是清白的，但伯爵仍满腹狐疑。他回到妻子夏洛特处，妻子知道他的不忠，而伯爵沉浸在对迪塞丽的耿耿于怀中。夏洛特建议丈夫把事情弄清楚，同时意识到自己也可以参与其中，她妹妹和安妮是同学。
夏洛特拜访安妮，透露了弗雷德里克的不忠行经，安妮十分惊讶害怕。夏洛特劝戒她，这就是妻子的宿命，必须要接受这份痛苦。迪塞丽去母亲家声称要为弗雷德里克家举办一次晚会，母亲勉强同意。受到邀请的弗雷德里克家一片骚动，安妮拒绝前往，夏洛特则希望她去让迪塞丽显得黯然失色。卡尔则决定给妻子一个意外的生日礼物，不请自来的参见迪塞丽晚会。卡尔决定要和弗雷德里克决斗，而夏洛特则打算勾引弗雷德里克让丈夫嫉妒，从而终结他的不忠。
所有人各怀鬼胎来到阿姆菲尔德夫人家，除了佩特拉，但她意外的被主宅仆人弗里德吸引。所有贵夫人相互挤兑，亨利克遇到弗雷德里卡，向她承认自己深爱继母。 弗雷德里克和卡尔暗自发现自己对迪塞利无条件服从。大家怀着心事开始了一吨鸿门宴。
夏洛特在晚餐时于弗雷德里克调情，安妮与迪塞利相互攻击。大家迅速陷入争吵中，惟独亨利克第一次主动表达自己的情绪，他高声斥责大家的不道德行为并离开餐桌。所有人都被他震惊，也离开了晚餐。弗雷德里卡向安妮透露了亨利克的爱意，于是两人出去寻找他。迪塞利胸有成竹的问弗雷德里克是否需要她把他从生活的桎梏中解救出来，但弗雷德里克说他对她的爱只能在梦里。原本一切都在掌握之中的迪塞利突然感到人生的无常。
亨利克在庄园湖畔准备自杀，被安妮拦下，两人互诉衷情，并导致安妮献出初夜。离他们不远处，佩特拉和弗里德也在享受云雨之欢，佩特拉庆幸自己在进入婚姻牢笼前能享受如此多的快乐。亨利克与安妮满心欢喜称火车离开，准备开始新生活。弗雷德里克发现了他们的秘密，却发现自己并不恼怒。夏洛特向他坦白了自己的计划，离开了他。卡尔不明就里，嫉妒的要求决斗，决斗中弗雷德里克伤了耳朵。卡尔对自己的胜利非常满意，夏洛特看到丈夫如此在意自己也很满意。没有任何束缚的弗雷德里克也想迪塞利表达了自己的爱意，女明星终于吐露实情，原来弗雷德里卡正是他女儿。
在故事宁静而强有力的结尾时刻，阿姆菲尔德夫人询问外孙女对当晚发生事件的感想，她平静的回答，爱情充满坎坷也导致很多诡异的结果，但是这些都是无可避免的，最终人们能意识到爱情才是唯一真实的东西。夫人微笑点头睡过去，并平静的死去。

Bill Kenwright presents Ian McKellen and Roger Allam in the comedy hit of the Summer, Ben Weatherill’s Frank and Percy, under the Directorship of Sean Mathias.

Frank and Percy is a poignant and witty take on the unexpected relationship that blossoms between two men.

Ever seen a couple of old boys on a park bench and wondered what they are chatting about?

In his new play Ben Weatherill lets us overhear Frank and Percy as they discuss the weather, then their dogs and then each other and so much more. Will the widowed schoolteacher and the elder statesman dare to risk changing their lives or let sleeping dogs lie?