Brian Cox and Bill Paterson return to Lyceum for 50th anniversary season". list.co.uk. The List. 14 April 2015 . Retrieved 19 April 2015. Playwright Laura Wade, 41, grew up in Sheffield, had her first play produced at and is best known for her 2010 drama Posh, about a Bullingdon-esque university society of future politicians, subsequently filmed as The Riot Club. Her adaptation of Jane Austen’s unfinished novel, The Watsons, has just opened at Chichester, and the National Theatre/Theatr Clwyd production of her 2018 play Home, I’m Darling transfers to the West End in January. Wade lives in north London with the actor and director Samuel West and their two daughters, aged four and one. On 4 July 2018, Wade's play Home, I'm Darling premiered at Theatr Clwyd. It was directed by Tamara Harvey, and starred Katherine Parkinson. [13] The play transferred to the National Theatre for a summer 2018 run, [14] to the Duke of York's Theatre in January 2019, [15] and later won Best Comedy at the 2019 Laurence Olivier Awards. [16] de Semlyen, Phil (13 May 2014). "New Trailer For The Riot Club". Empire. Bauer Consumer Media . Retrieved 14 May 2014.

Club Posh Author Laura Wade | British Vogue The Riot Club Posh Author Laura Wade | British Vogue

Thorpe, Vanessa (7 September 2014). "Laura Wade: her play Posh put a spotlight on the spoilt". The Guardian. UK . Retrieved 30 June 2015.

Riot boys aren't going away. The club and their ilk may sometimes go into hibernation for a while, but the structures are still very much in place for the boys' survival. Not just in politics; 70 per cent of our judges, for example, went to fee-paying schools. Whether you like the look or not, that tailcoat is a tough shell, a suit of armour. The posh boy is a very hardy species. I still feel the extreme violence that we see in the second act is a bit forced, as if The Lord of the Flies has suddenly entered the world of Evelyn Waugh. And I wish Wade had made the still small voice of conscience, chiefly represented by the club's president, a bit stronger. But, on a second viewing, it becomes clear that Wade's chief target is not just privileged toffs but the cosy network that really runs Britain. That said, I wouldn't want anyone to think Posh or The Riot Club represent my thoughts on Oxford students or the university as an institution. I didn't go to Oxford, and even if I had I suspect I would have moved in very different circles. The boys in the film are a tiny, rarefied part of the university cosmos. They even put a figure on it: "We're 10 people out of 20,000. The top 10." Wade's first radio play, Otherkin, was broadcast on BBC Radio 4 on 30 August 2007, [6] a 45-minute play billed as episode 2 of the Looking for Angels series. Her second, Hum, about the Bristol Hum, was broadcast on BBC Radio 3 on 20 May 2009. Between these two she also wrote Coughs and Sneezes for the Radio 4 series Fact to Fiction. In April 2010, her play Posh began a sell-out run at the Jerwood Theatre Downstairs at the Royal Court Theatre, London. An article about Wade in the London Evening Standard at the time drew parallels between the Riot Club, the subject of Posh, and the Bullingdon Club, an exclusive Oxford University dining society. [7] On 11 May 2012, an updated version of Posh opened at the Duke of York's Theatre in London, Wade's first play to appear in the West End. A film adaptation of the play, The Riot Club, [8] directed by Lone Scherfig, was released in 2014. [9] In February 2015, the regional premiere of Posh was co-produced by Nottingham Playhouse and Salisbury Playhouse. [10]

Posh | Theatre | The Guardian Posh | Theatre | The Guardian

The play takes place in the private dining room of The Bull’s Head, a hotel-pub-restaurant in rural Oxfordshire. The action covers around four hours on a Saturday evening, with two ellipses as we go from pre-meal to end of starters, then from main meal to pudding. There’s also a prologue and an epilogue, a couple of weeks before and after the main action, I would guess. The cast comprises ten (male) members of the club; the owner of the hotel and his daughter; a (female) escort; and an older Tory grandee, only seen in the prologue and epilogue. The play formally set out as a two-act play. What is new is the bubbling resentment they feel that, even with their chaps in power, the country is still dogged by Labour's economic inheritance: even the Tory grandee, who bookends the play by meeting first an aspiring and then a disgraced Rioter in his London club, bemoans the fact that the government is identified by the cuts it is forced to impose.Film4, which produced The Riot Club with Blueprint Pictures and the BFI, had its eyes on Wade as soon as it knew the play was under way, according to commissioning executive Sam Lavender: " It was beautifully written, witty, tough and humane, and she clearly had a great ear for the voices of these young men. I saw it a couple of times more after its transfer to the West End, and half the fun for me became watching the crowd's reactions to her characters, how torn they were between liking and judging these guys. That takes great skill to pull off."