Journey’s End

Past productions

Malvern Theatres, Civic Theatre, Darlington, and other locations 9^th February – 3^rd December 2011.
The Crescent Theatre, Birmingham 7^th – 15^th November 2008.
Mercury Theatre Company, Mercury Theatre, Colchester 17^th April – 3^rd May 2008.
Stage Fright Theatre Company, Headgate Theatre, Colchester 6^th – 9^th September 2006.
New Ambassadors Theatre (now Ambassadors Theatre), London 24^th September 2005 – January 2006.
Comedy Theatre, London (now Harold Pinter Theatre, London), Playhouse Theatre, London, and other locations 13^th January 2004 – 19^th February 2005.
Whitehall Theatre, London (now Trafalgar Theatre, London) 19^th April – 9^th July 1988.
Salisbury Arts Theatre Ltd, Salisbury Playhouse 1^st – 25^th February 1978.
Farnham Repertory Company, Castle Theatre, Farnham 11^th – 29^th September 1973.
Bristol Old Vic – Theatre Royal 9^th May – 2^nd June 1973.
Cambridge Theatre, London July – October 1972.
Resident Theatre Company,, Palace Theatre, Westcliff-on-Sea 1970 – 1971.
Derby Playhouse, Derby Playhouse 2^nd – 13^th June 1970.
Worcester Repertory Company, Swan Theatre, Worcester 30^th September – 11^th October 1969.
Colchester Repertory Company, Colchester Repertory Theatre 4^th – 9^th February 1952.
Westminster Theatre, London 5^th October – 18^th November 1950.
Colchester Repertory Company, Colchester Repertory Theatre 7^th – 12^th November 1938.
Mr Tod Slaughter and the Barnstormers, Queen’s Park Hippodrome, Manchester 25^th – 30^th July 1938.
Criterion Theatre, London 27^th November – 15^th December 1934.
Adelphi Theatre, London started 12^th November 1934.
Maurice Browne, Savoy Theatre, London and Prince of Wales Theatre, London 21^st January 1929 – 7^th June 1930.
Incorporated Stage Society, Apollo Theatre (Shaftesbury Avenue), London 9^th – 10^th December 1928.

Set in a dug-out near St Quentin just before the last great German offensive, the play has the quiet, unforced moral authority that comes from first-hand experience. Sheriff had seen active service at the front. Part of the play’s power derives from the loving intimacy with which it depicts day-to-day life in the trenches – drawing attention to details like the soldierly distraction of organising earwig races, the long periods of uncanny quiet between bombardments, or the odd bodily reaction of men about to go on a dangerous mission.

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