Olivier award for our producer!

14 Mar

After Troy is heading towards its previews and press night at the Shaw Theatre in London this week. We are all hopeful for a great response and grateful for everyone’s support so far! But why not celebrate another achievment with us a bit early!  Our producer, Sue Scott Davison, along with  the talented production and creative team and superb cast behind The Railway Children at Waaterloo Station were awarded with The Olivier Award for Best Entertainment this past Sunday at the awards.

We hope this win is just the beginning of more great things to come…

The Proud Producers! (Sue in centre)

A very happy team!

Please check more details on Olivier award here. For more information on The Railway Children and their Olivier win read the whole bbc article here.




5 Mar

Join the AFTER TROY team

To support and celebrate women

On the 100th anniversary of


Tuesday March 8th is the 100th International Women’s Day. The After Troy team is showing solidarity with women worldwide through two complimentary events and we invite you to join us.

Women for Women International’s Join Me on the Bridge Event

Date/Time: March 8th 2011 at 10am

Venue: Borough Market to The Millennium Bridge (London)

To promote and celebrate International Women’s Day our cast and creative team will be marching along side Annie Lennox and Cherie Lunghi and thousands more, in support of the, Women for Women International, Join Me On the Bridge Campaign. This event sees people joining together on bridges across the world, to support women in war-torn areas. We invite anyone to come out and support this tremendous cause. For more info on the Bridge event and Women for Women International visit www.womenforwomen.org/bridge

Annie Lennox leading the 2010 March

Women on Troy. Women on War.

Date/Time: March 8th 2011 at 5pm

Venue: The Shelton Room, Covent Garden Community Centre, Earlham Street, London WC2H 9LA

To celebrate International Women’s Day and the Premiere of After Troy, Lifeblood Theatre and the Onassis Programme present Women on Troy. Women on War. Following Women for Women’s Join Me On The Bridge event, The Live Canon Ensemble and guests, including the cast of After Troy, will perform an hour of war poetry by women.  From the Trojan War to today’s conflicts around the Globe, women have been the victims and heroines of countless conflicts. Here, we celebrate the rich poetic response women have made to war, with heart, humanity, wit and warmth. Performed by women in solidarity with women throughout the world suffering through conflict. We will be performing poetry from around the world, across many generations, by women, about war. When we say ‘war poets’ we think of the Sassoon and Owen, the men of WW1, but there is a huge wealth of women’s war poetry that is rarely heard. Join us in this remembrance and celebration of the strength of women.




Forward any questions to aftertroy@gmail.com

Or call 020 7611 0057

Nicolas Tennant talks; Ladies, Mestor and Gaddafi

4 Mar

After a busy week of tech runs, dress rehearsals and opening the show Nicolas Tennant who plays Mestor in After Troy talks to us about his character.

Nicolas Tennant (Right) as Mestor with Iain Batchelor as Kratos.

1. Is Mestor a funny or a scary character?

To make objective judgements on any character is dangerous; funny and scary are decisions left for the audience to consider. I side with the playwrite Sam Shepherd and his definition of character; “a person, and what they happen to be doing that day”. Not as enigmatic a statement as at first it seems. Any character is the sum of it’s parts, and hopefully a complex mix of feelings and characteristic’s given vent and definition by the situation and circumstances the playwrite chooses to place them. Most of us are defined by our responses to other people; we are all capable of humorous, kind, jealous, vindictive, caring behaviour depending on the circumstances and situation we find ourselves in.In classic theatrical terms character ‘types’ prevail, romantic lover, dominant clown etc. and so within this definition Mestor is The Clown. He is also a murderer and it is the discovery of this murder that propells the last third of the play. Mestor is a King, his pretentions of Kingship provide the humor; his gawdy appearance, the tiresome use of the royal ‘we’, his divine and absolute dominance of his domain;a small rock of an island whose sole purpose has been to provide a landing base for the mighty Greek Navy. Not least his strange binary style of speaking. Mestor is a tadpole in an ocean but walks like a God on earth. We find this naive and pompous behaviour silly. He is ridiculous. But one dosen’t have to, look too far to find foreign leaders that trade in pompous rethoric, and parade pantomime costume. Recently the Libyan leader Colonel Muammar Gaddafi compared his despotic rule to that of our very own Queen Elisabeth, a monarch also in her fortieth year of uninterrupted rule, and bemoaned that nobody had a problem with HER still being in power. Silly, well  yes. Funny, check out that moustache, the portable bedouin tent, the medals. Scary? A lot of innocent people have died in Libya during the past week, killed as ‘Mad Dog’ turned the army against his own people. We can laugh at these strange foreign rulers because they don’t conform or fit a democratize Western bearing of authority, but many rulers, not just in the Middle East, but in many parts of the world are bullies and tyrants on a monstrous scale. Scary.

2. Being a master of taking both sides, what would Mestor’s alliance with a woman look like?

Mestor is deeply romantic. Whilst there is no mention of the current Queen Mestor, his love for Cassandra consumes him totally. The mention of her name and launches him into fantastic flights of revery that confuse even him. Cassandra shakes him to his core; life is defined by the ‘old time’ before he met her. To ‘new time’, their future together when he finally possess her. When they meet, moments before the fated wedding Mestor ‘stops’ time. Any woman of Mestor’s would not want for anything. Any wish, desire, whim would be fulfilled. But oh, the jealousy would be stifling. Though the lucky lady would have anything she required, every move, thought breath would be watched, day and night. She would be under constant scrutiny, Mestor’s infatuation would leave no room outside acquaintances. She would be a virtual prisoner. Small price to pay? Come on girls, give you the world and it’s still not enough.

3.Do you often dream of an island bearing your name?

Whilst Tennant Island has a certain Housing Association ring to it, and my ego could do with the flattery, I don’t think I’d like the responsibility of having an island named after me, the admin alone would be a nightmare…


2 Mar

Tonight is the night. After Troy opens this evening at The Oxford Playhouse! As a teaser we have gotten a hold of some fantastic production shots taken during this week’s tech runs.  Geraint Lewis came back and took the following truly thrilling photographs. Click on the image to see a full size view.

Meet Alex Silverman, After Troy’s composer!

1 Mar

Music and dance were an essential part of Greek drama and remains a pivotal, emotional and engaging part of modern drama. Therefore our composer, Alex Silverman had the important and challenging responsibility of composing original music for After Troy. Here he answers  few questions about his process and the importance of music in theatre.

At what stage in the process did you get involved in After Troy?
I came on board a couple of months before rehearsals: we started to talk about music after Glyn had written a complete piece, but long before the finishing touches had been made.

What is the importance of music in the play?
Music, and Song in particular, is crucial to the identity of the Trojans. Theirs is an oral culture, and their memory and identity are tied up in the songs they sing together; it is equally significant that the Greeks have no meaningful relationship with music. How much of the music will you write before the rehearsal process commences? Some! I like to have most of the music mapped out before we start work with the actors, but get heavily involved in the rehearsal room, and let the piece grow to fit the production as it develops.

What’s your role in the rehearsal process?
I work regularly with the cast as they learn to perform their songs; I also keep in close touch with the director, looking for moments where music can serve the story- by drawing our attention to key events, bringing out particular aspects of a character, and contributing to his vision of the piece as a whole.

Why do you write music for theatre?
Because I love to be a part of that story-telling process. When all the bits of a production come together, it’s thrilling, immersive, and has power to fire the imagination in a way my silly little tunes could never achieve on their own.


28 Feb

We are just days away from our premiere at the Oxford Playhouse.  Lights are rigged and we are heavy into tech week and dress rehearsals. Get yourself ready and excited for After Troy by viewing our official trailer here! Enjoy!

Eve Matheson discusses Hecuba

28 Feb

Eve also took some time to explore her character, watch here for her insights.