Director

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We Will Rock You

The Italian production of We Will Rock You, which opened in Trieste in October 2018, is a thoroughly new take on the show. Barley Arts produced the original replica Italian production nine years ago, but...

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Hair

Directing Hair for the 3rd year students at the Guildford School of Acting was a blast. I’ve never tackled such an anarchic piece, but it’s one with an unbelievable amount of open heartedness and good intentions.

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Macbeth

I didn’t believe them when they said there’s a curse on this play. But after we lost our Macbeth to ill-health after ten days, I began to think it might be true.

Our decision to dress the witches as ISIS fighters was met with some interest in LAMDA, but no dissent, until we got on stage...

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Hungry Ghosts

'As a writer-director, Tim Luscombe doesn’t shirk the big subjects. His last play, The Schuman Plan, dealt with the European federal dream. His new one tackles both Formula One motor racing and Chinese political oppression.'  (The Times)

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The Rat Trap

'Played in the round on the tightest of spaces, Luscombe and his cast vividly re-create an unjustly forgotten drama… Tim Luscombe’s revival makes for a most rewarding evening.'  (The Times)

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Honeymoon Suite

'Tim Luscombe’s fine revival feels like a fond tribute to three ages of British comedy, Carry-On, Terry and June, and the surreal pathos of a Mike Leigh scenario.'  (The Guardian)

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13

After being a visiting artist at Rose Bruford College in 2015, it was a pleasure to return for a full-scale production in 2016. Mike Bartlett’s 13 asks all the important questions about how traditional political discourse works in England...

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Bonnie & Clyde

Bonnie & Clyde was the second musical I directed for the 3rd year musical theatre students at Mountview, the first being Parade six years earlier. Once again, it was a treat to work with the cream of UK’s young musical theatre performers in their graduation showcase.

The Hostage

Directing The Hostage (by Brendan Behan) at E15 drama school was one of the happiest experiences I’ve ever had directing students. The rumbustious play lends itself very well...

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The Little Hut

‘Sexy and entertaining!’  (The Daily Telegraph)

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Northanger Abbey

'I sincerely hope that Austen might have clapped her little hands in delight, for Tim Luscombe’s adaptation is a delight from beginning to end.'  (Yorkshire Post)

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Intimate Exchanges

'Such a formidable stage production is seldom attempted and not to be missed.'  (The Sun, New York)

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The Browning Version & Harlequinade

The Browning Version & Harlequinade are two one-act plays by the great Terrence Rattigan, which have nothing to do with each other but...

When She Danced

'Luscombe is a major talent with a wonderful feel for atmosphere.'  (New York Post)

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Warrior

Warrior was the first of many plays I directed in the Minerva Theatre in Chichester, and was a storming success. Sam Mendes (then Artistic Director of the Minerva) paired me with Shirley Gee’s coruscating play.

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The Rivals

The first of several shows I’ve directed at Salisbury, including Ayckbourn’s House and Garden and Victoria Wood’s Pat and Margaret, The Rivals was perhaps the most successful.

The Power and the Glory

Edward Petherbridge played the Whiskey Priest in this revival of Graham Greene’s play of his own book, (in which, incidentally, a young Dougray Scott featured as a menacing Lopez!) Greene collaborated with Denis Cannon...

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The Merchant of Venice

John Woodvine gave a stupendous Shylock in this production by the English Shakespeare Company. It toured the UK and Japan...

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Jeffrey

I directed the European premiere of Jeffrey at Greenwich Theatre. The writer, Paul Rudnick, came over to see it, and gave his seal of approval, which meant a great deal to us. Jeffrey was an important gay play in the 90s and...

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Snow Orchid

Joe Pintauro’s masterpiece (in my opinion) was given its European premiere by the London Gay Theatre Company at the Gate Theatre in Notting Hill, after our success with Salvation...

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Salvation

Salvation was the name we gave to two separate pieces that made up an evening’s entertainment. The first half of the evening was a collection of short plays by Joe Pintauro. 

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Relative Values

A great, late Coward play, Relative Values opened at the Chichester Festival Theatre with Susan Hampshire and Sara Brightman playing the leads. Edward Duke played the best friend with great brilliance and Alison Fiske stole the show with...

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Private Lives

I first directed Private Lives for Michael Codron. Joan Collins starred in it and it played at the Bath Theatre Royal before it came into town and entertained packed houses at...

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Point Valaine

Point Valaine is a beautiful play by Coward from his late-middle period. At the Minerva Theatre in Chichester, I was lucky to work with the great Sara Kestleman on this piece.

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Easy Virtue

Easy Virtue was a big success for me. I was asked to direct it by Dan Crawford at the Kings Head after he’d seen my production of Semi Monde, another early Coward play. Semi Monde has a cast of 60, and I’d done it as a charity one-night-only performance in...

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Artist Descending A Staircase

Artist Descending a Staircase started out as a radio play by Tom Stoppard. It hardly needed adapting at all to work as a stage play. Dan Crawford at the Kings Head persuaded me...

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A Perfect Ganesh

I’d worked quite a bit on Terrence McNally’s plays before I directed A Perfect Ganesh. For the London Gay Theatre Company I’d directed the European premiere of his play André’s Mother, and staged a rehearsed reading of the Lisbon Traviata.