Lucy Prebble to premiere new play as part Old Vic season
Lucy Prebble will adapt the book A Very Expensive Poison for the stage at the Old Vic next year, in a season that also includes a production of The American Clock directed by Rachel Chavkin.
A Very Expensive Poison, based on the book of the same name by Luke Harding, explores the murder of Russian spy Alexander Litvinenko. Prebble’s version will run at the Old Vic next year, with dates to be announced.
Meanwhile, Arthur Miller’s The American Clock will open in February, directed by Chavkin, whose credits include Natasha, Pierre and the Great Comet of 1812, and Hadestown, coming to the National Theatre in November.
Matthew Warchus’ fourth season as artistic director also includes the previously announced All My Sons, starring Sally Field and Bill Pullman. Jenna Coleman and Colin Morgan have now been announced as joining the cast.
Further casting has also been announced for the return of A Christmas Carol, starring Stephen Tompkinson as Ebernezer Scrooge.
The full cast includes Rosanna Bates, Ava Brennan, Jamie Cameron, Peter Caulfield, Oliver Evans, Eugene McCoy, Myra McFadyen, Frances McNamee, Alastair Parker, Michael Rouse, Tim van Eyken and Witney White.
The Old Vic will also host a special one-off performance in November to mark 100 years since the Armistice. Remembrance will be curated by Arinze Kene and directed by Annabel Bolton.
It features monologues written by Kene, Ben Bailey Smith (Doc Brown), Rachel De-Lahay and Monica Dolan.
Season at a glance
Curated by Arinze Kene
Directed by Annabel Bolton
A Christmas Carol by Jack Thorne
Directed by Matthew Warchus
November 27 to January 19, with press night on December 5
The American Clock by Arthur Miller
Directed by Rachel Chavkin
February 4 to March 30, with press night on February 13
All My Sons by Arthur Miller
Directed by Jeremy Herrin
April 15 to June 8, with press night on April 2
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.