A play by Ibsen, in a version by David Elridge, directed by Michael Grandage, at the Donmar Warehouse, London (8 Dec 2005 – 18 Feb 2006). Should the truth be pursued, whatever the cost? The idealistic son of a wealthy businessman seeks to expose his father’s duplicity and to free his childhood friend from the lies on which his happy home-life is based.
The God of Hell (2005): Ben as Welch
A play by Sam Shepard, directed by Kathy Burke, at the Donmar Warehouse, London (20 Oct -3 Dec 2005). Frank and Emma are American dairy farmers, alone in the Mid-West where nothing ever happens. But now there’s a mysterious man hiding in their basement and a government official has come knocking at their door.
A play by Euripides, translated by Don Taylor, in a production of Katie Mitchell, at the Lyttelton, National Theatre (22 Jun-7 Sep 2004). Agamemnon, the leader of the Greek coalition before and during the Trojan War, decides to sacrifice his daughter, Iphigenia, to appease the goddess Artemis and allow his troops to set sail to preserve their honour in battle against Troy.
A play by Anton Chekhov, in a production of Katie Mitchell, at the Lyttelton, National Theatre (12 Aug-18 Oct 2003).Trapped in a small provincial town the three sister’s dream of a future life for themselves in Moscow, remembering happier days before their parents died, and struggling to make their present life bearable. In their efforts to escape the tediousness of their humdrum lives, the sisters merely become further ensnared in despondency.
A play by Christopher Hampton, directed by John Crowley, at the Donmar Warehouse (1 May-23 Jun 2001). “Tales” reimagines literary history as characters such as Thomas and Heinrich Mann and Bertolt Brecht deal with themes of anti-Semitism, war and exile. It is centered on German-speaking Austro-Hungarian writer Ödön von Horvath, who died in 1938 after a tree branch hit him in the head. He is resurrected in this play, living and moving to Hollywood, where he is called Ed, at the same time as a cadre of German writers.
A play by Arthur Miller, directed by Howard Davies, at the National’s Cottesloe (6 July – 18 Oct 2000) and the Lyttelton (7 Aug 01 – 6 Oct 01). A compelling story of love, guilt, and the corrupting power of greed.
(Winner of the Best Supporting Actor Award, Olivier Awards, 2001; Winner of the Best Supporting Actor Award, Whatsonstage.com Awards, 2001)
A play by William Shakespeare, in a production of Michael Grandage, at the Lyric Theatre, Hammersmith (1 – 25 March 2000) and at the Crucible Theatre, Sheffield (3 – 26 Feb 2000). Rosalind, the daughter of a banished duke falls in love with Orlando the disinherited son of one of the duke’s friends. When she is banished from the court by her usurping uncle, Duke Frederick , Rosalind takes on the appearance of a boy calling herself Ganymede. She travels with her cousin Celia and the jester Touchstone to the Forest of Arden, where her father and his friends live in exile.
(Nominated for the Best Supporting Actor Award, TMA Awards, 2000)
A play by Brad Fraser, directed by Marianne Elliott, at the Royal Exchange Theatre, Manchester (14 Jan-16 Feb 1999).
At thirty-something, Matt suddenly finds himself looking for more than reckless flings with younger partners—he wants maturity and commitment. He meets Martin Yesterday (Ian Gelder), a middle-aged city councillor, and his prayer seems to be answered. Martin, however, is not always forthcoming about his private affairs, and holds some very dark secrets. (Nominated for the Best Actor Award, M.E.N. Awards, 2000)
A play by Pirandello, directed by Jonathan Kent, at the Almeida Theatre, and Playhouse Theatre, London (1997-1998). A well-known novelist shelters a hounded woman but his motives are not altogether altruistic. Others appear on the scene to make their own claims on the young woman. This play deals with identity and guilt/forgiveness.