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106 – End by David Eldridge

106 – End by David Eldridge

Clive Owen as Alfie and Saskia Reeves as Julie
National Theatre, London, December 2025
Photo by Marc Brenner

106 – End by David Eldridge

David Eldridge’s new play End is the final instalment of what David has described as a “triptych for the theatre”, following Beginning in 2017, and Middle in 2022. Each of the plays in the series presents a snapshot of a couple at a particular time of life: Beginning shows us a moment when a couple first meet; in Middle the couple are reviewing their marriage and lives in middle-age; and now in End we meet a couple who are facing the premature end of their life together. The play is not only an emotionally painful meditation on mortality, but also a testament to the life affirming power of love.

The three plays are not in fact written as sequels – it is a different couple in each play. What they do have in common is their form – all consisting of a two-handed conversation played out in real time – as well as their recurring themes – the need for, and fear of, love; how couples maintain relationships as the years go by; how our class origins define our choices and sense of identity; and finally how we navigate the reality of the finite time we have to live.

As we record this episode End is playing at the National Theatre in London, with Saskia Reeves and Clive Owen as the couple. I was privileged to talk with David about Beginning way back in episode 11 of the podcast, and then Middle in episode 47, so I am delighted to be able complete the trilogy by welcoming David back to talk about End.

011 – Beginning: Listen here 
047 – Middle: Listen here

David Eldridge

In addition to the trilogy comprising Beginning (2017), Middle (2022) and End (2025), David Eldridge’s plays include: Under a Blue Sky, Festen, Incomplete and Random Acts of Kindness, Market Boy, In Basildon, and The Knot of the Heart, as well as adaptations of Ibsen and Strindberg, including The Wild Duck and Miss Julie. David’s most recent play is his adaptation of John Le Carre’s The Spy Who Came in from the Cold, which premiered at the Minerva Theatre in Chichester in 2024, before transferring to the Soho Place in London’s West End in 2025.

David is also a lecturer in the Department of English, Theatre and Creative Writing at Birkbeck, University of London.

Recommended Play

David recommended My Mother’s Funeral: The Show by Kelly Jones.

Photo by Johan Persson

Become a Patron!
Since I launched The Play Podcast in April 2020, I have managed to eschew any form of advertising or sponsorship, and I would like to continue to produce the podcast without doing so. I therefore invite you to help me to continue to make the podcast by becoming a Patron. Additional benefits available to Patrons include Footnotes on the plays covered in the podcast, as well as early access to The Play Review. For details click here Thank you very much for listening and for your support. Douglas
The Texts
If you are interested in buying the play text or other related books, we’d be delighted if you choose to purchase them from our selected partners Bookshop.org and Blackwell’s. Not only will you be supporting independent booksellers, we will also earn a small commission on every book you purchase, which helps to keep the podcast going. Click on the cover to buy from our chosen partner. Thank you.
You might also be interested in …
113 – Arcadia by Tom Stoppard

113 – Arcadia by Tom Stoppard

Published 24th August

Tom Stoppard’s 1993 play, Arcadia is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.

As we record this episode a wonderful new production of Arcadia is playing at the Duke of York’s theatre in London’s West End, following its acclaimed run at the Old Vic theatre earlier this year. I am delighted to share the challenge and the pleasure of exploring Stoppard’s dazzling drama with the director of the new production, Carrie Cracknell.

112 – Glengarry Glen Ross by David Mamet

112 – Glengarry Glen Ross by David Mamet

David Mamet’s modern American classic, Glengarry Glen Ross, is a blistering commentary on the cut-throat reality of the American dream, and its poisonous impact on those who have bought into the myth and machismo of that dream. The play had its world premiere in the small Cottesloe theatre at the National Theatre in London in September 1983, and was first performed in New York the following year, winning the Pulitzer Prize for Drama. Mamet also wrote the extended screenplay for the star-studded 1992 film version.

As we recorded this episode a new production of the play was playing at the Old Vic theatre in London, with an all-female cast. This is a particularly provocative idea, because one of the primary themes of this play is masculine identity, and the salesmen in this Chicago office do not hold back in their display of machismo.

To explore Mamet’s unflinching slice of 1980s dog-eat-dog capitalism, I am joined by arts journalist Mark Lawson.

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

Bertolt Brecht’s ‘gangster spectacle’, The Resistible Rise of Arturo Ui, is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace.

As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character.

I am delighted to be joined by both the show’s translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht’s political parody.

047 – Middle, by David Eldridge

047 – Middle, by David Eldridge

Claire Rushbrook as Maggie and Daniel Ryan as Gary
National Theatre 2022
Photo: Johan Persson

 

047 – Middle, by David Eldridge

It is 4:00am. Maggie can’t sleep. She is heating some milk on the hob.
Gary comes looking for her: “What’s wrong?”.
Silence
“I’m not sure I love you anymore”.

Maggie and Gary are nearing 50, and they have reached a moment of crisis in the middle of their marriage and their lives. As the dawn approaches they finally open up to each other about their separate unhappiness, asking questions about what they have done in their lives so far, what they wished they had done, and what more they now want. Their personal soul-searching encompasses many of the common anxieties of both their time of life and of our age.

This is David Eldridge’s new play Middle, which as we recorded this episode is live on the stage at the National Theatre in London. Middle follows David’s wonderful play Beginning, which ran in the same theatre in 2017 and which I was privileged to talk with David about in episode 11 of the podcast. Middle is not a direct sequel however; it is part of what David is calling a “triptych for the theatre”, in which he captures different epochal moments in the real-time lives of a couple’s relationship. I’m delighted to welcome David back to talk us through this next stage of the important dramatic trilogy he is building.

David Eldridge

David Eldridge is widely regarded as one of the most important playwrighting voices at work today. His most recent play Middle opened at the National Theatre in May 2022. It follows on from Beginning, in what will be a “loose trilogy” of plays. Beginning premiered at the National Theatre in October 2017 before transferring to the Ambassadors Theatre in the West End in January 2018.

David’s other plays include Under the Blue Sky, which premiered at the Royal Court in 2000 and was revived in the West End in 2008 with Chris O’Dowd, Catherine Tate and Francesca Annis in the cast; and Festen, an adaptation of the film of the same name that premiered at the Almeida in 2005 before transferring to the West End and Broadway. He has also often written about Essex, where he originally comes from, in plays such as In Basildon which premiered at the Royal Court in 2012, as well as M.A.D. from 2004, and Market Boy in 2006, which were both partly informed by his childhood working on a stall at Romford market. The Knot of the Heart, which was produced by the Almeida Theatre in 2011, powerfully portays the terrible price of addiction wrought on a family.

David has also successfully adapted classics from Ibsen and Strindberg, including The Wild Duck, John Gabriel Borkman and Miss Julie.  

David is also a lecturer in Creative Writing at Birkbeck, University of London. 

Recommended Play

David recommended The Lodger by Robert Holman

David in rehearsal for Middle
Photo by Johan Persson

Photo © Marc Brenner
We have footnotes for this episode …

The Footnotes to our episode on Middle include the significance of Crouch End, the sources of our personal life goals, and what the musical selections in the play signal.

Patreon Page

BECOME A PATRON!

Since I launched The Play Podcast in April 2020, I have managed to eschew any form of advertising or sponsorship, and I would like to continue to produce the podcast without doing so. I therefore invite you to help me to continue to make the podcast by becoming a Patron.
Additional benefits available to Patrons include Footnotes on the plays covered in the podcast, as well as exclusive access to The Play Review.

For details click here

Thank you very much for listening and for your support.
Douglas

The Texts

If you are interested in buying the play text or other related books, we’d be delighted if you choose to purchase them from our selected partners Bookshop.org and Blackwell’s. Not only will you be supporting independent booksellers, we will also earn a small commission on every book you purchase, which helps to keep the podcast going. Click on the cover to buy from our chosen partner. Thank you.

You might also be interested in …
113 – Arcadia by Tom Stoppard

113 – Arcadia by Tom Stoppard

Published 24th August

Tom Stoppard’s 1993 play, Arcadia is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.

As we record this episode a wonderful new production of Arcadia is playing at the Duke of York’s theatre in London’s West End, following its acclaimed run at the Old Vic theatre earlier this year. I am delighted to share the challenge and the pleasure of exploring Stoppard’s dazzling drama with the director of the new production, Carrie Cracknell.

112 – Glengarry Glen Ross by David Mamet

112 – Glengarry Glen Ross by David Mamet

David Mamet’s modern American classic, Glengarry Glen Ross, is a blistering commentary on the cut-throat reality of the American dream, and its poisonous impact on those who have bought into the myth and machismo of that dream. The play had its world premiere in the small Cottesloe theatre at the National Theatre in London in September 1983, and was first performed in New York the following year, winning the Pulitzer Prize for Drama. Mamet also wrote the extended screenplay for the star-studded 1992 film version.

As we recorded this episode a new production of the play was playing at the Old Vic theatre in London, with an all-female cast. This is a particularly provocative idea, because one of the primary themes of this play is masculine identity, and the salesmen in this Chicago office do not hold back in their display of machismo.

To explore Mamet’s unflinching slice of 1980s dog-eat-dog capitalism, I am joined by arts journalist Mark Lawson.

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

Bertolt Brecht’s ‘gangster spectacle’, The Resistible Rise of Arturo Ui, is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace.

As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character.

I am delighted to be joined by both the show’s translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht’s political parody.

David Eldridge

David Eldridge

David Eldridge

In addition to the trilogy comprising Beginning (2017), Middle (2022) and End (2025), David Eldridge’s plays include: Under a Blue Sky, Festen, Incomplete and Random Acts of Kindness, Market Boy, In Basildon, and The Knot of the Heart, as well as adaptations of Ibsen and Strindberg, including The Wild Duck and Miss Julie. David’s most recent play is his adaptation of John Le Carre’s The Spy Who Came in from the Cold, which premiered at the Minerva Theatre in Chichester in 2024, before transferring to the Soho Place in London’s West End in 2025.

David is also a lecturer in the Department of English, Theatre and Creative Writing at Birkbeck, University of London.

Photo by Johan Persson

Recommended Play(s)

In episode 11 David recommended Across Oka by Robert Holman.
In episode 47 he recommended another Robert Holman play, The Lodger.
In episode 106 he recommendedMy Mother’s Funeral: The Show by Kelly Jones.

 

 

 

011 – Beginning, by David Eldridge

011 – Beginning, by David Eldridge

Sam Troughton and Justine Mitchell in Beginning at the National Theatre – Photo Johan Persson

011 – Beginning, by David Eldridge

Danny is the last guest remaining at Laura’s flat warming party. They have been eyeing each other up from afar all night, and now that they are left alone, Laura makes it clear that she wants Danny to stay. Surprisingly Danny does not immediately seize his chance. His confidence has taken a knock following an unhappy divorce, and the stakes and tension escalate for him when Laura declares that she is ovulating!

This is the simple, but deeply engaging premise of David Eldridge’s play Beginning, which premiered at the National Theatre in October 2017 before transferring to the Ambassadors Theatre in the West End in January 2018. Justine Mitchell as Laura and Sam Troughton as Danny rightly received critical acclaim for their performances, as did the play. It is funny, piercingly perceptive and profoundly moving in its portrait of two lonely people’s lives that have not yet turned out as hoped or promised. Perhaps this will be the beginning of something. The play’s author, David Eldridge, joins us to explore the how Danny and Laura came to life, and how their date night unfolds.

David Eldridge

David Eldridge is widely regarded as one of the most important playwrighting voices at work today. His plays include Under the Blue Sky which premiered at the Royal Court in 2000 and was revived in the West End in 2008 with Chris O’Dowd, Catherine Tate and Francesca Annis in the cast; and Festen, an adaptation of the film of the same name that premiered at the Almeida in 2005 before transferring to the West End and Broadway. He has also often written about Essex, where he originally comes from, in plays such as In Basildon which premiered at the Royal Court in 2012, as well as M.A.D. from 2004, and Market Boy in 2006, which were both partly informed by his childhood working on a stall at Romford market. The Knot of the Heart, which was produced by the Almeida Theatre in 2011, powerfully portays the terrible price of addiction wrought on a family. David has also successfully adapted classics from Ibsen and Strindberg, including The Wild Duck, John Gabriel Borkman and Miss Julie. He has also written for TV, including the screenplay for The Scandalous Lady W on BBC, and he lends the experience and expertise he has gained in his impressive career to his role as a lecturer in Creative Writing at Birkbeck, University of London, and in his teaching screenwriting for the Arvon Foundation.

Recommended Play

David recommended Across Oka by Robert Holman.

Portrait by Claire McNamee
Lumb Bank, 2019

Photo © Marc Brenner

We have footnotes for this episode …

Our Footnotes to the episode on Beginning include observations on what the epigraphs signal about the play, measuring ourselves on the property ladder, the language of sex, and how standing in your underwear is the ultimate honesty.

Patreon Page

BECOME A PATRON!

Since I launched The Play Podcast in April 2020, I have managed to eschew any form of advertising or sponsorship, and I would like to continue to produce the podcast without doing so. I therefore invite you to help me to continue to make the podcast by becoming a Patron.
Additional benefits available to Patrons include Footnotes on the plays covered in the podcast, as well as exclusive access to The Play Review.

For details click here

Thank you very much for listening and for your support.
Douglas

The Texts

If you are interested in buying the play text or other related books, we’d be delighted if you choose to purchase them by following the links below. We will earn a small commission on every book you purchase, which helps to keep the podcast going. You will also be supporting an independent bookseller. Thank you.

You might also be interested in …

113 – Arcadia by Tom Stoppard

113 – Arcadia by Tom Stoppard

Published 24th August

Tom Stoppard’s 1993 play, Arcadia is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.

As we record this episode a wonderful new production of Arcadia is playing at the Duke of York’s theatre in London’s West End, following its acclaimed run at the Old Vic theatre earlier this year. I am delighted to share the challenge and the pleasure of exploring Stoppard’s dazzling drama with the director of the new production, Carrie Cracknell.

112 – Glengarry Glen Ross by David Mamet

112 – Glengarry Glen Ross by David Mamet

David Mamet’s modern American classic, Glengarry Glen Ross, is a blistering commentary on the cut-throat reality of the American dream, and its poisonous impact on those who have bought into the myth and machismo of that dream. The play had its world premiere in the small Cottesloe theatre at the National Theatre in London in September 1983, and was first performed in New York the following year, winning the Pulitzer Prize for Drama. Mamet also wrote the extended screenplay for the star-studded 1992 film version.

As we recorded this episode a new production of the play was playing at the Old Vic theatre in London, with an all-female cast. This is a particularly provocative idea, because one of the primary themes of this play is masculine identity, and the salesmen in this Chicago office do not hold back in their display of machismo.

To explore Mamet’s unflinching slice of 1980s dog-eat-dog capitalism, I am joined by arts journalist Mark Lawson.

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

Bertolt Brecht’s ‘gangster spectacle’, The Resistible Rise of Arturo Ui, is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace.

As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character.

I am delighted to be joined by both the show’s translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht’s political parody.