Performances run 27 August – 4 October 2025.
Full casting has been announced for the new production of Philip Ridley's seminal work The Pitchfork Disney. Lidless Theatre's Co-Artistic Director Max Harrison directs Elizabeth Connick as Haley, Ned Costello as Presley (Offie Winner for Lead Performance in a Play), and William Robinson as Cosmo (Ian Charleson Award Finalist and Offie Winner for Lead Performance in a Play).
The production opens on 2 September 2025, with previews from 27 August and runs until 4 October at King's Head Theatre.
Ridley's first professional stage play, The Pitchfork Disney, premiered at Bush Theatre on 2 January 1991 and was instrumental in launching the In-Yer-Face theatre movement.
A dark and unsettling play, The Pitchfork Disney follows the relationship of two siblings and an encounter they have with an unexpected visitor. This production marks a continued collaboration between Lidless Theatre and Philip Ridley, following the company's critically acclaimed stagings of Moonfleece and Tender Napalm.
Max Harrison said, “I'm totally thrilled to be working with such a talented and dynamic cast and creative team on The Pitchfork Disney. It's a real privilege to be collaborating again with Philip Ridley and to continue Lidless Theatre's relationship with one of our greatest living writers, on this era defining play.”
Performances run 27 August – 4 October 2025.
You know why the ghost train is so popular? Because there are no ghosts. Once you've learnt that you can make a fortune.
Ten years ago something terrible happened to Presley and Haley. Since then they've lived alone in their dead parents' house, doors bolted against the terrors of the world. But, one night, Presley sees a beautiful stranger on the street outside. And while his sister sleeps…he invites in their worst nightmare.
Darkly comic and deeply unsettling, Philip Ridley's seminal masterpiece single-handedly changed the course of British drama. Its exploration of ‘a climate of fear', living in ‘alternate worlds', and persistent thrum of sexual anxiety has continued to act as a tuning fork for the zeitgeist. It is a play whose relevance is forever in the now.
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