Straight Line Crazy
Overview of the production
Ralph Fiennes stars in David Hare’s blazing account of the life of a man whose iron will exposed the weakness of democracy in the face of charismatic conviction.
For forty uninterrupted years, Robert Moses was the most powerful man in New York. Though never elected to office, he manipulated those who were through a mix of guile, charm and intimidation.
Motivated at first by a determination to improve the lives of New York City’s workers, he created new parks, new bridges and 627 miles of expressway to connect the people to the great outdoors. But in the 1950s, groups of citizens at grass roots began to organize against his schemes and against the motor car, campaigning for a very different idea of what a city was and for what it should be.
“It’s a fascinating true story, and an intriguing parable about the nature of power and democracy” – Time Out
“What I love about this subject… Is that I’m not giving a handle to the audience, saying: this is the correct way to look at Robert Moses. I hope you go out arguing about him.” – David Hare for The Daily Telegraph
“Ralph Fiennes enthrals as the man who shaped New York”The Guardian ★★★★★
"Hare at his strongest"The Observer ★★★★
The Sunday Times ★★★★
The Daily Mail ★★★★
Mon – Thu evenings £15, £25, £42.50, £55, £72.50
Fri – Sat performances £15, £25, £45, £57.50, £75
Premium tickets £95
Prices may vary for preview performances and matinees
Download the TodayTix app to access exclusive £25 rush tickets
Monday – Saturday: 7.30pm
Wednesdays & Saturdays: 2.30pm
Approx 2hrs 30mins, including an interval
Captioned: Tuesday 31 May 2022, 7.30pm
Audio described: Saturday 4 June 2022, 2.30pm
Alisha Bailey was last on stage in The Twilight Zone for Almeida Theatre and West End. Her previous credits include 4 Women for Loud Talkin’, A Raisin in the Sun for Sheffield Theatres, Paradise Street for the Tricycle Theatre, Mouthful at the Trafalgar Studios, Moon on a Rainbow Shawl for National Theatre, The Serpent’s Tooth for Almeida Theatre and Powder Monkey for Manchester Royal Exchange. On television her credits include Park Bench Plays, Grace, I Am…Victoria, Chewing Gum, Save Me, Save Me Too and Call the Midwife. On film her credits include Backdraft 2 and I Give It a Year.
Samuel Barnett was last at The Bridge in Allelujah! directed by Nicholas Hytner who has also directed him in His Dark Materials and The History Boys for the National Theatre and Broadway as well as the feature films The Lady in the Van and The History Boys. His other theatre credits include Kiss of the Spiderwoman and Dealer’s Choice for the Menier Chocolate Factory, An Oak Tree, The Beaux Stratagem and Women Beware Women for the National Theatre, Richard III and Twelfth Night for The Globe Theatre and Broadway, The Way of the World for Sheffield Theatres, Rosencrantz and Guildenstern are Dead and The Accrington Pals for Chichester Festival Theatre and The Marriage of Figaro for Manchester Royal Exchange. His television credits include Four Lives, The Amazing Mr Blunden, The Prince, Dirk Gently’s Holistic Detective Agency, Penny Dreadful, Endeavour, Not Safe For Work, Twenty Twelve, Beautiful People, Desperate Romantics and John Adams. His other film credits include Jupiter Ascending, Bright Star and Mrs Henderson Presents
David Bromley’s theatre credits include No Villain for the Old Red Lion and Trafalgar Studios and 1938 – Hitler Takes Vienna, Without Reluctance and Without Relief and Boris Godunov, all for the Ballast Theatre Company. His television credits include Harlots, Doctors and The Tunnel, and his film credits include Tolkien, How to Stop a Recurring Dream, Poor Thing and Holmes and Watson.
Al Coppola was previously seen at The Bridge in Bach & Sons. His other theatre credits include The Importance of Being Earnest for the Barn Theatre, Much Ado About Nothing and A Midsummer Night’s Dream for Split Second Productions, and Sonnet Walk, Journey’s End and Macbeth for Guildford Shakespeare Company. His television credits include Holby City.
Siobhán Cullen’s theatre credits include Once Upon a Bridge, The Cherry Orchard, Richard III, Crestfall and the one woman play Boland: Journey of a Poet, all for the Druid Theatre Company, Galway. On television, her credits include The Dry, Origin, The Long Call and Paula. Her film credits include The Bright Side.
Ralph Fiennes has enjoyed an extensive career in theatre, film and television as well as producing and directing film. He was last on stage at The Bridge in David Hare’s Beat the Devil, directed by Nicholas Hytner, and recently toured in The Four Quartets which has a London run from 18 November 2021. Fiennes was previously directed by Hytner as Edmund in King Lear for the Royal Shakespeare Company. His many other theatre credits include Hamlet, Ivanov, Richard II and Coriolanus for the Almeida, Antony and Cleopatra, The Master Builder, God of Carnage and Faith Healer. His many film credits include Schindler’s List, The English Patient, The Constant Gardener, The Grand Budapest Hotel and the roles of Lord Voldemort in the Harry Potter films and M in Skyfall and Spectre. He has also directed three feature films – Coriolanus, The Invisible Woman and The White Crow. Fiennes’ forthcoming films include The King’s Man, The Dig, The Forgiven and No Time To Die.
Ian Kirkby’s theatre credits include Touched for Nottingham Playhouse, Two Gentlemen of Verona for the Royal Shakespeare Company, Peaches for the Royal Court and Saturday Night and Sunday Morning, Arsenic & Old Lace, Dancing at Lunaghsa, The Caretaker, The Recruiting Officer and The Crucible, all for the Mercury Theatre, Colchester. On television his credits include Swashbuckle, Crackerjack, Diddy TV, Hoopla, Pete Versus Life and The Slammer. His film credits include My Last Five Girlfriends and National Treasure 2 – Book of Secrets.
Alana Maria moved to England from Detroit in the late ’90s and began performing in various tours and West End productions including The Blues Brothers, 125th Street and Dancing in the Streets. Her other theatre credits include Golden Boy for Greenwich Theatre, Little Fish for the Finborough Theatre and The Devil and the Deep Blue Sea for the The Watermill. As well as acting for the stage and screen, her voice can be heard on audio books and in many video games. She most recently filmed new series, Mechanical, for a major streaming platform as well as Avenue 5 and Doctor Who.
Dani Moseley‘s theatre credits include Somebody for Power Play Theatre – Edinburgh Fringe, Pleasance, Secret Cinema’s Casino Royale in London & Shanghai, Freefall for The Bunker Theatre, A View of Her Own Beauty for Writers Avenue, Rivers of London for Look Left Look Right/City Read, Nice Jumper and Three Women in a Music Box both for Waterloo East Theatre, The Bird Woman of Lewisham for The Arcola Theatre and The Forty Elephants for The Albany Theatre. Her television credits include Dreaming Whilst Black, Brothers with No Game Series 1-3, Which is Witch, Gates, Eastenders and Doctors. On film her credits include The Devil Went Down to Islington and Finish Line.
Guy Paul’s London theatre credits include Death of a Salesman for the Royal Shakespeare Company with Anthony Sher and Boa for the Trafalgar Studios. His US theatre credits include Mary Stuart, King Lear, The Invention of Love, The King and I, Twelve Angry Men and 1776, all on Broadway; Stuff Happens for The Public Theatre, Scrooge in A Christmas Carol for the Geva Theatre Company and How the Grinch Stole Christmas for The Globe Theatre, San Diego. On television his credits include Patrick Melrose, Father Brown, Black Sails, Life on Mars, The Sopranos and Law and Order. His film credits include The Sense of Ending, Fantastic Beasts and Where to Find Them, The Fifth Estate, Hyde Park on Hudson and the upcoming Indiana Jones 5.
Helen Schlesinger’s more recent theatre credits include Henry V, Henry IV parts 1 and 2 and Hamlet all for Shakespeare’s Globe, Albion for the Almeida Theatre, Boys Will be Boys for the Bush, Frozen for the Park Theatre, Single Spies for the Rose Theatre, Coriolanus for the Donmar Warehouse, Bracken Moor for the Tricycle Theatre and Fireface for the Young Vic. Her television credits include Midsomer Murders, Lewis, Merlin, The Hour and Nativity. On film her credits include Dirty War, Persuasion and 24 Hour Party People.
Mary Stillwaggon Stewart
Mary Stillwagon Stewart’s UK theatre credits include An Enemy of the People for the Union Theatre, The Glass Protégé for the Park Theatre, The Remains for the Canal Cafe Theatre, The Fat Man’s Wife for the Albany Theatre, Don Loco for Tristan Bates Theatre and Sleeping Beauty for Kenton Theatre. Her New York theatre credits include Machinal for Lincoln Center Lab, Ivanov and Love’s Labour’s Lost for Circle in the Square, Bender Gender Straight and Neutered for the Transport Group, Alcestis and Five Women Waiting for Manhattan Theatre Source and Dear Brutus for Wings Theatre. Her television and film credits include The Crown, Berlin Station, The Amazing World of Gumball and Boardwalk Empire.
Danny Webb’s theatre credits include King Lear alongside Ian McKellen at the Duke of York’s Theatre, Welcome Home, Captain Fox! for the Donmar Warehouse and The Seagull, directed by Matthew Dunster, for Regent’s Park Open Air. Webb is reprising the role of John Ripper in the second series of Pennyworth. His other television credits include The City & The City, SS-GB, Liar, The Halcyon and Humans. His film credits include The Dig and A Little Chaos.
David Hare is one of the UK’s most prolific and acclaimed writers having written extensively for stage, television and film. He is the author of over 30 full length plays, his first, Slag, was produced in 1970. Hare is the winner of multiple international awards including a BAFTA for Licking Hitler, an Olivier award and a Critics’ Circle award for Racing Demon, an Evening Standard Drama award for Pravda and a Tony award for Skylight. He is also a two-time Academy award nominee for The Hours and The Reader and was knighted in 1998.
Theatre includes, recently, Alys Always, My Name is Lucy Barton and Allelujah! for The Bridge; The Inheritance at the Young Vic, in the West End and on Broadway; Sing Street for New York Theatre Workshop; The Moderate Soprano in the West End; An American in Paris on Broadway, in London and Paris; Skylight in London and on Broadway; Aladdin for Disney in Toronto and on Broadway; The Glass Menagerie for American Repertory Theatre, USA, and on Broadway; The Audience in London and on Broadway; Once in London, on Broadway and US tour; and The Dark Earth and the Light Sky at the Almeida.
He has designed many productions for the National Theatre including People, Pinocchio, Travelling Light, Collaborators, King James Bible, Juno and the Paycock (also at the Abbey, Dublin), The Habit of Art, The Power of Yes, Phèdre, Every Good Boy Deserves Favour, Gethsemane, i (which he also co-directed with Tony Harrison), The History Boys (also on Broadway), His Girl Friday and Mourning Becomes Electra; more than 25 productions for the RSC, including Les Liaisons Dangereuses and The Plantagenets; and for the Donmar Warehouse: Into the Woods and Orpheus Descending.
Other theatre includes Mary Poppins at the Prince Edward, on UK tour and on Broadway; Disney’s Aida on Broadway; Disney’s Tarzan (which he also directed) on Broadway, in Germany and the Netherlands; The Year of Magical Thinking on Broadway and at the NT; The Coast of Utopia in New York; Carousel in New York; The Seagull at the Public Theatre New York; Paul Simon’s The Capeman, and The Sweet Smell of Success.
Opera & ballet designs include Strapless, The Winter’s Tale, Pavane, Anastasia, The Knot Garden, La traviata and Alice in Wonderland at the Royal Opera House; Great Scott at Dallas Opera; Don Carlos at the Metropolitan Opera; and The Cunning Little Vixen at le Châtelet.
Film includes Othello, Tales from Hollywood starring Jeremy Irons and Alec Guinness, Suddenly Last Summer directed by Richard Eyre and starring Maggie Smith, and Costume Design for the film of The Crucible starring Daniel Day-Lewis and Winona Ryder.
Awards Seven Tony awards, two Olivier awards, the Royal Designer for Industry Award and Robert LB Tobin Award for Lifetime Achievement in Theatrical Design at the TDF/Irene Sharaff Awards in New York.
Jessica Hung Han Yun
THEATRE includes The Glow, Seven Methods of Killing Kylie Jenner (original designer), Living Newspaper Edition 7 and Pah-La (from Abbey Dublin) at the Royal Court; The Mirror and the Light for the RSC in the West End; Anna X at the Lowry and West End; Out West at the Lyric Hammersmith; Inside at the Orange Tree; The Band Plays On and She Loves Me at Sheffield; Dick Whittington at the National Theatre; Blindness at the Donmar Warehouse; Rockets and Blue Lights at Royal Exchange Manchester; Level Up at the Bush; One Flew Over the Cuckoo’s Nest for English Theatre, Frankfurt; Faces in the Crowd, Mephisto, Dear Elizabeth and The Human Voice at the Gate; Equus at Theatre Royal Stratford East/ETT/Trafalgar Studios/UK Tour; Armadillo at the Yard; Reasons To Stay Alive at Sheffield Theatres/ETT/UK Tour; One (Home/UK Tour/International Tour); Forgotten (Moongate/New Earth/Arcola/Theatre Royal, Plymouth); Hive City Legacy (Hot Brown Honey/Roundhouse); Snowflake at the Kiln (from Fire Station Oxford); Fairview at the Young Vic; Cuckoo at the Soho; Nine foot nine (Bunker/Edinburgh Festival Fringe); Becoming Shades (VAULT Festival).
DANCE HOME (Rambert2)
INSTALLATIONS include Winter Light commissioned by the Museum of the Home.
AWARDS Knight of Illumination Award for Plays, Off West End Award – Best Lighting Design (Equus)
TRAINING Manchester University.
THEATRE includes Two Ladies and A Very Very Very Dark Matter at The Bridge; The Homecoming at Trafalgar Studios; Nine Night at Trafalgar Studios and the National Theatre (Olivier Award nomination for Best Sound Design); A Slight Ache & The Dumb Waiter, The Lover & The Collection, One for the Road, A New World Order, Mountain Language & Ashes to Ashes at the Harold Pinter Theatre; An Octoroon at the Orange Tree and the National Theatre; Sweat at the Donmar Warehouse and West End; The Importance of Being Earnest, The Windsors: Endgame in the West End; Glee & Me at the Royal Exchange; The Duchess of Malfi and Three Sisters at the Almeida; Venice Preserved for the Royal Shakespeare Company; Talent, Frost/Nixon and Tribes at the Crucible Sheffield; The Mountaintop at the Young Vic, Royal Exchange and on UK tour; Sing Yer Heart Out for the Lads, The Deep Blue Sea and The Norman Conquests at Chichester Festival Theatre; The Beacon at Staatstheater Stuttgart; An Unfinished Man at the Yard; Hedda Tesman, Richard III and Spring Awakening for Headlong; The Island at the Young Vic; Much Ado About Nothing, Imogen and The Taming of the Shrew at Shakespeare’s Globe; Harrogate, Fireworks and Liberian Girl at the Royal Court; Guards at the Taj and Visitors at the Bush; Killer (Off-West End Award for Best Sound Design) and The Pitchfork Disney at Shoreditch Town Hall (Co-designed with Ben and Max Ringham); Faces in the Crowd, The Convert, In the Night Time and Eclipsed at the Gate.
George Fenton works in film, theatre and television and has frequently adapted music for scores, notably Handel for The Madness of King George, and Vivaldi and JS Bach for Dangerous Liaisons.
Film Recent work includes The United Way, The Duke and The Secret: Dare to Dream. Other films include Cry Freedom, Shadowlands, The Fisher King, Groundhog Day, You’ve Got Mail, Hitch, The Wind that Shakes the Barley, I Daniel Blake, and The Lady in the Van.
Television includes The Jewel in the Crown, The Monocled Mutineer, Talking Heads, Life, and many themes including Shoestring, Bergerac, BBC News, Newsnight and On the Record. Also The Blue Planet, Planet Earth and The Frozen Planet. He conducts the Planet scores in concert with orchestras worldwide.
Theatre includes Visit from an Unknown Woman,The Smoking Diaries, Collaborators, Untold Stories, Mrs Henderson Presents and, at the Bridge Theatre, Allelujah!, Talking Heads, and Beat The Devil.
Campbell Young Associates
THEATRE casting includes The Southbury Child, Straight Line Crazy, The Book of Dust – La Belle Sauvage, Bach & Sons, Talking Heads, A Number, Two Ladies and A Midsummer Night’s Dream at The Bridge; Patriots at the Almeida, Peggy for You at Hampstead Theatre, Don Juan in Soho and The Audience in the West End; and many productions for Sheffield Crucible Theatres.
TELEVISION includes The Crown, Chernobyl, Game of Thrones, The Serpent, Wolf Hall, London Spy, and Friday Night Dinner.
THEATRE Jamie is the co-director of SIX: The Musical which is currently playing in London, New York, and on Tour in the UK & Australia. He is a Resident Director at the Almeida Theatre, and was an Artistic Associate at the King’s Head Theatre (2019-2021).
Directing credits include Southern Belles, a Tennessee Williams double bill at King’s Head Theatre; Spring Awakening and Sweeney Todd at Royal Central School of Speech and Drama; Love Me Now at Tristan Bates Theatre; Spoonface Steinberg at Edinburgh Fringe; Richard II at Emmanuel Chapel, Cambridge and Robin Hood and Henry IV, Part 1 at ADC Theatre.
As Associate/Assistant Director, his work includes The Hunt at Almeida Theatre; The Madness of George III at Nottingham Playhouse; The Boys in the Band on the West End; Platinum at Hampstead and Out of Order for UK tour.
Theatre includes The Royale, Disgraced and Perseverance Drive at the Bush; The Lady Goes to War, Fever Pitch, Blue Remembered Hills and The Alchemist at the National Theatre; Children of Eden for Arts Ed; A Tale of Two Cities on tour in the UK and France; The Trestle at Pope Lick Creek, Pretend You Have Big Buildings, Christmas is Miles Away and Things of Dry Hours at the Royal Exchange Manchester; Aces & Jacks at Guildhall; Macbeth, Romeo and Juliet, A Midsummer Night’s Dream, The Tempest and Hamlet on tour and at Dubai Community Theatre & Arts Centre.
Associate work includes Allelujah! at The Bridge; An American in Paris in the West End; Aladdin and Billy Elliot the Musical on Broadway; People, Phèdre, The Habit of Art and Travelling Light at the National Theatre; and The Inheritance in the West End and on Broadway.
Training includes the University of Bristol and the BBC.
Theatre & opera She has worked at the Royal Opera House, National Theatre, English National Ballet and English National Opera. Recent work includes Lyssa at the ROH; Under Milk Wood, Follies (Olivier Award for Costume), The Hard Problem and London Road at the National Theatre; Sing Street for New York Theatre Workshop; The Snow Queen for Tivoli Ballet and HRH Queen Margrethe of Denmark; The Inheritance at the Young Vic and on Broadway (Tony nomination for best costumes); Song of the Earth/La Sylphide and Giselle for ENB; Wozzeck for Lyric Opera Chicago; Chroma for Danish Royal Ballet; Infra for Polish National Ballet; We’re Here Because We’re Here for 14–18 Now; The Haunting Of Hill House at the Everyman Liverpool; Sinatra at the London Palladium; Between Worlds for ENO; Cosí Fan Tutte for ENO/Metropolitan Opera; Die Frau Ohne Schatten at ROH; The Same Deep Water as Me at the Donmar Warehouse; The Steadfast Tin Soldier and Nutcracker for Tivoli Ballet Copenhagen; Written on Skin for Festival d’Aix en Provence/ROH; The Yellow Wallpaper at the Schaubühne Berlin; Carmen for Salzburg Opera Festival; and Onegin for ENO/Metropolitan Opera.
Anna Lewis is a Costume Supervisor and Performance Designer. She was Lead Costume Supervisor for We’re Here Because We’re Here, a national art project created by Turner Prize-winner Jeremy Deller and National Theatre Director Rufus Norris, which involved supervising over 2,000 First World War costumes in 27 venues across the country. Most recently she supervised Wuthering Heights for Wise Children, designed by Vicki Mortimer, at Bristol Old Vic, which will tour the UK, including at the National Theatre. She assistant supervised English National Ballet’s Cinderella at the Royal Albert Hall, The Snow Queen for Tivoli Ballet in Copenhagen, designed by Queen Margrethe II, and The Inheritance, designed by Bob Crowley.
As a designer her work has been nominated for Off West Awards for Best Set (Anna Bella Eema at the Arcola) and Costume (After October at the Finborough); and Life According to Saki, which she designed for Atticist, won the Best of Edinburgh Award and transferred to the 4th Street Theatre Off Broadway. She was an inaugural recipient of the MGCFutures Bursary and has worked in a wide variety of venues in the UK and internationally.
Current productions include My Neighbour Totoro for the RSC; The Car Man at the Royal Albert Hall; The Southbury Child, John Gabriel Borkman, Straight Line Crazy and Guys and Dolls at The Bridge Theatre; Sleeping Beauty for Matthew Bourne’s UK tour; Peaky Blinders for Rambert’s UK Tour and Tammy Faye Musical at The Almeida.
In the last twenty years Lily Mollgaard has worked on over 270 shows in the West End, on Broadway and beyond. She spent 10 years running the props department at Shakespeare’s Globe and 15 years as Prop Supervisor for Matthew Bourne’s New Adventures which included The Car Man, Swan Lake, Sleeping Beauty and The Red Shoes.
THEATRE includes A Number, Beat The Devil, Talking Heads, Bach and Sons, The Book of Dust – La Belle Sauvage, Julius Caesar, Night Fall and A Midsummer Night’s Dream at The Bridge; Lion King at the Lyceum Theatre; Jesus Christ Superstar for UK tour and Broadway; Sunset Boulevard and Bombay Dreams at the Apollo Victoria Theatre and on Broadway; Joseph and Made in Dagenham at the Adelphi Theatre; The Producers, Oliver! and Shrek at Theatre Royal Drury Lane; Miss Saigon at the Prince Edward Theatre; Spamalot at the Playhouse Theatre; Sister Act at the London Palladium; Hairspray at the Shaftsbury Theatre; School of Rock at the Gillian Lynne Theatre; The Wild Duck at the Almeida; Company at the Gielgud Theatre; The Pinter Season (One, Two, Five and Six) at the Harold Pinter Theatre for the Jamie Lloyd Company; Red Shoes, Nutcracker and Midnight Bell for Matthew Bourne; Evita at Regent’s Park; Blithe Spirit at Theatre Royal Bath; Cyrano de Bergerac for the Jamie Lloyd Company; Leopoldstadt for Sonia Friedman Productions; Prince of Egypt at the Dominion Theatre and 9 to 5 at the Savoy Theatre.