A delightful stage version of Jane Austen's earliest novel, her mock-Gothic Romance. Catherine Morland is taken by her aunt to Bath, where she encounters the social whirl denied her at home. She befriends Isabella Thorpe and her boorish brother John. She meets the charming but eccentric Henry Tilney and his sister Eleanor. And all the time her head is full of the gothic fantasies of Mrs Radcliffe's Mysteries of Udolpho, scenes from which will keep intruding into the daily life of Bath society. When Catherine accepts an invitation to the Tilney's country seat at Northanger Abbey, lurid images of Udolpho threaten to overwhelm her. Until, as in all the best Jane Austen, Catherine finally gets her man... Tim Luscombe's adaptation of Jane Austen's Northanger Abbey was first performed at York Theatre Royal in 2004.

With the possiblity looming that the referendum might get passed and he'll lose easy access to his German partner and Germany, British stage director Tim Luscombe must get a German passport. To apply he must first pass his German language test. To do that, he must first learn German. It goes badly. An ode to a potential union, a lament for lost citizenship and a celebration of life, Tim Luscombe's comic diary charms as it enlightens. Apparently secure in the cosmopolitan bubble of Berlin, Tim seeks to win citizenship by returning to school to learn German. However, his twenty international classmates are not as focussed on study as he would wish. Karole from Botswana, Mervyn from Estonia and Jang-Mi from Korea become his new unlikely friends as together they grapple with mind-bending grammar, the art of integration and baffling immigration paperwork. As their flawed but valiant teacher attempts to coral her ship of fools towards an understanding of the dative, some prosper while others move on. As well as reflecting the anarchy of the class, Learning German (badly) records Tim's despair watching from afar the build-up to the referendum to leave the European Union - Brexit. And then its aftermath when the UK votes to leave the EU. His sense of himself as a European is threatened when a new England is born, heralded by Teresa May's conference speech damning 'citizens of nowhere'. As an old England dies and Tim mourns and feels a sense of loss and confusion, his father also faces his own death in Teddington Hospital, forcing priorities to shift and the comedy to darken. As a European political union is torn apart, a new personal union deepens when Tim's peregrinations end and he falls in love with his newly adoptive country and marries his German boyfriend. This comedy of manners is as much about the dynamics of a classroom as it is about a union of countries - as much about feelings of isolation among unfamiliar people-places-and-things as it is about how those feelings ultimately transform into renewal. Its central interests are transience, identity, community - and how not to learn German.

'There certainly are not so many men of large fortune in the world as there are pretty women to deserve them.' Unceremoniously uprooted from her humble family home, intelligent young Fanny Price is dropped into the bustling, aristocratic household of her uncle, Sir Thomas Bertram, where she finds herself buffeted from one crisis to the next. Yet, throughout this turmoil one thing remains a constant - her love for the generous, worthy and steadfast Edmund Bertram. But will this love be her salvation? Or will she be forced to marry the charismatic Henry Crawford for connections and wealth alone?

Anne Elliot fell deeply in love with a handsome young naval officer, Frederick Wentworth, at the age of nineteen. But because he had neither fortune nor rank to recommend him, Anne's mentor and friend, Lady Russell, persuaded her to break off the engagement. Eight years later, Anne has lived to regret her decision. She never stopped loving Frederick - and when he returns from sea a Captain, she can only watch as every eligible young woman falls at his feet. Can the pair rekindle a love that was lost but notforgotten? This new adaptation was commissioned and first produced by Salisbury Playhouse in 2011. 'With the arrival of Tim Luscombe's version of Persuasion, written for Salisbury Playhouse, it would seem that Austen fans have found their champion. Following the success of Luscombe's rendering of Northanger Abbey, also for Salisbury, his new adaptation of Austen's last work, published after her death, is both colourful and touching. Luscombe's intelligent doubling gives us more then twenty characters from ten players - a fairly good return in terms of artistic productivity in an age of economy.' British Theatre Guid