WATCH ON THE RHINE

"It’s an indulgence to sit in a room and discuss your beliefs as if they were a juicy piece of gossip."

Summer 1940. On a peaceful morning in her Washington D.C. living room, widow Fanny Farrelly (Olivier Award winner Patricia Hodge) anxiously awaits the return of her daughter and her German husband, fleeing Europe with their children.

As night falls, dark secrets emerge, and this American sanctuary becomes even more dangerous than what they left behind.  

Known for her success on Broadway (The Little Foxes, The Children's Hour) Lillian Hellman was also a brilliant activist, ahead of her time. WATCH ON THE RHINE is her masterpiece political thriller, given a timely revival by director Ellen McDougall. 

★★★★★  “Lillian Hellman examines a fascinating historical turning point with extraordinary, incisive clarity… Ellen McDougall’s precise and insightful production… Basia Bińkowska’s sumptuous design.” The Stage

★★★★★
“A superb ensemble cast… A wonderful production of a marvellous play” LondonTheatre1 

★★★★  “Impeccably directed by Ellen McDougall, with an inspired design by Basia Bińkowska, what seems like a potential comedy of manners or family friction drama becomes charged with bigger world politics and violence... Hellman’s dialogue zings with wit and thunders with eloquent conviction.” Guardian 

★★★★ 
“A gripping show, well acted, handsomely staged”
Sunday Times

★★★★
“Ellen McDougall’s revival, which marries classy performances with a great clarity of purpose and focus, is an unexpected pleasure.”
Independent

★★★★ “The play grips. It's rare to feel you are watching a plea from the frontline of history.” WhatsOnStage

★★★★ “A terrific cast…Its shift from bourgeois cosiness to shocking violence remains bravura stuff.” Time Out

★★★★ “A seductive call to arms… Ellen McDougall directs a stellar cast” The Arts Desk

★★★★ “Gets 2023 London playgoing off to a truly dynamic start” London Theatre

★★★★ “Ellen McDougall thrusts Hellman into the limelight and demands that her name be etched in the history books.” Theatre Weekly