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About Jack Thorne
Jack Thorne writes for theatre, film, television and radio. His theatre credits include "Hope" and "Let The Right One In," both directed by John Tiffany, "The Solid Life of Sugarwater" for the Graeae Theatre Company, "Bunny" for the Edinburgh Fringe Festival, "Stacy" for the Trafalgar Studios, " 2nd May 1997" and "When You Cure Me" for the Bush. His adaptations include "The Physicists" for the Donmar Warehouse and "Stuart: A Life Backwards" for Hightide. On film his credits include "War Book," "A Long Way Down" and "The Scouting Book for Boys." For television his credits include "The Last Panthers," "Don t Take My Baby," " This Is England," "The Fades," "Glue" and "Cast-Offs" and the upcoming "National Treasure." In 2012 he won BAFTAs for best series ("The Fades") and best serial ("This Is England 88").
Photo by Martin Godwin Guardian
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The official playscript of the original West End production of Harry Potter and the Cursed Child.
It's been nineteen years since Harry Potter, Ron Weasley, and Hermione Granger saved the wizarding world, and now they're back on a most extraordinary adventure, joined by a brave new generation that's only just arrived at Hogwarts School of Witchcraft and Wizardry. While Harry grapples with a past that refuses to stay where it belongs, his youngest son, Albus, struggles with the weight of a family legacy he never wanted. As past and present collide, both father and son are locked in a race through time as they battle mysterious forces, all while the future hangs in the balance.
Based on an original story by J.K. Rowling, John Tiffany, and Jack Thorne, Harry Potter and the Cursed Child is the complete and unabridged playscript of the award-winning West End production. This edition includes the final dialogue and stage directions of the original, two-part play, a conversation piece between director John Tiffany and playwright Jack Thorne, the Potter family tree, and a timeline of key events in the wizarding world leading up to Harry Potter and the Cursed Child.
A dark and visceral coming-of-age vampire love story, based on the acclaimed novel and film.
Oskar is a bullied, lonely, teenage boy living with his mother on a housing estate at the edge of town, when a spate of sinister killings rocks the neighbourhood.
Eli is the young girl who has just moved in next door. She doesn't go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn't know is that Eli has been a teenager for a very long time'
Jack Thorne's adaptation of Let The Right One In premiered in June 2013 at the Dundee Rep Theatre in a production by the National Theatre of Scotland, before transferring to London's Royal Court Theatre in November 2013.
'moving and haunting... a rich and beautiful theatrical experience that is by turns gripping and tender' Herald
'a chilling and moving piece of theatre, full of pain, terror and unexpected moments of comedy' Scotsman
'beguiling... polished and poetic' Guardian
An exhilarating coming-of-age drama for a solo performer.
Fringe First Award, Edinburgh 2010
Scorching heat. A fight. A car chase. A siege. When her boyfriend is attacked on the street, feisty eighteen-year-old Katie is thrust on a white-knuckle ride through one extraordinary evening. Amidst the baying for blood and the longing for love, Katie is forced to decide her future.'Electrifying combination of streetwise earthiness and heartbreaking vulnerability... terrific' Scotsman
Le texte officiel de la production originale du West End (Londres) d'Harry Potter et l'Enfant Maudit.
Être Harry Potter n’a jamais été facile et ne l’est pas davantage depuis qu’il est un employé surmené du Ministère de la Magie, marié et père de trois enfants.
Tandis que Harry se débat avec un passé qui refuse de le laisser en paix, son plus jeune fils, Albus, doit lutter avec le poids d’un héritage familial dont il n’a jamais voulu. Le destin vient fusionner passé et présent. Père et fils se retrouvent face à une dure vérité: parfois, les ténèbres surviennent des endroits les plus inattendus.
Le texte de la pièce Harry Potter et l’enfant maudit a initialement été publié comme une « édition spéciale répétition », parue à l’été 2016, en même temps que la première de la pièce de Jack Thorne dans le West End londonien. La pièce de théâtre, d’après une histoire originale de J.K. Rowling, John Tiffany et Jack Thorne, a été accueillie avec enthousiasme par les spectateurs comme les critiques, tandis que le texte officiel devenait instantanément un bestseller mondial.
Cette version définitive et finale de la pièce met à jour l’ « édition spéciale répétition », avec le dialogue définitif de la pièce, qui a subtilement changé depuis les répétitions, complété par un entretien entre le metteur en scène John Tiffany et l’auteur Jack Thorne. Ils y partagent quelques histoires et réflexions à propos de la lecture de pièces de théâtre. Cette édition comprend également des informations contextuelles utiles, notamment l’arbre généalogique de la famille Potter et une chronologie des événements se déroulant dans le monde des sorciers avant le début d’Harry Potter et l’enfant maudit.
Acclaimed for his screenplays for TV dramas including Skins, Shameless, The Fades, This is England '86/'88/'90 and Glue, Jack Thorne first emerged as a writer of unflinching, compassionate and often challenging plays for the stage. Described as a 'powerful voice for Britain's youth' (Independent), he remains one of the most distinctive talents working in theatre today.
This collection, with a revealing introduction by the author, covers a period of intense creativity - beginning with When You Cure Me (Bush Theatre, 2005), a painful - and painfully funny - play about being very young and in love, and coping with serious illness at the same time. 'One of the year's finest pieces of new writing' Evening Standard
In the monologue play Stacy (Arcola Theatre, 2007), twenty-something Rob tells the story of a confusing couple of days in which everything in his life seems to have gone wrong. 'A pin-sharp, brilliant piece of work' Time Out
2nd May 1997 (Bush Theatre, 2009) distils all the euphoria and despair of New Labour's landslide electoral victory into three stories told with 'quiet profundity and verve' (Telegraph), while Bunny (Edinburgh Fringe, 2010) is a white-knuckle ride through the streets of contemporary Britain, written for a solo female performer. 'Terrific' Scotsman
Red Car, Blue Car is a heartbreaking short play about guilt, grief and responsibility, written for and performed at the Bush in 2011. Finally, Mydidae (Soho Theatre, 2012), a two-hander set entirely in a bathroom, is an electrifyingly intimate account of the darker side of love which hits audiences 'like a punch in the gut' (Whatsonstage.com)
A painful - and painfully funny - play about being very young and in love - and coping with serious illness at the same time.
Rachel and Peter are seventeen. They have been going out for six months. It's love's young dream. Then Rachel gets ill - seriously ill. She doesn't want her mum to fuss; she doesn't want Alice to pretend she's her best friend; and she certainly doesn't want Alice's boyfriend telling bad jokes at her bedside. The only person she wants is Peter, but Peter doesn't know what it is that he wants.
When You Cure Me premiered at the Bush Theatre, London, in 2005.
'In one of the year's finest pieces of new writing... a compassionate, gripping portrait of a fledgling relationship that is asked to bear more than many well-established marriages' Evening Standard
'painstakingly honest... acutely observant of the petty rivalries and jealousies that sickness provokes' Guardian
'[has] a merciless precision... a brave piece of writing that, with its damaged and angry heroine, unflinchingly shows us not a vision of saintly suffering, but a far more engagingly human struggle for survival' The Times
A play about grief and looking at someone that little bit more closely.
Tom's brother Luke is dead. This has upset a lot of people but it hasn't upset Tom. Or, rather, it has upset him, but in ways he can't explain and other people can't understand. You see, Tom and Luke were never friends. In fact, Tom didn't really like Luke at all.
So it's an odd decision - to try and bury Luke in the pavement of the Tunstall Estate where he was killed. But to Tom, it sort of makes sense, in a stupid-weird kind of way. As he sleeps out on the pavement, he comes across planning officials, tramps, undertakers, police officers, sisters, mothers, estate agents, ghosts, pavement elephants, sky dragons and a strange lad called Tight who wants to sell him a Travelcard.
Written specifically for young people, Burying Your Brother in the Pavement was part of the 2008 National Theatre Connections Festival and was premiered by youth theatres across the UK.
'Who'd want to join in building a fucking playground.'
It's 1979, rubbish is on the streets of Bristol, and it's tricky being Fiz. She's thirteen, she's got no money, her sister's pregnant and her mum thinks she's a waste of space...
Rick remembers what it's like to be a teenager. So he thinks it won't take much to get a bunch of kids to help him build a playground out of junk.
He's wrong. It takes everything he's got. But when it's finished, it's going to be something. It's going to be everything...
Jack Thorne's honest and witty Junkyard, with music by Stephen Warbeck, premiered in 2017 in a co-production between Headlong, Bristol Old Vic, Rose Theatre Kingston and Theatr Clwyd, and directed by Jeremy Herrin.
'A touching tale… an engagingly ramshackle musical' - The Times
'A joyful musical for school misfits... left me smiling throughout as it celebrates the right of children and young people to turn their individual lives into an adventure through physical and imaginative play' - Guardian
'A heartfelt new musical... energetic and fun... like Jacqueline Wilson meets Skins' - The Stage
Newbury, 1997. Sal is attempting to cook dinner for the family. She and husband David have pulled off a coup and gathered their brood back home for the weekend. Eldest son Carl is bringing his new girlfriend to meet everyone for the first time; middle daughter Polly is back from Cambridge University for the occasion; and youngest Tom will hopefully make it out of detention in time for dinner.
Sal and David would rather feed their kids with leftist ideals and welfarism than fancy cuisine. When you've named each of your offspring after your socialist heroes, you've given them a lot to live up to…
Jack Thorne's play the end of history… premiered in the Jerwood Theatre Downstairs at the Royal Court Theatre, London, in June 2019, in a production directed by John Tiffany.
Phil and Alice are in love - familiar, flawed, ordinary love. They are on a journey, but this journey doesn’t have an A to Z.
Jack Thorne's The Solid Life of Sugar Water is an intimate, tender play about loss, hurt and rediscovery. It previewed at The Drum, Theatre Royal Plymouth, and premiered at the 2015 Edinburgh Festival Fringe, in a co-production between Graeae Theatre Company and Theatre Royal Plymouth.
An urgent political play from the writer behind Let The Right One In and This is England '86. Hope is a funny and scathing fable attacking the squeeze on local government.
How do you save twenty-two million pounds? Mark and Hilary, the leaders of the Council, are about to find out.
Jack Thorne's Hope premiered at the Royal Court Theatre, London, in November 2014.
'valuable and timely... a sunburst of optimism' - Daily Telegraph
'a surprisingly entertaining state-of-the-nation drama'- The Stage
'mischievous without being strident, combining pensiveness and wry humour' - Evening Standard
'sharp yet generous-spirited... [Hope] earns its final glow of optimism by being a critical, hard-edged play that is not a cynical one... it's rather beautiful' - The Times
'Jack Thorne's play about local authority cuts could not be more timely: what is equally important is that it entertains even as it offers a call to arms... [Hope] is part of a valuable tradition in combining the residual optimism of David Hare with the preoccupation with process of David Edgar. But it exists on its own terms and is particularly good on edgy personal relationships... it resonantly lives up to its title' - Guardian