"Don’t you want to finally be one of the Nine? To be noble? A bit above things, regardless of earthly cost?"
Estelle West used her grandchildren as inspiration for her novel series, The Noble Nine.
Grown up and estranged, the grandchildren gather at Estelle's death bed. There she reveals that she hid their inheritance as gold in the family mansion on the remote island where they spent their childhoods. The grandchildren decide to reunite as the Noble Nine for one last adventure to find the treasure, and set off for the island.
Yet when they reach their home, they find their idyllic memories of the past confronted by a series of dark secrets. Their explosive visit unleashes a violent force that threatens to both destroy both the island and, worst of all, ruin the Nine for good.
The Noble Nine is a thrilling dark comedy about nostalgia. It casts an affectionate yet cynical eye over children’s literature of the past, and considers what stories we tell ourselves as a nation, and what this means for our future.
The Noble Nine is based on an idea originally commissioned by The Oxford School of Drama, and first performed at the Soho Theatre Upstairs in September 2017.
Written by Matt Parvin
Directed by Polina Kalinina
Produced by Josh Cockcroft
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Theatre Tewl makes narratively adventurous new work, grounded in text and driven by curiosity. We start with words and work collaboratively to fashion theatre which finds the dark in the light, and the humor in the tragic. We want to create democratic, intelligent productions and tour our work as far and as wide as we can. Noble Nine will be Theatre Tewl’s first production.
Theatre Tewl was founded by Josh Cockcroft, Polina Kalinina and Matt Parvin in 2018. Their first production together will be Matt’s ‘The Noble Nine’, which was developed at Soho Theatre with Oxford School of Drama in 2017.
Producer for stage:
Producer/co-director: Sod’s Law, Edinburgh Fringe and touring, Autumn 2018
Clingfilm, Edinburgh Fringe, Summer 2018
Anatomy of the Gun, Cog Arts, Spring 2015
Producer for film:
Borderlines (Feature), by Meg Rickards, 2019
Noor (Feature), by Ashvin Kumar, 2017
Fee (Short), by Guen Murroni, 2017
The Hyperviolent King of the Universe, Pint-Sized at the Bunker Theatre, May 2018
Cousins, Soho Theatre Upstairs, September 2017
Jam, Finborough Theatre, May 2017
Somewhere Else Entirely, British Art Show 8 in Southampton, October 2016
Two Roads, VAULT Festival, February 2015
Playboy of the Western World, Southwark Playhouse, August 2015
Romeo and Juliet, Tobacco Factory Bristol, March 2015
The Events, Traverse, Young Vic and touring, Autumn 2013
Dutchman, Orange Tree Theatre, June 2012
PRAISE FOR PREVIOUS WORK BY MATT PARVIN
JAM at FINBOROUGH THEATRE 2017
The Upcoming, ★★★★★, “Parvin skilfully navigates the line between tension and drama, gently easing the rapidly escalating anxiety he induces with a nervous humour and sly wit.”
Everything Theatre, ★★★★, “The tension throughout the play is so palpable that you’ll be on the edge of your seat.”
West End Wilma, ★★★★, “A fascinating and highly recommended play.”
The Times, “Taut, cruelly funny and crammed with quirky detail.”
ALICE IN WONDERLAND at EDINBURGH FRINGE 2013
Daily Info, “A triumph ... it’s hard to imagine a more perfect evening”
TWO ROADS at VAULT 2015
Theatre Reviews Hub,“Impressive ... Insightful”
THE TIMES, ★★★★ ,"Kalinina's production is lacerating; it suggests a talent, ambition and intelligence of significant promise"
ROMEO AND JULIET
GUARDIAN, ★★★★,“The kids are taking over the theatre company Shakespeare at the Tobacco Factory. Not only is a young guest director, Polina Kalinina, in charge for only the second time in SATTF's history, this much-told fable about the battle between youth and age is given a revamp that will make anyone over the age of 25 worry about being past it....Thrilling work’.”
PLAYBOY OF THE WESTERN WORLD
THE TIMES,★★★★,"Polina Kalinina’s production kicks off in rabble-rousing style. It’s spirited, vigorous, and always pungent.” THE TIMES
EVENING STANDARD, ★★★★,"Kalinina serves up a rattlingly lively evening... What the cast capture so well is the vibrant pulse of paganism that beats just below the religious observances.”