Previewed 9 April 2010, Opened 15 April 2010, Closed 22 May 2010 at the Royal Court Theatre
Previewed 11 May 2012, Opened 23 May 2012, Closed 4 August 2012 at the Duke of York's Theatre

The Royal Court Theatre presents Laura Wade's play Posh in London with Simon Shepherd

In an oak-panelled room in Oxford, ten young bloods with cut-glass vowels and deep pockets are meeting, intent on restoring their right to rule. Members of an elite student dining society, the boys are bunkering down for a wild night of debauchery, decadence and bloody good wine. But this isn't the last huzzah: they're planning a takeover - Welcome to the Riot Club.

Please Note: Age guidance 14 plus.

The cast at London's Royal Court Theatre and the West End's Duke of York's Theatre featured Simon Shepherd as 'Jeremy', Charlotte Lucas as 'Charlie', Danial Ryan as 'Chris' (Royal Court), Steffan Rhodri as 'Chris' (Duke of York's), David Dawson as 'Hugo Fraser-Tyrwhitt' (Royal Court), Pip Carter as 'Hugo Fraser-Tyrwhitt' (Duke of York's), Fiona Button as 'Rachel' (Royal Court), Jessica Ransom as 'Rachel' (Duke of York's), Harry Hadden-Paton as 'Harry Villiers' (Royal Court), Max Bennett as 'Harry Villiers' (Duke of York's), Henry Lloyd-Hughes as 'Dimitri Mitropoulos', James Norton as 'Miles Richards' (Royal Court), Edward Killingback as 'Miles Richards' (Duke of York's), Jolyon Coy as 'Toby Maitland', Joshua McGuire as 'Guy Bellingfield', Kit Harington as 'Ed Montgomery' (Royal Court), Harry Lister Smith as 'Ed Montgomery' (Duke of York's), Leo Bill as 'Alistair Ryle', Richard Goulding as 'George Balfour', and Tom Milson as 'James Leighton-Masters'.

Directed by Lyndsey Turner with designs by Anthony Ward, lighting by Charles Balfour, music by James Fortune, and sound by David McSeveney.

Simon Shepherd's London theatre credits include the roles of 'Tom Palmer' in Tim Luscombe's revival of Terrance Rattigan's Harlequinade at the Royalty Theatre in 1988; 'Mr Gilbert' in Tim Luscombe's revival of Terrance Rattigan's The Browning Version at the Royalty Theatre in 1988; 'Gerald Croft' in Peter Dews' revival of J B Priestley's An Inspector Calls at the Westminster Theatre in 1987; and 'Wolf' in Robert Chetwyn's production of Martin Sherman's Bent at the Royal Court Theatre in 1979.

"This beautifully acted production, with its pitch-perfect ensemble cast, has much of the audiences in stitches. But I found that two and a half hours in these people’s company was almost beyond endurance. In the second half Laura Wade allows herself some dramatic licence and enjoys much-needed fun at her characters’ expense... The violent climax in which the restaurant is trashed to the tune of the Toreador song from Carmen is both thrilling and repellent - as well as a triumph of staging by director Lyndsey Turner and designer Anthony Ward. The values of the most obnoxious member of the group, played by a snarling Leo Bill, come to the fore in a manner more reminiscent of Lord of the Flies than Brideshead Revisited." The Daily Express

"When Laura Wade's sketch of upper-crust English ghastliness appeared at the Royal Court in the run-up to the general election two years ago, you couldn't escape the feeling the playwright held a sneaking admiration for her privileged subjects. For the West End transfer, the characters are more repellent. The script now reflects the Tories being in power (albeit in coalition) and depicts ten ‘arrogant posh boys' who don't know the price of milk... Oozing entitlement, these bowtied boors are polite to the landlord’s face and vile behind his back. Wade’s peek at the young men set to join the innermost circles of Tory wealth and power makes you shudder – but eye-opening it's not." The London Metro

"Laura Wade has created ten members of the Riot Club, a not even thinly disguised Bullingdon, the infamous, all-male, exclusive and elitist Oxford University dining club to which David Cameron, George Osborne and Boris Johnson belonged... Wade deftly catches the unmistakable sound of braying hoorays; the sneering, the swearing, the snobbery and the vocabulary... Better still, she captures their gobsmacking sense of entitlement and tribalism. 'We're not people,' says superlatively arrogant, prole-hating Alastair condemning the landlord for the unforgivable sin of putting cheese in the fridge... The trouble is, while doubtless authentic, neither the characters nor the plot are quite believable. Wouldn't at least one of these chaps have been a tiny bit moral, or a tad sophisticated; vaguely civilised and possibly clever? In Lyndsey Turner's well acted production, this lot are all as nauseating as each other: stupid, unthinking, just more or less hogwhimperingly drunk. Revoltingly amusing, but a cartoon rather than a satire with real bite, which goes nowhere new." The Mail on Sunday

Posh in London at the Duke of York's Theatre previewed from 11 May 2012, opened on 23 May 2012, and closed on 4 August 2012.