Tim Luscombe
The new musical, Stiletto, for which Tim wrote the libretto, premiered at the Charing Cross Theatre in spring 2025. It was commissioned and produced by the Robert Stigwood Organisation, and a film of the production is available to view on request.
His auto-fiction, Learning German (badly), was published in 2018. As a playwright, his most successful plays include several adaptations from Victorian novels, including four by Jane Austen and Turn of the Screw by Henry James. Tim wrote EuroVision, which Andrew Lloyd Webber produced at the Vaudeville Theatre; Pig, produced by Buddies in BadTimes in Toronto; and The Schuman Plan for Hampstead Theatre. His play The One You Love premiered at the Royal Court.
In the 1990s, Tim ran the London Gay Theatre Company, and, as a director, was nominated for a Laurence Olivier award (Best Newcomer, 1989).
He is currently writing a novel, an allegory about Brexit and the murder of Jo Cox.
"Just finished this marvellously funny, impassioned, erudite, disarmingly candid and self-aware first book by my old theatrical colleague and Europhile friend. Unreservedly recommended."
Jason Carr, Amazon Book Review; Learning German Badly, Tim as Author
"I absolutely loved this, even though, as a memoir of the 2016 referendum, I knew how it was going to end! At times it's massively poignant, at times laugh out loud funny, and always engaging and full of charm! A brilliant take on Brexit from a brilliant mind!"
Corin Buckeridge, Amazon Book Review; Learning German Badly, Tim as Author
"This deft adaptation preserves all the wit and charm of the original, Austen’s sparkling dialogue transfers perfectly from page to stage with divinely witty dialogue. Here is Austen that puts the bubble into Bath."
J D Atkinson, British Theatre Guide; Northanger Abbey, Tim as Dramatist
"This production neither plays it too safe nor seeks the extremes of the avant-garde; the kind one hopes for from a theatre such as the Salisbury Playhouse…It shows why Britain needs provincial theatres producing their own plays, offering a middle way between the high art of London’s creative powerhouses and the vanilla mediocrity of most commercial productions. As so many provincial theatres are becoming merely waystops for low-calorie rehashes of West End blockbusters, it is good to know there are some beacons out there for us non-metropolitans."
The Independent; The Rivals, Tim as Director
