Philip Ridley’s The Pitchfork Disney is returning to London in a bold new production at the King’s Head Theatre (27 August – 4 October 2025, Press Night: Tuesday 2 September at 7 pm). Darkly comic and deeply unsettling, Ridley’s play has become a landmark of contemporary British drama, exploring fear, trauma, and survival in a surreal, claustrophobic world.
In this new staging, presented by Lidless Theatre, Zoë Weldon and King’s Head Theatre and directed by Max Harrison, Liz Connick takes on the role of Haley. Alongside Ned Costello as Presley and William Robinson as Cosmo, she will bring Ridley’s characters to life for a new generation of theatregoers.
We caught up with Liz to talk about her process, the challenges of Ridley’s writing, and what audiences can expect when the doors open this August.
This play is often described as “darkly comic and deeply unsettling.” What drew you to the role of Haley, and how did you connect with her emotionally and psychologically?
It was the opportunity to work with writing as sharp and alive as Phil’s really. And the brilliant Max Harrison, whom I have long admired. Haley is whip-smart, intuitive and thrilling. She’s experienced a great trauma and tragedy in her life. Connecting to her fear, I think, is the key to finding her.
Philip Ridley’s work has a reputation for being intense and atmospheric. How did you prepare to step into such a surreal and claustrophobic world on stage?
Phil’s writing is like a gold mine. The more you dig in, the greater the reward. It’s so rich. I suppose it’s about excavating the world for truth, finding the reality in the play. And there is a lot. I don’t know, I think just throwing yourself into it. You have to with writing like this. It requires so much of you, and that’s why it’s so rewarding.
Haley and Presley’s relationship is at the core of the play. How have you and your co-star developed that sibling dynamic, especially given the trauma and isolation they’ve experienced?
Max’s process is holistic, collaborative and warm, and the company are all so brilliant, the sibling dynamic has sort of emerged naturally. It’s just a wonderful room to be a part of – that’s half of the work done. I’m still pinching myself most days.
The Pitchfork Disney premiered in 1991 and is now seen as a seminal piece in British drama. As a younger actor, how does it feel to bring this iconic work to a new generation of theatre-goers?
I try not to think too big picture about these things, but it feels very urgent. Each day we’re finding moments that strike a direct chord with today’s world. I feel very lucky to be a part of the company telling this story now. Lucky is the word, for sure.
You’ve previously performed in both new writing and classic works — from Trauma at the Bush to The Jew at the Kiln. How does this role compare in terms of challenge and impact?
I’ve worked on a lot of new writing since leaving drama school. I love the collaboration that comes with it, the energy, the urgency. It’s a dream to be working now on this incredible play. It’s demanding and takes you on a journey, and that’s the theatre I want to be a part of.
Without giving too much away, what can audiences expect from this production at the King’s Head Theatre — and what do you hope they take away from Haley’s journey?
People can expect to be confronted by it. It demands your attention and asks urgent questions of us that resonate deeply today. I wouldn’t want to dictate what it is that people should take away – there’s so much that it provokes. Come and engage with it.
Production Details
The Pitchfork Disney
By Philip Ridley
Directed by Max Harrison
Cast: Liz Connick (Haley), Ned Costello (Presley), William Robinson (Cosmo)
Creative Team: Kit Hinchcliffe (Designer), Ben Jacobs (Lighting Designer), Sam Glossop (Sound Designer), James Quaife (General Manager), Carrie Croft (Production Manager)
📍 Venue: King’s Head Theatre, London
🗓 Dates: 27 August – 4 October 2025
🎭 Press Night: Tuesday 2 September at 7 pm
