Cast Announced for F*CKING MEN at King's Head

The King's Head are very proud to announce that F*cking Men, Joe DiPietro's serio-comic contemporary adaptation of Arthur Schnitzler's La Ronde set within the gay subculture of a big city, has now been cast. The production will be playing at the King's Head in August.

With a variety of credits, ranging from stage through screen and panto to even video games, our cast of actors includes Chris Wills (UP4AMEET, UK Tour), Harper James (Timon of Athens, National Theatre), Jonathan McGarrity (Coronation Street), Richard de Lisle (Deep Cuts), Haydn Whiteside (Cum and Go, Old Red Lion Theatre), Darren Bransford (War of the Roses) and Johnathon Neal (Assassin's Creed Chronicles). A full cast list can be found below.

The play is a moving portrayal of hunger and desire as it follows the erotic encounters of 10 men in their interconnected search for sexual satisfaction. Each scene in the play is a frank, candid and sometimes brutally honest depiction of the lustful transaction between two men. It is a loose adaptation of the 19th century play La Ronde in which pairings of characters are featured in scenes preceding and succeeding sexual encounters. It's a structure that lends itself to strong characterizations and oodles of dramatic irony, and will be directed by Geoffrey Hyland.

F*cking Men will run from August 5th - 30th at the King's Head Theatre.

Now in its 45th year, The King's Head Theatre is celebrating this anniversary with an exciting new artistic policy after the departure of OperaUpClose, becoming a crucible for new writing and critical rediscoveries. Work from Irvine Welsh, Richard Cameron, Richard O'Brien and Arthur Miller, as well as Mike Bradwell directing for the first time since the 1970s, guarantees that if it's on here, you won't see it anywhere else. Led by Adam Spreadbury-Maher, second artistic director following Dan Crawford (who set up the King's Head as the first pub theatre in 1970), the theatre is the first unfunded venue to have an Equity agreement to pay theatre- makers fair wages since 2011, and continues to do so despite receiving no public fundin