Seth Numrich (pictured with Kim Cattrall), who won the 2013 Evening Standard Theatre Award for Best Newcomer, will return to the London stage to star as Bazarov in Fathers And Sons at the Donmar Warehouse.
The American actor, who made his London stage debut in Sweet Bird Of Youth at the Old Vic, is joined in the cast by Caoilfhionn Dunne, who was nominated against Numrich for her performance in the Donmar’s The Night Alive.
The drama, which is based on Ivan Turgenev’s novel, runs at the Donmar Warehouse from 5 June. It is directed by another award winner, Lyndsey Turner, who collected the Olivier Award for Best Director earlier this week.
A tale of clashing generations, Fathers And Sons opens with two young men – one the son of a landowner, the other a charismatic radical – visiting a country estate. When they begin to question the values of their hosts, inter-generational tensions start to rise. The revival of the mysterious Anna only serves to raise the stakes and threaten a friendship.
Anthony Calf and Elaine Cassidy, who previously appeared together in the Donmar production of Les Parents Terribles at the Trafalgar Studios, are reunited in this new production. Calf returns to the London stage after recent appearances in Stephen Ward and Private Lives, while Cassidy is best known for her screen work in The Paradise, The Others and Disco Pigs.
Susan Engel (Hecuba) and Tim McMullan (The Front Page) also make Donmar returns in Fathers And Sons.
The cast also features a host of Donmar debutants including National Theatre regular Karl Johnson and rising stage star Joshua James, who was most recently seen in the Royal Shakespeare Company productions of Wolf Hall and Bring Up The Bodies.
David Fielder, Jack McMullen, Siobhán McSweeney, Phoebe Sparrow and Lindy Whiteford complete the cast.
Fathers And Sons, which features sound design by another of Sunday’s Olivier winners, Carolyn Downing, opens at the intimate Donmar Warehouse following the run of Privacy, which is currently previewing and opens next week. The latest play from last year’s Olivier Award nominee James Graham explores the murky world of personal information use in the age of the internet.