Stephen Beresford trained at RADA and worked as an actor before writing for television and film, winning a BAFTA for his screenplay for the feature film Pride (2014). His plays include: Fanny & Alexander (Old Vic, London, 2018), a stage adaptation of the film by Ingmar Bergman; and The Last of the Haussmans (National Theatre, London, 2012).
A superb new monologue - short, sharp, unsettling... Though easy and colloquial the writing has the intensity of a Greek drama, suggesting how damage ricochets down generations. And in its rich mix of light and shade it's almost like a male correlative to Fleabag, winding towards an image of someone forsaken, kneeling and seeking absolution. --Telegraph; A beautifully constructed story... An unusually quiet play in these noisy times, Three Kings is an elegy broken by moments of sharp humour... Stephen Beresford's skillful monologue is a measured and meticulously crafted tale of fathers and sons that shows us the forces that ricochet down the generations. --Guardian; An intimate character study, teeming with vivid descriptions... Beautifully crafted moments of fury, partly masked by biting humour and studied nonchalance, of raw pain and of physical comedy... Beresford's incisive script constantly shows the agonising gulf between expectation and reality. --The Arts Desk; Like John Le Carre's books about his own conman father: Beresford's play captures the same mixture of longing and despair, the constant flickering hope that things will be different, the crushing realisation of disappointment. His writing is precise and fluent, catching each mood as it swims swiftly by. The coins of the title become a metaphor for the relationships depicted, each affecting the other; the play's plea for forgiveness, for freedom from that generational suffering is acute and profound. --WhatsOnStage