Choice: 'This is an intriguing, atmospheric screenplay with a potentially interesting cast of strong characters...There's clearly a compelling screenplay bubbling away here...' BBC writersroom

A Brief Case:
'A true page turner. This script has action adventure from start to finish and probably had the best mid-point plot point with the bomb attached to the women. In fact, the morning after scene is written to perfection...The story does have everything going for it: adventure, sexuality, comedy, violence and tension...and it should go far.!' WILDsound

JULIUS CAESAR, South London Theatre


' much commitment and sensitivity.' Maya Gabrielle (Director)

CUMQUATS, Landor Theatre

There are some very studious performances, notably from Thomas Rushforth as the spymaster and traitor who keeps too close with the skeletons in his closet…’ Paul Vale (The Stage)

‘…Thomas Rushforth is excellent as Douglas Appleford who has been mentally scarred by the war. He becomes increasingly paranoid as the play progresses but is chillingly self-deluded by the play’s conclusion. Thomas Rushforth wrings his character dry – no emotion is left unturned…’ Kate Cook (

CORIOLANUS, South West Tour
'...more than a touch of Tarantino...' (The Cornishmman)

THE MAIAS, Greenwich Playhouse

‘Take, for instance, Thomas Rushforth’s scene-stealing eccentric Joao Ega, who first appears in a chinchilla-fur coat, and declares his love for philosophising and fine women as his prime aim in life.’ Rachel Halliburton (The Evening Standard)

'Among this collection of luminaries, I have to single out...Thomas Rushforth as his friend Ega. These two characters have, one feels, an offstage life during which they rely on each other's support for the next vicissitude that is to befall them. It is a superb depiction of true friendship.' Paul Nelson (IndieLondon) 

Richard III, Greenwich Playhouse

‘The naughtiness of Tom Rushforth as Richard has to be seen (and heard) to be believed. It is a black imp we have before us, one whose mischief knows no bounds and neither does his enjoyment of his own wickedness. A hellish Puck in fact with absolutely no scruples. You tremble to think of what he may do next and you tremble further anticipating his joy over it. I know the play reasonably well but I wouldn’t be surprised if I had watched him plot and commit a few more murders that were not in the script...Here was an evil man, smelly man with a stoop and unwashed lank greasy hair. When Anne spits on him we all wanted to, he was vile…’ Paul Nelson (Borough News)

‘…Tom Rushforth’s lank, insane Richard gazes penetratively at individual audience members as he delivers the Bard’s revealing asides from only a few feet away…Here, he is a yob fuelled by youth and ambition whose psychotic quest for power is not tempered by a wisdom that could come with age…here is a man not prone to examining himself and his actions…Rushforth’s performance is superb.’ Jeremy Austin (The Stage)

‘…In the title role, Tom Rushforth delivers a performance that is totally compelling. His hump back is barely noticeable but his withered arm looks alarmingly realistic – the result of the actor’s own ingenuity and determination to create an authentic portrayal.’ Roy Atterbury (Kentish Times)

‘Every good fairy-tale needs a baddie and Tom Rushforth as Richard, lank of hair and sporting one black glove a la Dr Strangelove, immediately creates an aura of evil. Throughout he employs the Gary Oldman-esque tactic of alternating passages of smarmy insinuation with outbursts of psychopathic anger. His playing of the pre-Bosworth sequences in which his conscience finally pricks him is very well done indeed…his fractured personality…’ Joe McCallum (In London)

NOT ABOUT HEROES, Orange Tree Room

‘the same actor who was the clean-cut post Wilfred Owen in Not About Heroes…put me and the rest of the audience into a very emotional state.’ Paul Nelson (Borough News)