War Bride of Mormon County is the tale of an underdog, outsider mother fighting to save her daughter, and ultimately herself, from an abusive patriarchy and community where gaslighting, religious justification and alternate facts are a way of life.

Trudy Thompson is a convert to the Mormon religion and immigrant to rural Utah, USA, circa 1985. She is from Manchester, England, where she met a Mormon missionary who became her husband. Trudy lives among his ultra-devout Mormon family, where she is decidedly an outsider.

It turns out her road to Heaven is dragged through Hell. Trudy’s life explodes when her seven-year-old daughter, Eliza, reveals a devastating secret: Eliza’s grandfather (Trudy’s father-in-law, the family patriarch and a vaunted Mormon community Elder), has been sexually abusing the little girl.

Thus launches this powerful, driving story of an accidental hero: a Mancunian woman who rises to the occasion, responding radically to her unexpected situation.

Not only must Trudy fight to save her daughter, but also her marriage and her very self in an environment where everyone around her suddenly seems willing and able to bend the truth and find alternative facts.

Inspired by actual events, War Bride of Mormon County is a driving, intense drama that has the audience on Trudy’s side from the get-go—not to mention inspiring audience members to fight for what’s right by shining a light into a very dark corner of society that still hides in the shadows.

This play sits at the crossroads of the immigrant ethos: is someplace else the land of milk and honey? It also opens questions around religious freedom and justification—”God told me to do it, so it's not a crime”—and the clash between “conservative” and “liberal” ideologies which are more relevant than ever. The piece challenges perceptions--especially related to one of the world’s most curiosity-inducing religious sects.

Mancunian.
Mother.
Mormon Convert. Immigrant.
FIGHTER

“Me mam said I was no different from a war bride . . . like following a G.I. to America.” – Trudy Thompson.

“This is a deeply sad, powerful, and necessary play. Two fabulous parts for women. It is much closer to home than many in the audience may be expecting.” Chris Grady,
Veteran UK Theatre Producer

“Gripping and unforgiving in its honesty. Huskinson brings a fresh and unique perspective that is very much needed for today’s divisive times.”
Melvina Douse-Manuel, Self-Producing Artist, New York

“This play sparks vital, challenging conversations about misogyny, abuse and the generational damage caused by patriarchal communities. A period of development on the script allows us to interrogate these themes and begin conversations with key stakeholders and audience partners.”
Hannah Tyrrell-Pinder, Director,
Co-Founder Box of Tricks Theatricals MCR

“An important and gripping work. It is not a comfortable play to witness. There were many moments when I wanted to run out of the room! That’s a pretty good indicator that Randall Huskinson has written a powerful and truthful piece.”
Michael Wright, theatre educator, Calgary, Canada

  • Associated links

    Community Partners
    Manchester Women’s Aid
    Manchester Rape Crisis Centre
    Maggie Oliver Foundation
    Former LDS UK
    Ex-Mormon UK

    Business side
    ITC Rates of Pay
    Lowry Theatre Studio
    Hope Mill Theatre
    Box of Tricks Theatre
    MCR Acting School/Mark Hudson

    Recent Related News Stories
    BBC
    Sky News
    Associated Press

    Statistics
    Rape Crisis England
    National Association of People Abused in Childhood
    Pew Research

  • Goodwill supporters

    Selected industry professionals (non-exhaustive) who have read the script and/or seen readings, and have encouraged its further development.

    • Franklin Theatricals, Broadway Producer, Mentor/Colleague
    • Lotte Wakeham, Artistic Director, Octagon Bolton
    • Chris Grady, UK Producer (formerly w/Cameron Mackintosh)
    • Joseph Houston, Artistic Director, Hope Mill MCR
    • Joyce Branagh, Independent Director, MCR
    • DEM Productions, London
    • Glass Half Full Productions, London
    • David Doyle, Artistic Director, Jermyn Street Theatre, London
    • Megan Brewer, Independent Producer, London
    • Hannah Smith, Independent Producer, London
    • Hannah Ellis Ryan, Independent
    Producer, MCR
    • Madison Parker, Independent Producer, London
    • Jane Dubin, Broadway Producer (Tony Award)
    • Elizabeth Coplan, Broadway Producer
    • Ken Wolf, Artistic Dir. Manhattan Repertory Theatre, Off-Broadway Producer
    • Tamra Pica, Los Angeles/Off-Broadway producer
    • Nico Juber, Off-Broadway Producer
    • Kristianne Kurner, Artistic Director, New Village Arts, Carlsbad CA
    • Paul McGrew, Artistic Director, Hart Theatre Co. UT

  • Who are you?

    I’m a producer and writer with a lifetime of theatre experience on and off the stage. All of it has built my skillset for becoming a lead producer—understanding every aspect of theatre vastly improves the ability to execute a successful project as Lead Producer. Experience includes:

    • Supporting Producer:
    ‘Til Death (Off-Broadway 2023)
    Village of Vale (Theatrical Podcast)
    Doha (Feature Film, 2025 release)
    • Creative Producer
    • Actor
    • Singer
    • Director
    • Lighting Design
    • Tech Operation
    • Marketing
    • Website & Social Media
    • Front of House Manager
    • Usher
    • Board of Directors
    • Budgeting
    • New Works Selection Committee

    I grew up on a potato farm, and was raised in the Mormon religion. I have traveled extensively throughout my life and spent extended periods in Taiwan (Mandarin is my second language), Canada, the UK, and Hawaii—where my husband and I owned and operated a bed and breakfast. I am a a natural musician and have played cocktail piano professionally, a politics junkie, solid cook, and cyclist. All of this informs my writing.

    Since leaving Dad’s farm at age 19 I have executed a successful career as a journalist, editor, copywriter, and now playwright and producer.