Andrew Lloyd Webber is the composer of some of the world’s best-known musicals, including Cats, Evita, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, The Phantom of the Opera and Sunset Boulevard. His latest musical, the hit stage version of the movie School of Rock, opened on Broadway in December 2015. His awards, both as composer and producer, include seven Tonys, seven Oliviers, a Golden Globe, an Oscar, the Praemium Imperiale, the Richard Rodgers Award for Excellence in Musical Theatre, a BASCA Fellowship, the Kennedy Center Honor and a Grammy for Best Contemporary Classical Composition for Requiem, his setting of the Latin Requiem mass, which contains one of his best-known compositions, ‘Pie Jesu’. He owns seven London theatres, including the Theatre Royal Drury Lane and the London Palladium. He was knighted by Her Majesty The Queen in 1992 and created an honorary member of the House of Lords in 1997. He is passionate about the importance of music in education and the Andrew Lloyd Webber Foundation has become one of Britain’s leading charities supporting the arts and music.
Christopher Hampton became involved in theatre while studying French and German at Oxford University, and wrote a play in his first year. The Royal Court’s production was so successful that it transferred to the Comedy Theatre while he was still a student, making him the youngest writer ever to have a play performed in the West End – a record which still stands. He said at the time that he also hoped to become the oldest writer to have a play in the West End – an ambition he has yet to achieve. His plays, musicals and translations have so far garnered four Tony Awards, three Olivier Awards, five Evening Standard Awards and the New York Drama Critics’ Circle Award; prizes for his film and television work include an Oscar, two BAFTAs, a Writers’ Guild of America Award, the Prix Italia, a Special Jury Award at the Cannes Film Festival, Hollywood Screenwriter of the Year, and the Collateral Award at the Venice Film Festival for Best Literary Adaptation. His works for the stage include original plays (Appomattox, The Talking Cure, White Chameleon, Tales From Hollywood, Treats, Savages, The Philanthropist, Total Eclipse and When Did You Last See My Mother?); plays adapted from novels (Ödön von Horváth’s Youth Without God, Sándor Márai’s Embers, Laclos’ Les Liaisons Dangereuses, George Steiner’s novella The Portage to San Cristobal of A H) ; musicals (Sunset Boulevard, Dracula – the Musical and, most recently, Stephen Ward, all with Don Black); libretti (Waiting for the Barbarians, Appomattox and The trial, all with composer Philip Glass) and many translations (plays by Chekhov, Ibsen, Molière, von Horváth, Yasmina Reza and Florian Zeller, and a German musical based on Daphne du Maurier’s Rebecca). Hampton’s screenplays include, most recently, Ali and Nino (based on the novel by Kurban Said), Adore (based on Doris Lessing’s The Grandmothers), A Dangerous Method (based on his play The Talking Cure), Chéri (from the novel by Colette), Atonement (from the novel by Ian McEwan), Imagining Argentina (which he also directed), The Quiet American (from the Graham Greene novel), The Secret Agent (from Joseph Conrad’s novel, and which he also directed), Mary Reilly (from Valerie Martin’s novel inspired by Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde), Total Eclipse (from his play of the same name, and in which he also performed), Carrington (the first film he also directed), Dangerous Liaisons (based on his play Les Liaisons Dangereuses), The Good Father (from the novel by Peter Prince), The Honorary Consul (from Graham Greene’s novel), Tales From the Vienna Woods (from the von Horváth play) and A Doll’s House (based on his translation of the play by Ibsen). His television scripts include miniseries The Ginger Tree (from the novel by Oswald Wynd), Hôtel Du Lac (from the Anita Brookner novel), The History Man (from Malcolm Bradbury’s novel), Able’s Will and, most recently, The Thirteenth Tale starring Vanessa Redgrave and Olivia Colman, based on the novel by Diane Setterfield.
Don Black received two Tony Awards for Best Book and Lyrics of a Musical for his work (with Christopher Hampton) on Sunset Boulevard, which marked his third collaboration with Andrew Lloyd Webber. They first joined forces to write the song cycle Tell Me on a Sunday, which developed to form the basis of the stage show Song and Dance. They were reunited again for Aspects of Love. He also wrote the lyrics for the Andrew Lloyd Webber-produced Bombay Dreams. Awards include an Oscar for his song ‘Born Free’, five Academy Award nominations, two Tony Awards and four Tony nominations, six Ivor Novello Awards, a Golden Globe, and many platinum and gold discs. He has written a quintet of James Bond theme songs: ‘Thunderball’, ‘Diamonds Are Forever’, ‘The Man With the Golden Gun’, ‘Surrender’ from Tomorrow Never Dies and ‘The World Is Not Enough’. Among his many popular songs are two US number ones – ‘Ben’ for Michael Jackson and ‘To Sir With Love’ for Lulu. He was inducted in the Songwriters Hall of Fame and recently honoured in London with a BMI Icon Award. Don also received the Order of the British Empire in the Queen’s birthday honours list.
David Cullen studied composition with Howard Ferguson and Richard Rodney Bennett at the Royal Academy of Music in the 1960s. Subsequently, he has worked as a keyboard player, composer, record producer and arranger. He is best known as the orchestrator of musicals in London and New York, particularly those of Andrew Lloyd Webber: Cats, Starlight Express, Song and Dance, Aspects of Love, Sunset Boulevard, By Jeeves, Whistle Down the Wind, The Beautiful Game, The Phantom of the Opera, The Woman in White and Love Never Dies. He received the New York Drama Desk Award for the orchestrations of The Phantom of the Opera, was nominated again for Aspects of Love, and was nominated for a Tony for his re-orchestration of Tchaikovsky’s music for the Broadway production of Swan Lake. Other musicals he has orchestrated include: ABBAcadabra, Children of Eden, Shogun – the Musical, Stepping Out, Edna – the Spectacle and some London revivals: Can-Can, The Baker’s Wife, Carmen Jones, Parade (Donmar Warehouse) and The Wizard of Oz (London). Records he has arranged include: the America album by the King’s Singers, Christmas With Kiri by Kiri Te Kanawa, and I Am What I Am by Shirley Bassey. He arranged and produced the albums Music of the Night by Cantabile and Lloyd Webber Plays Lloyd Webber by Julian Lloyd Webber. He has composed music for UK television series including Relative Strangers, Surgical Spirit and The Bretts. He re-orchestrated sections of Jesus Christ Superstar, Cats and Evita for the movie and video productions. He provided orchestrations for the Disney productions of Geppetto and Cinderella, and the movie of The Phantom of the Opera.
Nikolai is Artistic Director at Curve in Leicester one of the UK’s leading regional theatres. Since taking up his post in 2015, he has directed the 50th anniversary production of Joe Orton’s What the Butler Saw (with Theatre Royal Bath); Jim Jacobs and Warren Casey’s Grease; Wilde’s The Importance of Being Earnest (Birmingham Rep); Spring Awakening (National Youth Music Theatre); Legally Blonde (Daegu International Festival, South Korea – winner of Best Musical); Truman Capote’s Breakfast at Tiffany’s (and Theatre Royal Haymarket); Roald Dahl’s The Witches, adapted by David Wood (Kingston Rose Theatre, Lyric Theatre in Hong Kong, West Yorkshire Playhouse in Leeds and UK tour); Tennessee Williams’s A Streetcar Named Desire; Shakespeare’s Richard III; Timberlake Wertenbaker’s Our Country’s Good; a performance to celebrate the reveal of the tomb of King Richard III at Leicester Cathedral and Jonathan Harvey’s Beautiful Thing (Nottingham Playhouse and UK tour). Foster has also served as an Associate Director at West Yorkshire Playhouse in Leeds, where he directed Irving Berlin’s White Christmas; Orwell’s Animal Farm; Dickens’s A Christmas Carol (adapted by Bryony Lavery and Jason Carr); Louise Page’s Salonika and Amanda Whittington’s Bollywood Jane. He trained at Drama Centre London and at the Crucible, Shef eld (supported by the Regional Theatre Young Director Scheme), where he staged A Chorus Line; Sondheim’s Assassins and Shaffer’s Amadeus. UK tour productions have included: Tanika Gupta’s Great Expectations; Calamity Jane and Coward’s A Song at Twilight. His critically acclaimed production of Annie is currently running at the Piccadilly Theatre, London (also with producers Michael Harrison and David Ian).
Lee is a multi-award-winning freelance choreographer. Recent theatre choreography includes: Elf – the Musical (Tivoli Theatre, Copenhagen); Legally Blonde, co- directed with Nikolai Foster (Monte Carlo for Curve, Leicester); Ghost – the Musical, a new German production (Theater des Westens, Berlin); Rent – the Musical, winner of the IARA Award 2017 for Best Choreography (UK tour and St James Theatre, London); Harriet Martineau Dreams of Dancing (Live Theatre, Newcastle); Spring Awakening (Curve, Leicester); Allegro, winner of the Off West End Award for Best Choreography 2017 (Southwark Playhouse); Grand Hotel (Akasaka
ACT Theatre, Tokyo); Grey Gardens (Southwark Playhouse, London); Mamma Mia! (Reykjavik City Theatre); Grand Hotel, winner of the Off West End Award for Best Choreography 2016 (Southwark Playhouse); The Wind in the Willows (Grosvenor Park Open Air Theatre); The Producers (UK and Ireland tour); Billy Elliot – the Musical (Reykjavik City Theatre); the German premiere of Ghost – the Musical (the English Theatre Frankfurt); Carousel (Arcola Theatre, London); Hairspray (Curve, Leicester); The Curious Incident of the Dog in the Night-Time (Reykjavik City Theatre); Tyne (Theatre Royal Newcastle); Rent (Royal Welsh College, Cardiff); Cooking With Elvis (Live Theatre); The Revenge of Sherlock Holmes (Hoxton Hall); Mary Poppins (Reykjavik City Theatre) and Mack & Mabel, winner of the Off West End Award for Best Choreography 2013. Lee was resident choreographer for Billy Elliot – the Musical and he assisted on the original Broadway and Sydney productions of the show. Lee would like to thank Joanna Goodwin for being such a great assistant on this show.
Stephen Brooker was musical director and conductor for Universal Pictures’ film of Les Misérables. He is currently musical supervisor of Miss Saigon (New York 2017, UK tour 2017 and Tokyo); Sunset Boulevard, The Woman in White, Half a Sixpence (London); Les Misérables (London, New York, Tokyo and Dubai) and Mary Poppins (international tour, Vienna and Stuttgart). He was musical director of The Woman in White, My Fair Lady, Miss Saigon, Les Misérables, Lautrec, Cats, Shall We Dance, The Secret Garden and South Pacific. Previous supervision: The Phantom of the Opera 25th anniversary performance (DVD); Betty Blue Eyes, Les Misérables 25th anniversary concert (O2 Arena); Oliver! (London and UK tour); My Fair Lady (USA and London); Les Misérables (New York 2006); Cats, Hair, Miss Saigon, Carmen Jones, The Phantom of the Opera, Grease, Fame, Saturday Night Fever, Barnum, Peter Pan and Chess. He was musical consultant for the Les Misérables 25th anniversary tour. Stephen conducted the Classic BRIT Awards. He was composer and conductor for the original production of Burn the Floor and has written and produced music for many corporate clients including Coca-Cola, Walt Disney, Ford Motors, Toyota Cars, Volvo Cars, Sony Eriksson, BMW, British Airways and Canon. Orchestral conducting includes: the Royal Philharmonic Orchestra, Atlanta Symphony Orchestra, West Australian Symphony, Haifa Symphony, Bournemouth Symphony, Hamburg Sinfonia, Royal Liverpool Philharmonic, London Mozart Players, Royal Scottish National Orchestra, London and Manchester Concert Orchestras and the Ukraine Opera and Symphony Orchestra. He conducted the Royal Choral Society in the presence of Her Majesty The Queen. Recordings include: Disney Film Classics and Crazy for Gershwin (BBC Concert Orchestra), studio recording of Hair, cast recordings of The Secret Garden, The Woman in White and South Paci c. He was orchestrator and conductor for Walt Disney’s award-winning Animator’s Palate and Cinderellabration (Disneyland Tokyo). He produced the ‘live’ recording of Oliver! starring Rowan Atkinson, the new recording of Les Misérables and the Dutch and Australian recordings of Mary Poppins. Stephen composed music for the Jaguar XE launch (2016) and Jaguar Range Rover LC560 (2017). He conducted the Oscars – the 85th Academy Awards, and is an Australian Helpmann Award winner for Mary Poppins.
Ben is an associate artist of Curve in Leicester. He trained at Rose Bruford College of Speech and Drama in London. Recent work includes: Young Frankenstein (Garrick, West End); Annie (Piccadilly Theatre, West End); Before the Party (Salisbury Playhouse); The Addams Family (UK tour); Voices of the Amazon (Sadler’s Wells and international tour); What the Butler Saw (Curve and Theatre Royal Bath); The Wedding Singer (UK tour); La Cage aux Folles (UK tour); Cinderella (London Palladium, West End); Kiss Me, Kate (WNO and Opera North); The Importance of Being Earnest (Birmingham Rep and Curve); Breakfast at Tiffany’s (Theatre Royal Haymarket, West End); Legally Blonde (Curve and international tour); Dracula (Singapore and Bangkok); Faust and 1984 (Altes Schauspielhaus, Stuttgart); Saturday Night Fever (Theatre Royal Bath and UK tour); The Tempest, Othello, Much Ado About Nothing, As You Like It (Stafford Shakespeare Festival); Chess (Toronto and UK tour); The Memory of Water (New Vic, Stoke); Our House (New Wolsey, Ipswich, and UK tour); West Side Story (Victoria Warehouse, Manchester); Sherlock Holmes (West Yorkshire Playhouse); All the Fun of the Fair (Garrick Theatre, West End); Visiting Mr Green (Trafalgar Studios); 20th Century Boy (UK tour); Inala (Sadler’s Wells and international tour); The Picture of Dorian Gray, The Life, Strangers on a Train, Tommy (English Theatre Frankfurt); Merrily We Roll Along (Theatr Clwyd) and African Snow (York Theatre Royal and Trafalgar Studios). For the last seven years Ben has lit the Olivier Awards, which, most recently, took place at the Royal Albert Hall and was broadcast on ITV.
As sound designer: Crazy for You (UK tour); Flashdance (UK tour); A Little Night Music (Watermill Theatre); Working (Southwark Playhouse); Project Polunin (Sadler’s Wells); Brass (Hackney Empire); Bugsy Malone (Curve, Leicester); Crazy for You (Watermill Theatre); Oliver! (Grange Park Opera); Legally Blonde (Curve, Leicester); Tell Me on a Sunday (UK tour); The Silver Sword (Belgrade, Coventry, and tour); Sweet Charity (Curve, Leicester); Oliver! (Watermill Theatre); Dirty Rotten Scoundrels (UK tour); Women on the Verge of a Nervous Breakdown (Playhouse Theatre, London); The Hired Man (St James Theatre, London); West Side Story (Victoria Warehouse, Manchester); My Favourite Year (Bridewell Theatre, London); The Tailor-Made Man (Arts Theatre, London); The Life, Beauty and the Beast and Legally Blonde (Arts Educational Schools London) and Pushing up Poppies (Theatre503, Battersea, London). Tom has acted as an associate sound designer on over 30 shows in the UK and internationally. Prior to this he worked as No.1 (Head of Sound), opening and mixing numerous large West End shows over the past two decades. As a freelance mix engineer, Tom has had the privilege of working on countless events, such as the 2012 Olympic Stadium athletics, and touring with many artists including the Coral, the Bees, the Lightning Seeds, Elaine Paige, Lewis Taylor, Martina Topley-Bird and PJ Harvey.
Future projects include: Nativity!.
Douglas has been a digital theatre specialist working in universities in the US, UK and India, and has received a Fellowship Award for Promising New Research from the University of the Arts London and a grant from the British Arts Council to lead digital performance for the UKIERI Thematic Partnership at Hyderabad University, India. Previous designs include: Pinocchio (National Ballet of Canada, choreographer: Will Tuckett); A Tale of Two Cities (Regent’s Park Theatre, director: Tim Sheader); Grease (Leicester Curve, director: Nikolai Foster); Into the Woods (West Yorkshire Playhouse, director: James Brining); The Mystery Plays (York Minster Cathedral, director: Phillip Breen); Don Giovanni (Hampstead Garden Opera Company); I Love You, You’re Perfect, Now Change (Royal Welsh College of Music and Drama, director: Michael Fentiman); Mozart and Son: Benefit Gala (Royal Opera House); 300th Anniversary Gala (St John’s Smith Square, director: John Caird); The Nine O’Clock Slot (ice&fire, Red Gallery, director: Lisa Spirling); The Letter of Last Resort (Traverse Theatre, director: Nicolas Kent); Sticks and Stones (Polka Theatre); Miss Atomic Bomb (Ambassador Theatre, Tanya Link Productions); Dance Marathon (Barbican Theatre); Fit and Proper People and Silence (Royal Shakespeare Company); This Isn’t Romance (Soho Theatre, director: Lisa Goldman); The Thief of Baghdad (Linbury Studio, choreographer: Will Tuckett); The Turn of the Screw (Arcola Theatre) and Harold Pinter’s The Birthday Party (commissioned by Lyric Hammersmith). Douglas has worked in design in theatre throughout New York and Chicago, including the Apple Corps NY, John Drew Theatre, East Hampton NY, and Steppenwolf Theatre, Chicago. Now based in London, he has worked as lead artist on numerous commissioned projects in collaboration with the Emergency Exit Arts, the National Youth Theatre, Birmingham Royal Ballet, Save the Children International, and the Greenwich+Docklands International Festival, London. Douglas’s designs for Harold Pinter’s The Birthday Party are currently held in collections in the British Library Collection in the Pinter Archives.
Simon Gooding is one of the UK’s busiest theatre production managers with a career spanning over 35 years. Starting work as a stagehand at the Bristol Hippodrome in the early 1980’s Simon soon moved on to become a production carpenter. As he toured the country he quickly accrued a working technical knowledge and appreciation of nearly all UK theatres, and in the early 1990’s he ventured into production management. Since then his experience and professionalism has ensured his name has become synonymous with large scale touring musicals, most recently Priscilla, Queen of the Desert, The Rocky Horror Show, Sister Act and Cats.
Theatre includes: Caroline, or Change (Chichester Festival Theatre); The Goat, or Who Is Sylvia? (Theatre Royal, Haymarket); Bat Out of Hell (Manchester and Coliseum); 42nd Street (Theatre Royal Drury Lane); Whose Afraid of Virginia Woolf? (Harold Pinter); ‘Art’ (Old Vic); Dreamgirls (Savoy Theatre); Travesties (Apollo Theatre); Groundhog Day (Old Vic Theatre); Half a Sixpence (Noël Coward); Chaplin (Belgium tour); Rent (UK tour); Dead Funny (Vaudeville Theatre); The Comedy About a Bank Robbery (Criterion Theatre); The Judas Kiss (Mirvish Theatre, Toronto); Motown – the Musical (Shaftesbury); Mary Poppins (worldwide); The Girls (Phoenix Theatre); Young Chekhov (Chichester Festival Theatre and NT); Kinky Boots (Adelphi); Hamlet (Barbican); Annie (UK tour); Damsel in Distress (Chichester Festival Theatre); American Buffalo (Wyndham’s); Bend It Like Beckham (Phoenix); Death of a Salesman (RSC); Gypsy (Savoy); Jekyll & Hyde, Clarence Darrow, The Crucible (Old Vic); The Railway Children (King’s Cross); The BRIT Awards – Sam Smith (O2 Arena); Welcome Home, Captain Fox!, City of Angels, Roots (Donmar); Assassins (Menier Chocolate Factory); Un ballo in maschera (ROH); Memphis, From Here to Eternity (Shaftesbury); Stevie, Heartbreak House (CFT); Shakespeare in Love (Noël Coward); Jersey Boys (UK tour); Dirty Dancing (international tours); Macbeth (MIF and New York); The Last Confession (international tour); I Can’t Sing! – the X Factor Musical (London Palladium); Strangers on a Train (Gielgud); The Commitments (UK tour and Palace Theatre); Charlie and the Chocolate Factory (Theatre Royal Drury Lane); Viva Forever! (Piccadilly); The Pride, Macbeth (Trafalgar Studios); Top Hat (UK tour and Aldwych); The Phantom of the Opera (US tour); Batman Live! (world tour) and The Sunshine Boys (Savoy).
Theatre: 42nd Street (Drury Lane); Bat Out of Hell (Coliseum); Cats (Palladium, UK and international tours); Chicago (West End and UK tour); Ghost – the Musical (Piccadilly); Groundhog Day, Jekyll & Hyde (Old Vic); Hairspray (Shaftesbury and UK tours); Joseph and the Amazing Technicolor Dreamcoat (Palladium and UK tour); Jerry Springer the Opera (Cambridge); Jesus Christ Superstar (Regent’s Park); Mamma Mia! (worldwide); Matilda – the Musical (Cambridge and UK tour); Million Dollar Quartet (UK tour); Mrs Henderson Presents (Noël Coward); Once (Phoenix); School of Rock (adult casting, New London); Shrek – the Musical (Drury Lane and UK tour); Carousel, Sunset Boulevard, Sweeney Todd: the Demon Barber of Fleet Street (ENO) and The Commitments (Palace and UK tour). Film: The Phantom of the Opera directed by Joel Schumacher. Film ensemble casting: Aladdin (Disney) directed by Guy Ritchie; Beauty and the Beast (Disney) directed by Bill Condon; Mamma Mia! directed by Phyllida Lloyd; Mamma Mia: Here We Go Again! directed by Ol Parker; Mary Poppins Returns (Disney) directed by Rob Marshall. UK dancer casting: Nine directed by Rob Marshall. Television: Any Dream Will Do, How Do You Solve a Problem Like Maria?, I’d Do Anything, Somewhere Over the Rainbow (BBC1); The Sound of Music Live (ITV) and The Universe (BBC2). David Grindrod Associates are members of the Casting Directors’ Guild of Great Britain and have been appointed as associate artist of the Old Vic Theatre under Matthew Warchus’ artistic direction.
Associate Casting Directors:
Will Burton CDG
Stephen Crockett CDG
Casting Assistant: Ella Darbyshire
Recent credits as musical director include: Singin’ in the Rain (Australian tour); Cats (London Palladium and UK tours 2015/2013); Chicago (UK tour); Chitty Chitty Bang Bang (UK tour); The Wizard of Oz (Southampton); Les Misérables (Queen’s Theatre, London); Eurobeat and Almost Eurovision (Edinburgh Festival Fringe). Associate musical director: Love Never Dies (Adelphi Theatre, London); European premiere of Irving Berlin’s White Christmas (Plymouth and Southampton) and Evita (Adelphi Theatre, London). Adrian studied for his degree at the University of Melbourne, Australia, and studied conducting from renowned Australian conductor, Graham Abbott. He worked as a conductor and musical director for: My Fair Lady (Comedy Theatre, Melbourne); the Melbourne Chorale, and Chamber Made Opera (St Martin’s Theatre). He received Green Room Award nominations for Best Musical Direction for Sondheim’s Putting It Together and Jason Robert Brown’s The Last 5 Years.
Colin trained at the Royal Welsh College of Music and Drama, Cardiff, graduating with a first-class BA (hons). He won the Lord Williams Design Award 2002 and 2003 and in 2003 was a Linbury Prize finalist. Colin has been nominated twice for the Critics’ Award for Theatre in Scotland for Best Design for Betrayal at the Citizens Theatre and for Sweeney Todd: the Demon Barber of Fleet Street at Dundee Rep Theatre. Colin was made a companion of Liverpool Institute of Performing Arts in 2014. Productions include: Annie (West End/UK tour); The Oresteia/This Restless House (Edinburgh International Festival/Citizens Theatre/National Theatre, Scotland); Jimmy’s Hall (Abbey Theatre, Dublin); Into the Woods (Opera North/West Yorkshire Playhouse); Sweeney Todd: the Demon Barber of Fleet Street (Welsh National Opera); After Miss Julie (Bath Theatre Royal); Pinocchio (National Ballet of Canada); Antony and Cleopatra, All’s Well That Ends Well (Shakespeare’s Globe/Wanamaker); The Fantastic Follies of Mrs Rich, Vice Versa, Titus Andronicus, Wendy and Peter Pan, Breakfast With Mugabe, The Taming of the Shrew (Royal Shakespeare Company); Pressure (UK tour/Chichester Festival Theatre/Royal Lyceum Theatre, Edinburgh); Kiss Me, Kate (Opera North/Welsh National Opera); Beautiful Thing, Breakfast With Mugabe, Bad Girls – the Musical, Entertaining Mr Sloane, Ring Round the Moon (all West End); Europe (Barbican); Men Should Weep, Yer Granny (National Theatre, Scotland); Animal Farm, A Christmas Carol, Billy Liar (West Yorkshire Playhouse); La bohème, Don Pasquale (Opera Holland Park); Twelfth Night, Betrayal (Crucible, Shefield); Spring Awakening, Restoration (Headlong); My Fair Lady (Denmark); The Three Musketeers and the Princess of Spain (English Touring Theatre, Traverse Theatre) and Grease (Curve/World Trade Centre, Dubai).
Jason trained at the Birmingham School of Speech and Dramatic Art and undertook further study at Arts Educational Schools London. The start of 2017 will see Jason redirecting the UK tour of Chicago for a run in Singapore, redirecting the upcoming UK tour of Grease, and transferring the London production of The Bodyguard to Toronto. He has just finished redirecting Thea Sharrock’s production of The Bodyguard in Seoul, South Korea, and was the resident director for London production, which finished its run at the Dominion Theatre in January. Jason directed a brand-new production of Grease, which had its premiere on the new cruise liner Harmony of the Seas, the biggest cruise liner in the world, in May 2016. He was the associate director on the UK premiere of Xanadu at the Southwark Playhouse. In 2015, Jason re-directed the UK and international tour of Priscilla Queen of the Desert. He was the resident director on the UK tour of The Bodyguard. Other recent credits include: resident director on the first UK tour of Rock of Ages, and resident director for the UK tours of Priscilla Queen of the Desert and Ghost – the Musical. Jason was the resident director for both UK tours of Grease and Chicago. Other theatre credits include: resident director for Grease at the Piccadilly Theatre, London; and associate director of the international tour of Grease, re-directing the London production of Grease in Australia and Singapore. Jason was the resident director on the revival of the Boy George musical, Taboo. In 2010, he directed a production of Grease in South Africa, which was subsequently seen in New Zealand and Hong Kong. He has over 25 years’ experience of producing and directing musical theatre gala concerts including: the Macmillan centenary gala (London Palladium) and The Sound of Musicals (Symphony Hall, Birmingham) and also the West End celebration galas at the Palace and Queen’s theatres, London, which ran annually from 1999 to 2009. He was also the director of West End Eurovision for the Theatre MAD charity. Jason was the director of the Hampstead Theatre Arts Academy and has a vast experience of directing shows and arranging lessons in dance, singing and drama for children. Jason’s performing credits include: the role of Vince Fontaine/Teen Angel in Grease (Piccadilly Theatre, UK tour and international tour); the role of Dennis in Hold Tight It’s 60s Night (European tour); Starlight Express (Apollo Victoria, London) as swing, covering and performing 12 roles including Poppa (alternate), Greaseball, Electra and Dustin; 20th Century Musicals (national tour) as principal vocalist; The Wizard of Oz (Birmingham Rep); Oliver! (Belgrade Theatre, Coventry); Aida (NIA, Birmingham); Dick Whittington (Theatre Royal Plymouth); summer season (Golightly Productions); Cinderella (the Playhouse, Weston-super-Mare) and Dick Whittington (Harlequin Theatre, Redhill, Surrey). Jason’s recording credits include: the demo recording of The Lord of the Rings and The Sound of Musicals (Symphony Hall, Birmingham). Jason has appeared on television in One by One (BBC); The Bill (ITV); Blue Peter (BBC) and a commercial for Lipton Ice Tea.
Stephen studied at the Royal College of Music, London and has been musical director/musical supervisor for an extensive range of both West End and touring theatre productions. Theatre includes: Les Misérables, Miss Saigon, Cats, Stepping Out, Bat Boy, Jesus Christ Superstar, Fiddler on the Roof, The Pirates of Penzance, Barnum, Evita, My Fair Lady, Hello, Dolly! and Seven Brides for Seven Brothers. Concerts include: The Magic of the Musicals starring Marti Webb; Tell Me on a Sunday and The Music of Andrew Lloyd Webber (RTÉ Concert Orchestra, Dublin) and numerous Best of the West End concerts in the UK and Europe. Stephen co-produced and conducted sell-out performances of Jesus Christ Superstar – the Concert and The Magical West End (the National Concert Hall, Dublin) with the RTÉ Concert Orchestra. He has been musical director to several international artists, including Charles Aznavour, with whom he recorded several albums and toured worldwide. Stephen now devotes all his time managing Musicians UK Ltd, one of the country’s foremost orchestral management companies. London productions include: Annie, The Bodyguard,Cats, Flashdance, Monty Python’s Spamalot, Grease, The Sound of Music, The Producers, Saturday Night Fever, By Jeeves, Bat Boy, Stepping Out and Aladdin (the Old Vic). UK and international tours include: Sunset Boulevard, Annie, The Bodyguard, Nativity, The Wedding Singer, Chicago, Priscilla Queen of the Desert, Ghost, Les Misérables, The Phantom of the Opera, Miss Saigon, The Producers, Flashdance, Cats, Starlight Express, The Sound of Music, Grease, Peter Pan, Saturday Night Fever, Bat Boy, Beauty and the Beast, Singin’ in the Rain, West Side Story, Doctor Dolittle, Oliver!, Evita, Black Goes With Everything, Jesus Christ Superstar, My Fair Lady, Fiddler on the Roof, Hello, Dolly! and The Pirates of Penzance.
Michael Harrison’s West End musicals include The Bodyguard at the Adelphi and its return to London at the Dominion Theatre, Gypsy at the Savoy, Mrs Henderson Presents at the Noël Coward, Annie at the Piccadilly and Young Frankenstein at the Garrick Theatre. He also created Cinderella at the London Palladium, the first pantomime at London’s most iconic theatre in nearly 30 years, followed by Dick Whittington for Christmas 2017. Gypsy won four Laurence Olivier Awards including Best Musical Revival and was filmed for transmission on television both in the UK and in the USA. The Bodyguard is a worldwide, global hit having played in Canada, Australia, Holland, Germany, Italy, South Korea, USA and China with France and South Africa soon to open. The first UK tour was a huge success, with the second launching at the end of 2018. With Cameron Mackintosh he produced the Chichester Festival Theatre production of Barnum. With David Ian he is currently producing Scrooge. His other musicals include tours of Aspects of Love, The Witches of Eastwick, Chess, I Dreamed a Dream, Jolson & Co, Annie, Funny Girl and Beautiful. In 2012 he was awarded a companionship to the Liverpool Institute of Performing Arts by Sir Paul McCartney, and in 2017 the Freedom of the City, Newcastle upon Tyne, in recognition of his services to theatre in the region.
David Ian has produced theatre shows all over the world. He is the recipient of five Olivier Awards and two Tony nominations. His credits include: Grease, Saturday Night Fever, The King and I, West Side Story, Singin’ in the Rain, Ain’t Misbehavin’, Anything Goes, The Producers, Defending the Caveman, Guys and Dolls, Daisy Pulls It Off, The Sound of Music, La Cage aux Folles, Sweet Charity, Flashdance, Gypsy, The Shawshank Redemption, The Phantom of the Opera (Las Vegas), My Fair Lady, Jesus Christ Superstar, Evita, Chess, The Rocky Horror Show, Cats, Chicago, Dr Dolittle, Starlight Express, Seminar, Steel Magnolias, Ghost – the Musical, Priscilla Queen of the Desert, The Bodyguard, Jersey Boys, Annie, Xanadu and Show Boat.
Curve is a major producing theatre, creating compelling cultural experiences for all those who live, learn, visit and work in Leicester and Leicestershire. They use their unique home and talent to entertain, inspire and engage with a diverse audience and play a leading role in the development of the industry, their city and the global community. At the heart of this is the ambition to offer their local audiences world-class theatrical experiences (created under the Made at Curve banner).
Under the leadership of Chief Executive Chris Stafford and Artistic Director Nikolai Foster, Curve is developing a reputation for producing, programming and touring a bold and diverse programme of musicals, plays, new work and dance. All of this presented alongside a dynamic mix of community engagement and learning opportunities, which firmly places audiences and communities at the heart of everything Curve does. They are a registered charity (number 230708) and this supports their work with people of all ages and backgrounds, enabling them to access, participate in and learn from the arts, nurturing new and emerging talent and creating outstanding, award-winning theatrical experiences. Recent productions and co-productions for Made at Curve include: The Graduate (with West Yorkshire Playhouse); Ravi Shankar’s Sukanya (with the Royal Opera and London Philharmonic Orchestra, world premiere and UK tour); Joe Orton’s What the Butler Saw (and Theatre Royal Bath); Jim Jacobs and Warren Casey’s Grease (and for a limited season in Dubai); Dahl’s The Twits (and Lyric Theatre, Hong Kong; Rose Theatre, Kingston, and UK tour); The Importance of Being Earnest (with Birmingham Rep); Dahl’s Fantastic Mr Fox, in a new adaptation by Sam Holcroft (a co-production with Nufield Theatres and on tour); our Community Company productions of Alan Parker’s Bugsy Malone, Shakespeare’s Richard III and A Midsummer Night’s Dream; the Broadway musical Spring Awakening (with National Youth Music Theatre); Sister Act (and UK tour); Legally Blonde (and Daegu Opera Festival, South Korea – winner of Best Musical – Daegu International Musical Festival Awards); Truman Capote’s Breakfast at Tiffany’s (and Haymarket Theatre, London and UK tour); Ishy Din’s Wipers (in collaboration with Belgrade Theatre, Coventry, and Watford Palace – winner of the Asian Media Awards); Roald Dahl’s The Witches, adapted by David Wood (and Lyric Theatre, Hong Kong; Rose Theatre, Kingston, and UK tour); Tennessee Williams’ A Streetcar Named Desire; Hairspray (and UK tour); Akram Khan’s Until the Lions (with Roundhouse, London); Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3⁄4 – the Musical and Jonathan Harvey’s Beautiful Thing (with Nottingham Playhouse and UK tour).