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MARTINI - BLOG - (Updated May 2017)

May 2017

Well rehearsals are now in full swing and we are almost fully cast. Still room for one or more cast members though. Why not get in touch below and be part of this unique opportunity to appear in the world premiere of this brand new show. We are also looking for people to help behind the scenes. The set has been constructed but needs painting, we also need stage crew for the performance and  front of house people too. Why not get in touch and be part of this exciting production.

We rehearse Thursday and friday evenings and the show will be staged locally to Chipping Sodbury during early September 2017.

Get in touch NOW!!!!!!!!!!!!

End of June 2015

Despite taking a much needed break in the aftermath of The Pier, I found myself drawn to my computer and before i knew it i had written my first song for the next show. As the main protagonist is called Martini (all the characters are named after drinks) my first song was called "Any time, Any place, Anywhere" and is in the form of a Lady's confession of a past love affair with the man himself. I was extrememly pleased with the lyrics which, as now seems to be my trademark, are full of innuendo, double meanings and plays on words for all things magical. For instance she sings "As our love grew and grew we developed a bond, until I got a grip on his magical wand!" This is what you might expect from me now, but it wasn't a bad start and i wrote it in one evening. Also Jane sang it beautifully for the demo and that took it to another level, it always sounds a bit grander when your song is sung by so well. I also wrote a song called "The Butler didn't do it!" which features a crotchety old butler complaining about been given the blame unfairly, (you guessed it, I sang that one). I will fit it in somewhere.

The plot of the show is kind of "there inside my mind" (You'll understand that joke later on). It's about a magician who invites some people with analytical minds to a lonely Manor for a weekend to witness his new illusion and to see if they can work out how he did it. Unfortunately it all goes wrong when he is killed during the act and it transpires he has been murdered. Every character in the show is a suspect and as half of them are spoof versions of well known fictional investigators, everyone investigates everyone else. It's up to the audience to work out which one is right. I have lots of detals to add to it yet but its a good solid premise to work on.

End of July 2015

We finally got to have our video night for the Pier this month. My son Matt did an excellent job of mixing it. He filmed the opening night on three professional HD cameras, then mixed the footage in a studio at his University (where he is studying television Production). Everone enjoyed it and i now have the task of running off copies for the cast etc.

Meanwhile back on Martini, I have written a few more songs, started the script and worked out how it will be staged. One thing i learned on The Pier was that i need to get to know my characters before i can write a script. Yet the characters do nothing until its written, so how do you get to know them? This really is a chicken and egg question, I honestly don't know the answer. I just sort of start typing until one of them makes me laugh. I know that sounds a bit weird but that is really how i do it. They take me by surprise all the time. Once the characters start chipping in, it doesnt take long for a scene to get written. I knocked out the first 4 pages in just over an hour then spent the next 2 hours editing them. The 2 characters involved were "Bombadier" (a retired military man who is now an inventor) and his batman who is called "Pimms". They are hilarious together, Bombadier keeping up his stiff upper lip and dignity intact, while Pimms is an emotional whirlwind of chaos.

I have also written the opening chorus number for the show, i was determined to start this show this way, as the Pier didnt have a chorus number until later on. I have gone for 4 part harmony again (sopranos,altos,tenors,basses) because it worked so well last time and i like playing with harmonies. The number is called "You're cordially invited" and is all about receiving an invitation from Martini to see his magic act.

End of August 2015

I have written the big dance number this month. The show is set in the late 1940s and i wanted to do something to match the time. So i have written the "Downstairs Hoochy", It's a kind of a "Minnie the moocher" type thing with a nice slow rhythmn. Everyone I played it to, loved it, especially my daughter Bex who is our choreographer, i suspect she is already working on the moves.

I have also written a few chunks of chorus stuff which i will move about and fit into finales etc a bit later on. I like to get tunes and ideas down when they occur and have some interesting content on my voice recorder app. If i like them enough i sit down at the computer and start scoring the parts. Sometimes it doesnt survive the whole process but usually it becomes a song i can use.

I have also started working on an old piece of mine from 1996 called "Black lake" which was pretty much the first thing i wrote with digital and editable software. I think it lends itself to a rewrite into a 3 part song with conflicting tunes and harmonies that could be dramatic but its early days and i have to know which characters are going to sing it before i go too far with it.

End of September 2015

I have now introduced myself to more characters and written 8 pages of dialogue. I met the spoof detectives as they are introduced to the audience, as they each deliberate whether they should go and watch Martini's act. We have "Pernod", a French investigator from Belgium; "Miss Malibu", a retired busy body who solves murders by sticking her nose into their business; "Stones & Watney", gentlemen detectives who solve crimes by careful observation.

The scenery i came up with is instrumental to the writing as it gives the flexibilty to put 3 scenes on stage at once. So i wrote this scene right at the start of the show so the audience get the idea as soon as possible on how it works. I am having a purpose built back drop, within which are 3 revolving 8' x 4' panels on a centre pivot. this allows instant scene changes and each panel can be a scene on its own, or they can all join up for one backdrop. It gives so much flexibility and should keep the show running at a healthy pace. One of the nicest feedbacks i have had on the Pier is how fluent it was. No blackouts, no hold ups. This was down to the way i staged it, undoubtedtly, but also to the way it was written. I have put on a lot of shows over the years and so it was natural for me to consider staging when writing. I am pretty excited by the prospect of this new set and hope i havent made it too complicated, which would work against me. Ah well, only time will tell.

I have also rewritten another old song of mine "Its Just Illusion" from 2002 into the main piece for the magic act and the murder itself. It's always fun to rearrange an old song and this version is almost rocky compared to its highly synthesised original. I have also made a demo of it which will come in handy for the radio play, which we will definitely make, as it worked well last time. Somehow i think i need to work on my Italian accent, its a bit too much "allo allo!", having said that it does "mayka eet funny"

End of October 2015

I am at about 14 pages of script now and have most characters arriving at Glenfiddich Hall, at an isolated spot on Bodmin moor for the weekend. I have now met "G&T", who are identical twins played by the same actor (this was Janes ingenious idea); "Carlsberg" he is the crotchety old butler i mentioned earlier; "Stella Artois", the lady of the manor, "Baby Cham" a caberet performer and entertainment manager and "Ivana Smirnoff", a dancer from Russia who couldn't get into the ballet.

Uncharacteristically, i have also started writing the scene straight after the murder, out of sequence. Something i never did in the Pier but i have reasons of plot to do this.

Musically i am going great guns, I have written Stella Artois' first song "Welcome To Bodmin Moor" which is almost a patter song and goes at quite a pace in 6/8 time signature. It outlines how isolated the Manor is, and tells a bit of it's history of hauntings by ghosts and ghoulies. I have had a nightmare with this song and spent way to long on it and still not sure i have got it right. I have changed the phrasing and even the tune several times and had to dump "hard written" patter song words to make it fit. "Spring" did this to me in the Pier and that eventually turned out well. Here i am again with a similar problem. Ah well, time will tell.

I have also written "Entr'acte 2" which is a big band number and an Andrews Sisters type song (inspired by my friend Lionel's cross dressing for a comedy caberet number years ago). It recaps all that has happened in Act 1 with the song "Thats the Story So Far". It will be a hell of a sing for 3 ladies. Very wordy, close harmony and very fast!

End of November 2015

My creative juices are in full flow and this has been quite a month for Martini. I have written a Military type song for Bombadier and Pimms all about the analytical powers of the disciplined, military mind, which has turned out quite funny and catchy. I revisited "Black Lake" (See previous comments above) and managed to sort it out, It will be quite a dramatic trio, just got to find somewhere to slip it in now.

I started writing the big number for Stella Artois, who has evolved this month into a man eating gold digger, its all about her frustrations trying to find a man with money suitable for her needs. It is about half written with lots of drama and ironic comedy. I transposed "Hoochy" into a better key as it was a bit high to sing properly. My daughter Becci sang the demo for me and it sounded really good. I have been trying to rewrite "I'm not French!" a solo for Percule Pernod as i was the only one who liked the original, Two of my "consultants" (wife Jane & son Matt) said i would regret it if i left it as it was. I trust them enough to think they might be right, but the solution currently eludes me, when i had finished it sounded like a completely different song. So I will leave it a few weeks and try again.

I wrote the begining of Finale Act 1 a while back and have now started flushing it out into a full 10-12 minute piece. It's one of those numbers with lots of contributers, I love these, they remind me of my G&S days. Its fun to try and put it all together so all the points are covered. It's also pretty challenging, I want the audience going to the bar in the interval amused and arguing with each other about who the murder is. So it must be engaging and non conclusive all at once, I also have a particular gag i want to end the act with, which i need to work into the words. So not THAT much to worry about!!!!!!!!!!!!  lol!

I have also been working on the script, mostly embellishments this month, i have written in a few extra gags and added a couple of characters. We now have a Blue Nun called Sister Pinot Grigio who is staying in the Black Tower at the manor who is from San Miguel Nunnery. (Hows that for puns). I have also met the Police force in the show, I love them already! They are led by Inspector Jack Daniels from the yard, he is assited by PC's Dandelion & Burdock. I have had them in mind for a while now, but it wasn't until i put pen to paper that i realised how funny they will be. I have only written their first scene but it is a belter. Who would have thought the police would be so incompetent in a murder mystery, lol.

I wrote another (Out of sequence) scene for Act 2 which features Bombadier and Dr Watney who discuss a rather delicate matter of a sexual nature. I woke up one Saturday with the whole scene in my head, i laughed out loud several times as i typed it onto my computer. I am sure the audience will too, its ridiculously funny.

M daughter Nicola and I have brainstormed the scenery build. As I have outlined above, I have firm ideas on what I want but how to actually make it is another thing. I thought i knew how to build it but I needed her input on how to use it and the limitations it might have. It was fun to run this between us and come up with some practical solutions.

Finally Jane and I went to a murder mystery dinner up in Reading as an early birthday present. We had a brilliant time and made friends with fellow sleuths at our table, the upshot of which is that we sold the first tickets for Martini, not bad considering it isnt quite half written yet.

Told you it was a good month for Martini!

End of December 2015

As you might expect with Christmas and Jane's milestone Birthday I thought it would be a bit slower on the Martini front this month, but how wrong can you be. I have been in full flow a number of times and have written two more songs and started to put Finale Act 1 together. The first song is a duet between Miss Malibu and her niece Blossom Hill, its called "An English Garden" and its all about how to use a garden to spy on people and listen in to their gossip. The song is a gentle pretty waltz as Miss Malibu reveals her methods.

The second song features Martini himself along with Baby Cham and Ivana Smirnoff, his two lovely assistants. It's called "Getting Ready" and is all about the preparation required before any performance. I think its a song than any performer will relate too as they will probably have gone through the same thing at some stage.

Finale Act 1 will be a good 10-12 minutes when it's finished. I am at around 5 minutes at the moment and its a chorus number with various characters popping in and out of the action. With 4 part harmonies, rhyming interuptions and a story arc riding over the top of it. All those things happening all at once is a big challenge, just as it was in The Pier, but i am really enjoying writing it. I think its one of those that you need to do a bit then come back to it several times over.

Most of my efforts this month have been on writing the script and shaping the show, working out plot devices, plot exposition, comedy routines and red herrings etc. I have written quite a bit and now have around 30 pages of dialogue complete. I would say that i am about half way through the show overall. I have written a real fun scene for bombadier and Pimms, they snoop around in the basement of the manor, the whole scene is just lit by the torches that they carry, so their is a lot of misdirection in the dark, sound effects and funny unexpected things keep happening to them.

Stella Artois had the rewrite that I mentioned last month, she now goes gold digging at every opportunity, there is really nice scene as the guests go to breakfast and she greets them, and makes a beeline for each of the men in turn, Baby Cham & Ivana Smirnoff reveal their common past with Martini along with any motives they might have for knocking him off.

Hemlock Stones is becoming more pompous with each passing scene but is always incredibly observant and maticulous. Dr Watney is a blustery type who loves undermining Stones pomposity. They are fun to write and work well together.

It's really beging to knit together now!

Happy New Year Everyone!

End of January 2016

Well its done, the first complete draft script of the whole of Act 1. And it feels really good to hit this point. I have been busy knitting things together this month, popping back and dropping things in and adding feeds that will reveal themselves in Act 2. I know all of the characters pretty well now, so writing for them for Act 2 should be a breeze. They still keep saying unexpected things and making me laugh. I know it's ridiculous but it's true. Jane is forever hearing me laugh out loud and can cofirm that they do write the script themselves sometimes, and take us both by surprise. She has been a brilliant leiutenant in writing this show, she is completely involved and has made some serious contributions to plot, character development and comedy. I do enjoy the way things bounce between us.

I wrote the scene immediately after the murder this month, which is as ridiculous as ever and added a new character to the show. His name is Scrumpy and he is a crotchety old gardener. He keeps telling people off for "standing on his seedlings" at inappropriate moments. I love building pathos and then kicking it in the teeth and Scrumpy is brilliant at it.

I finished off Jane's big song this month and rounded off the end of "Vast Fortune", which i then had to transpose as i went a bit too high for comfort at the end. It's a natural thing to do when you are writing a big number, but i got a bit too carried away.

Jane and i started recording the radio play this month, most of Act 1 is recorded but not all edited and mixed yet. This is a fun part and a bit easier than last time. This show has 19 characters rather than the 41 characters that "The Pier" had. Jane and I have done all of them, bar one which isnt recorded yet. I am upping my game with the radio play and putting it together more as a radio production than a voice over for people following the script, It should make the preview read through fun too. The good news is it looks like Act 1 will come in around 65 minutes which is exactly where i wanted it to be.

I have also uploaded my new track for "Space Race" this week (See Albums Tab) that parallel project is shaping up too.

Finally, I must mention how saddened both Jane and I were by the sudden death of Terry Wogan. Jane had met him half a dozen times on various TV programmes when she did her promotions. She loved him to bits and always said how lovely and warm he was towards her. I had the good fortune to piggy back on this and met him once at "BBC Proms in the Park" in 2004. He had a "trailer" shared with Ken Bruce next to "Janes trailer". Long story short, i went for a walk leaving the hairstylist doing Jane's hair.

I didn't get very far as Terry spotted me and invited me in to his trailer. He was at a lose end too as Ken was on stage. He made me a cup of tea and we had the most brilliant chat about all sorts of things for the next 45 minutes or so. He was such a nice man. Warm, generous, kind, humble and funny. I had been listening to him for over 30 years at the time and to have him to myself like that was truly a privelidge. I was in complete awe of how down to earth he was. What we ALL heard on the radio was exactly what he was like in the flesh. Bless you Terry and thanks for making us laugh at you and ourselves! You will be missed!

End of February 2016

I have been busy writing the Interogation scenes this month. These take place at the begining of Act 2 which kicks off at exactly the same moment that Act 1 ends (after a brief musical interlude with the Alka Seltzer sisters). For each character I have a premise of an idea. I just start writing with that premise and before I know it something iunexpected makes me laugh and i end up running off at a tangent flushing it out. The consequence of which is that we now have some very funny interogation scenes.

Dandelion & Burdoch interview Carlsberg the Butler playing "Good cop- Bad cop" but not the way round you might expect. I do love ridiculous things and you can't help finding them funny. As my mom used to say "You cant beat dead daft humour!" I also have Pernod trying to interview a London show girl called "Baby Cham" and them not understanding one another, so Baby tries to help by speaking loudly in clipped syllables, just like the British do abroad. He becomes even more confused and tries instead to talk to Baby's associate "Ivanna Smirnoff" who is, yes you have guessed it, a Russian Ballet Dancer. As she puts it, in her thick russian accent "I dont understand foreign accents!"

Then we have Dr Watney, associate of the famous Hemlock Stones, who is interogating the two identical twins G & T (two parts played by the same actress). He interviews them both on stage at the same time, which is a good trick if you can do it. And it is a good trick which I am keeping to myself for now. Very funny though because Watney has the hots for them both too, so his questioning is totally compromised.

Miss Malibu interviews the Bombadier and his Batman Pimms but the Bombadier refuses to answer questions to anyone who is not his superior officer, but Pimms blabs it all out anyhow, causing comedic friction.

Finally Hemlock Stones, with his great powers of observation, interviews Stella Artois, lady owner of the Manor, and tells her that he knows she is lying by her beaviour. He then goes on to describe a number of small nervous habits that she displays that indicate her obvious, to him, falsehood. This should be hilarious because it will involve Stella developing various nervous ticks, and such, as he speaks with his back to her, which she immedistely stops when he turns to face her. At no other point in the show will she display the characteristics he describes. You can see where this is going. It should be quite funny!

I finished mixing the radio play for Act 1, and play it constantly. Listening to it helps to give me perpective, which comes in handy with the script editing that always needs doing. It gives a really nice overview feel to the show, I know it will go down well at the preview.

Musically, I revisited "I'm not French", Pernods song, for the third time and, YES AT LAST, I have got it right this time. He complains about the loss of identity of his native Belgium, because everyone assumes he is French, and i managed to work in a nice parallel about it being like calling the Scots, Welsh or Irish "English!"

I have realised this month that I only have a few songs left to write for the show, as i started Act 2 with 6 songs already done, wierdly I am a bit sad about that, i have enjoyed writing music for this show enormously. It has always felt less of a climb than "The Pier" was. I have developed lots of short cuts by using templates for the software which make assembling editing and mixing much easier than they used to be.

One last thing on music, I have just started writing the song prior to the big reveal. Its called "True Colours" and has the lyric......" True colours, nothings quite the way that it seems to be, True colours, realising your dreams and your fantasy!" Which I thought was a nice start.

Onward, onward, ever onward!

End of March 2016

Once again I have been busy writing away, The liberetto for Act 2 is more than half done now. It has been more challenging writing this part of the show.

Firstly trying to make it logically weave in the songs i have prewritten for this act. This has gone quite well but one song has had to be slightly rewritten and "An English Garden" which i spoke about last December has now evolved into "An Elderly Lady" which is Miss Malibu's big number with her niece "Blossom Hill". Stella's "Anytime, any place, anywhere!" song all about her past with Martini, has also blended in nicely.

It is also the part of the show where reveals have to be worked into the script along with a few extra clues as to what might lead to the solving the case. I still think it will keep people guessing right to the end. This is very hard to write and more complicated than even i expected, but I have to say I am still enjoying the challenge of making it all work.

The most alarming thing is i have realised that I am about 15 minutes away from the end of the show with still quite a lot of things left to cram in, so i need to streamline what i am doing to keep the show at a tidy length. I don't know who first decided that Act 2 should always be shorter than Act 1 but whoever they were, they were right.

My new composition this month was "Game, set and match!" which is sung by Hemlock Stones and Dr Watney both of them sing about trying to triumph against the odds, but Stones talks about it in detective terms while Dr Watney talks about it in tennis terms, for which he has developed quite a fetish for in this show. Yes it is as ridiculous as it sounds, but highly amusing. I havent progressed with "True Colours" since i knocked up my first draft of it. It is one of those pieces that will go together better bit at a time after some reflection. The fact I can still hum the tune when i havent played it for almost a month is a good sign that it will work.

I have also realised, writing this up this month, that from here on it's going to get harder for me to tell you details of what is going into the script as it will inevitably lead to a major spoiler. So i will try and be less specific but give you the flavour of events. I hope this is okay.

Thats it for now, oh, apart from the fact that i am almost halfway through my parallel project "Space Race" too, complete with promo videos, I should be uploading these during the coming month, so look out for them on the Album Tab.

End of April 2016

We really have hit the bit where i have to be very careful what i tell you about through fear of spoiling it for you. So here goes.

Suffce it to say the libretto is really coming together as it gathers pace to a finale which, in true murder mystery style will involve the various sleuths in the show summing up their versions of events, which will lead to the big reveal and expose the murderer. This is the only bit i havent yet written, dialogue wise, and i have had great fun mixing up the characters with one another and letting various storylines bleed together to give a clearer picture of what might have actually happened. That been said I am suprememly confident that the reveal will be a massive surprise for the audience.

The scenes leading up to this have had me in absolute stitches as these "self determining" characters keep saying things i dont expect. Really they do! Its true, i am not making this up, well i am making it up but you know what i mean. Even now, this late in the day, it seems i dont write for more than 10 minutes without laughing out loud at something unexpected that i hadn't thought of when i started typing. On the other hand it makes kind of sense, afterall i have got to know the characters pretty well over the last 8 months or so, so why wouldn't they have legs of their own.

I am also saddened at the prospect of finishing writing the show because i will miss giving these charaters things to do and say. I also know that, with the script complete, the real work begins. The enormous task of casting it and putting it on but more about that in a moment. Needless to say at this stage i couldnt be more happy with the show than i am and it will be very VERY hard going back through it editing it to sharpen it up. Losing hard written lines is always tough, but "hey-ho" its goes with the territory. I felt exactly the same way about the Pier, although personally, i think i have upped my game with this show, the humour is much stronger, so it will be twice as hard.

On the music front, i had another repeat of what happened with the Pier, I said last month that i had changed the song "An English Garden" into "An English Lady". It's Miss Malibu's big number. Unfortunately, having rewritten it, getting Jane to record it, and then mixing it. I played it back and hated it. So i sat down one evening last week and wrote a completely different song, i did exactly the same with "Give us the money" in the Pier at exactly the same stage of the game which is why its a funny parallel. I also realised that i had way too much dialogue in a section of Act 2 without any musical interuption, so i sat down last night and wrote a song, start to finish, for that. I am on fire at the moment and was extremely pleased with what i turned out. I cant tell you more than that because of the spoiler business i talked about above.

I have written an out line for Finale act 2 which is called "True Colours" a while back which i now need to sit down and develop into the shows final number.

I am expecting to announce the shows completion soon and certainly during one of the next two blogs.

If you are reading this and want to put yourself forward to be part of the show, please get in touch. we will need all the help we can get. (Details Below)

End of May 2016

We're almost there, all of the music is done including the curtain calls and playout.

The last scene is in progress, which is the one which reveals whodunnit, so i really cant say anymore, except to say Ii am really going to miss writing for these characters, they still make me laugh all the time..

I expect to do a read through presentation around middle of July, and probably on a Friday night, so please free up your diaries.

I can't wait to show as many of you as possible what it's all about. 

The presentation will feature the script and music in full with a radio play accompaniment. We need to have some idea of numbers for this, so please get in touch (by phone email or even on the message sender below) and register interest as soon as you like so we can arrange a suitable venue. Upon hearing from,  you we will contact you back (within 24 hours) so you know we have you on our list. Then you will be personally notified of everything we arrange.

I really hope we get a good response, it would mean a great deal to Jane and me if we did.

End of June 2016

I finished writing the musical at 10.45pm, Friday 17th June 2016 and not in a way that i was expecting. Of course all the plot points turned out as expected but the construction of the last scene genuinely took me by surprise. I had been putting finishing the scene off for quite a while because a part of me was scared to write it. Partly because it might not come out as well as i wanted, typical creative nerves there, but also because i didn't want the fun to end. Writing this musical has been an absolute blast for me and Jane, and we will no doubt miss doing it once its complete.

So what happened? Well I sat down looking at the script with no intention of writing that night and noticed a few commas missing, then a question mark, then i decided i didnt like the last line i had given to Hemlock Stones and deleted it. Then replaced it with a better one, then Dr Watney butted in, followed by Pernod & Miss Marple and somehow they and the other characters took me by the hand and wrote the end for me. It really was as easy as that.

Lots of lose ends tied up, lots of plot points explained, lots of blame and accusations been thrown around, and quite a few funny lines and situations are now all flushed out in this final scene. I wrote the last few words and came up with an ending that even i didnt quite see coming. What a delight, i was both pleased and sorry it was all done. As you saw above it was late at night so i called Jane in from her adjacent office and told her i had just wriiten the end of the show. She was as surprised as me, she knew i had been worried about it. I said i would read it to her but she made me wait while she nipped downstairs and made a bedtime cuppa. When she returned a few minutes later it felt like she had been gone an hour. I was that anxious to read it to her and find out if it was good enough to keep. She sat down and i read it out aloud to her doing all the characters, including hers, so she could appreciate the delivery i had imagined in my head as i wrote it. Now you must bear in mind that Jane has had as much to do with plot as i have, and her laughter and excitement in finding the slight distortion from where we both thought it would go was a delight to behold. It was a magical moment for me. The scene ticked all the boxes and she really loved it. I wont foget that moment for quite some time.

So there we have it, the show is complete, it is more or less the length i wanted it to be, but there will no doubt be  a few refining edits to do. There always is when you reflect.

But we are done. Just the radio play to complete and True Colours to record with voices.

The presentation will be on Monday 18th July 2016 and will feature the script and music in full with a radio play accompaniment.

Please come along!

End of July 2016

This will be my last entry for a while, as we now be busy trying to push the show into production. Thanks to all of you who came along to the presentations (We did 2 in the end to accomodate end of school term traffic etc). It was nice to hear other peoples good reactions to what the show is all about. Providing a good evenings entertainment with plenty of laughs and music.

I would say we have about half of the people we need for the show to go forward. So please if you are even slightly interested, get in touch below (the message will come straight to me and i will respond the next working day). Everything is up for grabs, we have small and larger parts, We have singing and non singing parts, All of them should be fun and all of them have there own moment or moments in the show that make them essential and special. None of the dates are cast in stone, so if we had enough people in another production clashing with ours we will try and accomodate it.

We really do need some more people and we will make new comers extremely welcome, we are a fun bunch and not in the slightest bit clicky, if you know what i mean. Please get in touch!

May 2017

Well rehearsals are now in full swing and we are almost fully cast. Still room for one or more cast members though. Why not get in touch below and be part of this unique opportunity to appear in the world premiere of this brand new show. We are also looking for people to help behind the scenes. The set has been constructed but needs painting, we also need stage crew for the performance and  front of house people too. Why not get in touch and be part of this exciting production.

We rehearse Thursday and friday evenings and the show will be staged locally to Chipping Sodbury during early September 2017.

Get in touch NOW!!!!!!!!!!!!

If You Would Like To Know More About The Show Or Would Like To Register Your Interest In Being Part Of It.

Please Contact Paul By Filling In This Contact Box Along With A Brief Message.