Company

Lucy Moss

Director

Lucy is a Tony Award-winning writer and the youngest woman ever to direct a musical on Broadway (lol). Alongside her co-writer/close personal friend, Toby Marlow, she won a Tony, two Drama Desks, and an Outer Critics Circle Award for their music and lyrics in the musical SIX (Broadway, West End, various other cool places). Their album SIX: Live on Opening Night was also nominated for a Grammy. She was ALSO nominated for best director of a musical at the Tony’s for her co-direction of SIX. Okay enough about SIX.

Other writer-director credits include: THIS VERY SHOW, Why Am I So Single? (Garrick Theatre) and Hot Gay Time Machine (Trafalgar Studios).

Directing credits include: Legally Blonde (Regent’s Park Open Air Theatre); Ratatouille: The TikTok Musical (Actors’ Fund Online Benefit).

Song-writing credits include: The Monkey King (Netflix); Dylan Mulvaney’s Day 365 LIVE! (The Rainbow Room); Book of Queer (discovery+); The 75th Annual Tony Awards (CBS).

She loves to kayak. You can find her @mucyloss on the internet.

Ellen Kane

Choreographer and Co-Director

Ellen Kane is a London based Tony and Olivier Award nominated choreographer. Recently, Ellen choreographed Cold War (Almeida Theatre); Dear England (National Theatre/Prince Edward Theatre); Legally Blonde (Regent’s Park Open Air Theatre, dir. Lucy Moss); Roald Dahl’s Matilda the Musical film (Netflix, dir. Matthew Warchus); A Chorus Line (Leicester Curve/Sadlers Wells, dir. Nikolai Foster). Ellen is the Worldwide Associate Choreographer for Matilda the Musical and has been nominated for the Chita Rivera Award for Choreography in Film and won the World Choreography Award for motion picture 2023 for her work on Matilda.

Theatre: The Hills of California (Harold Pinter Theatre); Cold War (Almeida Theatre); Dear England (National Theatre/Prince Edward Theatre); Legally Blonde (Regent’s Park Open Air Theatre); Theatrical Creative Consultant for KidSuper (Fashion Show); A Chorus Line, West Side Story (Leicester Curve); Groundhog Day (The Old Vic/August Wilson Theatre, Broadway; Olivier, WhatsOnStage and Tony® Award nominated); West Side Story (Leicester Curve); Women on the Verge of a Nervous Breakdown (Playhouse Theatre).

As Associate Choreographer: Charlie and the Chocolate Factory, The Lord of the Rings (Theatre Royal Drury Lane); Billy Elliot (Victoria Palace Theatre/Australia/Chicago/Holland); Sister Act The Musical (London Palladium).

Joe Beighton

Orchestrator, Vocal Arranger and Musical Supervisor

Joe is a Grammy Award and Olivier Award nominated Musical Supervisor, Orchestrator and Arranger. After spending the first years of his career working on the Tony Award winning score of SIX The Musical, he has continued to focus on developing new musical theatre whilst continuing to supervise the international roll-out of SIX.



Joe is currently Musical Supervisor, Orchestrator and Arranger for 42 Balloons (The Lowry, Salford, 2024); Babies (The Other Palace, London, 2024); and Why Am I So Single?

Moi Tran

Set Designer

Moi Tran is a multi-disciplinary artist, designer, cultural worker, and educator with a dual practice across Contemporary Art and Design for Live performance.

Design for performance: The Hunger Games (Costume, West End); The Homecoming (Young Vic); A View From the Bridge (Headlong, Bolton, Chichester, Rose); A Play for the Living in Time of Extinction (Headlong, Barbican); The Herring Girls Protest Song Cycle (High Tide); Worth (New Earth, Chester Storyhouse); The Tempest (The Globe); Henry V (Headlong, The Globe); Peaky Blinders (Rambert); Baghdaddy, Rare Earth Mettle, White Pearl (Royal Court); Chasing Hares (Theatre Uncut/Young Vic); Corrina Corrina (Headlong, Liverpool Playhouse); Raya, Deluge (Hampstead); Dear Elizabeth, The Letters Project (Gate); In the Blood (Donmar); Chiaroscuro (Bush); Human Wall (V&A); Beats’n’Shine (MUDAM); Summer Rolls (Park); The Imperfect Pearl (Corn Exchange, Newbury/St George’s, Bristol/King’s Place/UK tour); Falstaff (Opera Berbiguieres, France).

Art includes: Care Chains (how love continues to resonate) (Wellcome Collection UK); Experimental Writing (Performing Borders); Group Exhibition ‘Well Settled’ (LUX UK/ Outpost VN); SLEEP (Pushkin House); Reshaping the Collectible (TATE Modern UK); Solo Exhibition ‘Civic Sound Archive’ (PEER UK); Sign Chorus(Vietnam/National Archives UK ); The Circuit, Shy God A Chorus ( SPILL Festival); Sonic Signalling in Reverse (AIO/GIBCA Biennale Gothenburg); SHY GOD Chapter Một (Chisenhale Dance UK); Solo Exhibition ‘I love a broad margin to my life’ (Yeo Workshops Singapore); The Bolero Effect (VCCA Hanoi/British Council); Civic Voice Archive (The National Archives / UEL UK); The Circuit (Prague Quadrennial); Temporality in a Cut (Display Gallery).

Moi will be Artist in Residence with ArtsAdmin Labs in 2024.

Max Johns

Costume Designer

Training: Bristol Old Vic Theatre School, recipient of a BBC Performing Arts Fellowship in 2015. Prior to this, he worked as a designer in Germany for a number of years.

Recent productions: Choir Boy (Bristol Old Vic); As You Like It (Shakespeare’s Globe); Sound Of The Underground (Royal Court); Birthmarked (Bristol Old Vic/MAYK); The Climbers (Theatre By The Lake); The P Word, Overflow, Strange Fruit and Rust (Bush Theatre); Once Upon A Time In Nazi Occupied Tunisia (Almeida Theatre); King John (Royal Shakespeare Company); The Panopticon (National Theatre Scotland); Lord Of The Flies, Kes and Random (Leeds Playhouse); The Strange Undoing Of Prudencia Hart (Manchester Royal Exchange); Heartbreakin’ (WLB Esslingen, Germany); Urinetown (CSSD); Buggy Baby (The Yard Theatre); Yellowman (Young Vic); The Half God Of Rainfall (Kiln/Birmingham Rep/Fuel); Wendy And Peter Pan (The Royal Lyceum Edinburgh); Utility and Twelfth Night (Orange Tree Theatre); Fidelio (London Philharmonic Orchestra); Life Raft, Medusa, The Light Burns Blue and Under A Cardboard Sea (Bristol Old Vic); Hamlet and All’s Well That Ends Well (Shakespeare at the Tobacco Factory).

Max is also a lecturer in Theatre Design at Wimbledon College of Arts and a contributor to the Theatre Green Book.

Jai Morjaria

Lighting Designer

Jai trained at RADA and won the 2016 Association of Lighting Designer’s ETC Award.

Theatre design includes: The Secret Garden (Regent’s Park Open Air Theatre); The Buddha of Suburbia (Royal Shakespeare Company); Barnum (Watermill Theatre); Macbeth (Wessex Grove/International Tour); Cuckoo, Graceland (Royal Court); Othello (National Theatre); Accidental Death of an Anarchist (Haymarket Theatre/Lyric Hammersmith/Sheffield Theatres); Wuthering Heights (St Ann’s Warehouse/National Theatre/US Tour/Wise Children); My Son’s A Queer (But What Can You Do?) (Ambassadors Theatre/Garrick Theatre/Turbine Theatre); The Trials (Donmar Warehouse); Chasing Hares (Young Vic); Lost and Found (Factory International); The Real and Imagined History of the Elephant Man (Nottingham Playhouse); Birthmarked (Bristol Old Vic/Theatre Royal Stratford East/UK Tour); For Tonight (Adelphi Theatre); Scissors (Sheffield Theatres); Cruise (Duchess Theatre); August in England, House of Ife, Lava (Bush Theatre); Worth (Arcola Theatre/New Earth); The Cherry Orchard (The Yard/HOME); Cherry Jezebel (Liverpool Everyman); Big Big Sky, The Hoes (Hampstead Theatre); The Sorcerer’s Apprentice (Northern Stage); Shuck’n’Jive, Whitewash (Soho Theatre); Anansi the Spider (Unicorn Theatre); I’ll Take You To Mrs. Cole (Complicite); Cuzco (Theatre503); Losing Venice (Orange Tree Theatre). 

Film design includes: The Magic Finger (Roald Dahl Company).

www.jaimorjaria.com

 

 

Paul Gatehouse

Sound Designer

Sound Design Credits Include: Babies (The Other Palace); 42 Balloons (The Lowry, Salford); The Little Big Things (@SohoPlace); Mandela (Young Vic); Identical the Musical (Nottingham Playhouse); Oliver! (Asia première in Tokyo); RENT (Hope Mill Theatre); SIX the Musical (London, Broadway, UK & US Tours, Australia, Korea); Cameron Mackintosh & Disney’s Mary Poppins (London, Tokyo, Australia); The Witches Of Eastwick (Cirkus Theatre, Stockholm); Amélie (Munich-Werk7); Billionaire Boy (Nuffield Theatres, Southampton).

Recordings Include: Mandela – Original London Cast Recording (Producer, Mixer); SIX Live on Broadway – Original Broadway Cast Recording (Producer, Mixer); Young Frankenstein – Original London Cast Recording (Producer/Mixer); Newsies – Theatrical & DVD Release (Mixer); Miss Saigon: The Definitive Live Recording, Theatrical, DVD & CD Release (Recording Engineer & Mixer).

Film Includes: SIX The Musical (London). The Little Big Things (NT@Home), London Tide (NT@Home).

Awards Include: Grammy Award for Best Musical Theatre Album, Nominee (SIX the Musical, Broadway); Tony Award for Best Sound Design of a Musical, Nominee (SIX the Musical, Broadway); Drama Desk Award for Best Sound Design of a Musical, Nominee (SIX the Musical, Broadway).

Future Cut

Music Production and Additional Orchestrations

Future Cut’s work with the likes of Lily Allen, Rihanna, Tom Jones, and Shakira has seen them contribute to over 40 million album sales, three UK #1 hits and a further eleven international chart-toppers. Meet the production team of Future Cut – Tunde Babalola and Darren Lewis – two men whose musical journey has taken them from kings of the underground drum ‘n’ bass scene to curators of some of the pop world’s biggest hits. “The general public don’t know who we are,” says Lewis. “But they’ve definitely heard us.”

As promoters in Manchester’s drum ‘n’ bass community in the mid-nineties it was inevitable that that the duo would meet. After Lewis distributed some flyers for one of Babalola’s nights, his new friend suggested that he could join him in the studio to work on some music together. “That’s what he used to say to everyone to get them to do him favours,” smiles Lewis. “But he didn’t count on me turning up at the studio.” Soon, this casual arrangement turned into something more substantial when they hit upon their first underground classic with “Whiplash.” Future Cut ran with that initial moment of success and embarked upon the touring life of superstar DJs. It took them to Iceland, Puerto Rico, Transylvania and beyond as they memorably soundtracked the millennium in France and inadvertently got caught up in a terrifying FBI raid in New Orleans. “It was wild from the second you got off the plane. There was a lot of partying and a lot of getting up to no good,” states Lewis with a mischievous expression. Babalola concurs: “I wouldn’t have changed it for the world. If I was still doing it, I’d probably look twenty years older. Sometimes I think I could just dust off those headphones one more time…”

Back in the relative sanity of Manchester, Future Cut’s ambitions turned towards making an album which made the discovery of the talented young vocalist Jenna G somewhat fortuitous. Together they created the cult hit “Midnight.” “Midnight” sparked Un-Cut, a band project uniting Future Cut on a full-time basis with Jenna G and they soon inked a recording deal with Warner Bros. Records. While the finished album, The Un-Calculated Some, earned positive reviews for its fearless hybrid of genres, it failed to make much of an impact commercially. “We didn’t want to be pop stars, we just wanted to make music”, admits Babalola. With Un-Cut over, and drum ‘n’ bass evolving in their absence, what would be their next step? The future was uncertain. And then they were introduced to a young singer-songwriter by the name of Lily Allen. “It was one of those classic stories!” exclaims Lewis. “She was unsigned, so we got together in a dingy basement studio in Manchester. The first song we wrote together was ‘Smile’ and the other hits followed shortly after. We set Lily up with a MySpace. She took the concept and ran with it, and the rest is history.” Future Cut produced and co-wrote the majority of her 4 million selling debut album Alright, Still including its two hits “Smile” and “LDN.”

Eager to capitalise on their moment in the spotlight, Future Cut’s new priority was to make progress in America and they soon did exactly that, landing high profile production work for the likes of Nicole Scherzinger, Shakira, and Rihanna. They also established their own recording studio in London which allowed them to helm a consistent stream of hits for the likes of Little Mix, James Blunt, Olly Murs, MIA, Ella Eyre, Rizzle Kicks, TikTok phenom Caity Baser, Biffy Clyro, Dua Lipa, FKA Twigs, Rudimental and Pink Pantheress to name but a few. Not content with producing hits for the pop market, they have teamed up with fellow songwriter Emily Phillips to create the musical The Ten. The show is currently in development alongside producer Ken Davenport, director Ruben Santiago-Hudson and writer Nambi E Kelley and is due to open on Broadway in 2024.

The trio also have a musical movie project which is currently in development. Adept at adapting to all manner of genres, Future Cut agree that the key to their success is to be able to maximise an artist’s potential while allowing them to maintain their individuality. “I think the reason people come back to us is that they know we can consistently take glimmers of hope and magnify that potential,” concludes Lewis. The future is most certainly bright.

Harry Blumenau CDG and Sarah-Jane Price

Casting Directors

HARRY BLUMENAU CDG CDA

Theatre: Burlesque (Manchester Opera House/Glasgow Theatre Royal); Unbelievable (Criterion Theatre); Derren Brown’s Showman (Apollo Theatre); Dirty Dancing (Dominion Theatre/UK Tour); The SpongeBob Musical (Southbank Centre/UK Tour); My Beautiful Laundrette (Curve/UK Tour); Death Note (London Palladium/Lyric Theatre); Babies (Lyric Theatre); Treason (London Palladium/UK Tour); Tarantino Live(Riverside Studios); The Choir Of Man (USA Tour); Respect (UK Tour); Starcrossed (Wilton’s Music Hall); Blippi (Lyric Theatre); Disruption, On The Ropes (Park Theatre); Cinderella (Theatre Royal Stratford East); The Girl On The Train, Million Dollar Quartet (Barn Theatre); Aladdin (Lyric Hammersmith); American Idiot (Arts Theatre/UK Tour); Footloose (Peacock Theatre/UK Tour); Dark Sublime, Silk Road (Trafalgar Studios); Our House (UK Tour); One Man Two Guvnors (Derby Theatre/Queens Theatre Hornchurch); Glory Ride, Soho Cinders, Mythic, The Knowledge (Charing Cross Theatre); concert productions of Your Lie In April, Wild About You, Chess, Kinky Boots, Treason (Theatre Royal Drury Lane).

TV: Prince Andrew: The Musical (ensemble casting); Derren Brown’s Showman.

Film: Tomorrow Morning, A Family Affair, Beast/Type/Song, The Hermit.

SARAH-JANE PRICE

Theatre: Starry (Ameena Hamid/workshop); Falsettos (The Other Palace); Bring It On (Royal Festival Hall); The Adding Machine (Finborough Theatre); Fame (Peacock Theatre); Little Miss Sunshine (Arcola Theatre), Mr Men and Little Miss (Edinburgh / Underbelly); Frankenstein (UK Tour); Madagascar (UK Tour/International Tour).

Sarah Jane also cast a retrospective season of work at the Bush Theatre and Immersion Theatre’s inaugural and current season. She was Head of Casting at TED Entertainment (Maternity Cover) and was Casting Director on concert productions of Bonnie and Clyde, The Light Princess and Cinderella.

Her most recent credits are Love Never Dies and Evita (Theatre Royal Drury Lane) and Casting Associate on the brand-new musical Burlesque.

Sylvia Addison and Richard Morris for Music Solutions Ltd

Orchestral Manager

Recent Theatre Credits Include:  A Chorus Line (Sadler’s Wells); Mean Girls (Savoy Theatre); Starlight Express (Troubadour Wembley Park Theatre); The Little Big Things (@sohoplace); A Strange Loop (Barbican Theatre); The Wizard of Oz (The London Palladium, UK Tour), Stephen Sondheim’s Old Friends (Gielgud Theatre); We Will Rock You (London Coliseum, UK Tour & Dominion Theatre); Guys and Dolls (Bridge Theatre); Mrs. Doubtfire The Musical (Shaftesbury Theatre); The Great British Bake Off Musical (Noël Coward Theatre); Charlie and The Chocolate Factory (UK Tour); My Fair Lady (UK Tour); Strictly Ballroom (UK Tour); The Phantom of the Opera (His Majesty’s Theatre); The Drifters Girl (Garrick Theatre & UK Tour); Cinderella (Gillian Lynne Theatre); Les Misérables (Sondheim Theatre / International Tour); Les Misérables The Staged Concert (Sondheim Theatre / Gielgud Theatre); Mary Poppins (Prince Edward Theatre); Back to the Future (Adelphi Theatre); The Lion King (Lyceum Theatre & UK Tour); Sleepless (Troubadour Wembley Park Theatre); BIG the Musical (Dominion Theatre); Joseph and the Amazing Technicolor Dreamcoat (The London Palladium & UK Tour); Beautiful – the Carole King musical (Aldwych Theatre & UK Tour); Blues in the Night (Kiln Theatre); Fiddler on the Roof (Savoy Theatre); Only Fools and Horses (Theatre Royal Haymarket & UK Tour); Fun Home (The Young Vic); Five Guys Named Moe (Marble Arch Theatre); Dreamgirls (Savoy Theatre & UK Tour); School of Rock (Gillian Lynne Theatre); Bend It Like Beckham (Phoenix Theatre); Miss Saigon (Prince Edward Theatre); Stephen Ward (Aldwych Theatre); The Scottsboro Boys (The Young Vic) Top Hat (Aldwych Theatre & UK Tour); The Phantom of the Opera’s 25^th Anniversary Concert (Royal Albert Hall); Ghost (Piccadilly Theatre); Love Never Dies (Adelphi Theatre); Legally Blonde (Savoy Theatre); Sweet Charity (Theatre Royal Haymarket); Oliver! (The London Palladium); Carousel (Savoy Theatre); Lord Of The Rings (Theatre Royal Drury Lane).

Sara Aniqah Mailk

Associate Director

Sara is a Theatre and Film Director making work with a political drive. She is currently the Associate Director on the Broadway production of Tammy Faye: The Musical.

Sara was the Resident Assistant Director at the Donmar Warehouse 2020-2022 and is an Associate Artist at the Watermill Theatre.

Credits as Associate Director Include: Just For One Day; The 47th (The Old Vic); Tammy Faye: The Musical (Almeida Theatre).

Credits as Director Include: The Last Days of Judas Iscariot (ArtsEd); How to Hold your Breath (Royal Welsh College of Music and Drama); A Midsummer Night’s Dream (Actor’s Church); Mosquitoes, Pity (LAMDA); Poison (Tobacco Factory); Salaam (Vault Festival).

Credits as Assistant Director Include: Constellations, Walden (West End); Force Majeure, Love and Other Acts of Violence, Blindness (Donmar Warehouse); Two Trains Running (ETT/ Royal & Derngate); Land Without Dreams (Gate); Wolfie (Theatre503).

Sara is a recipient of the Michael Grandage Company Bursary Award.

Molly Stacey

Associate Director

Molly is a theatre and comedy director, and a Senior Reader for Second Half Productions.

Credits as Director Include: The Last Living Libertine (Soho Theatre); Will Owen: Like, Nobody’s Watching; Chelsea Birkby: This is Life Cheeky Cheeky; Sarah Roberts: Silkworm; Laugh, Why Don’t You? (Edinburgh Fringe); Jinkies (Camden Fringe – Offie nomination for Best Short Run); Pillow Talk (Edinburgh Fringe & North American tour); Pen Pals; The Man Presents: Women (ADC Theatre, Cambridge).

Credits as Associate Director Include: People, Places and Things (West End); Babies (The Other Palace); Peter Pan (The Shipwright).

Credits as Assistant Director Include: A Mirror (Almeida Theatre & Trafalgar Theatre, West End); Babies (Lyric Theatre).

Michael Naylor

Associate Choreographer

Training: London Studio Centre

Theatre: Some Like It Hip-Hop (West End and UK Tour); Message In A Bottle (Peacock Theatre, West End); House of Bernarda Alba (National Theatre); Bat Out of Hell, Associate Choreographer (London Coliseum, Dominion Theatre, Canada, Germany); Blaze (Expo Antalya); The Bodyguard (Denmark Tour).

Film: Wicked (Universal); Snow White (Disney); Jingle Jangle (Netflix); Everybody’s Talking About Jamie (Film 4); Apartment 7A (Paramount).

TV: The X Factor; The Brit Awards; The Voice; Ant and Dec’s Saturday Night Takeaway.

Artists: Spice Girls; P!nk; Ellie Goulding; Rema; Gloria Gaynor; Keisza; Gorgon City.

Natalie Johnson

Associate Set Designer

Natalie is a freelance theatre designer. She has been the recipient of the Liverpool Everyman and Playhouse prize for stage design and was the 2023 Maria Bjornson Design Assistant at The National Theatre.

Training: LIPA.

Credits as Associate Include: Last Easter (Orange Tree Theatre); Everything Is Absolutely Fine (The Lowry); Forgotten 遗忘 (Theatre Royal Plymouth).

Credits as Designer Include: Bellringers (Paines Plough Roundabout & Hampstead Theatre Downstairs); Bacon (SoHo Playhouse NY, Bristol Old Vic & Riverside Studios); The Good John Proctor (Jermyn Street Theatre); Dumbledore Is So Gay (Southwark Playhouse); Rupture (Open Clasp Theatre Co); Pomona (The Carne Studio); Very Special Guest Star (Omnibus Theatre); Catching Comets (The Pleasance); John & Jen (Southwark Playhouse); Macbeth (Theatrepeckham); The Rage of Narcissus (The Pleasance); The Shadow (Home MCR); Tick Tick… Boom (Bridge House Theatre); Bluebeard (Alphabetti Theatre); Twelfth Night (Bridge House Theatre and Globe Neuss, Germany); Mydidae (Hope Mill Theatre); Striking 12 (Union Theatre); Putting It Together (Hope Mill Theatre); The Wasp (Hope Mill Theatre); Othello (Everyman Theatre).

www.nataliejohnsondesign.co.uk 

Aldo Vazquez

Associate Costume Designer

Aldo is a Mexican set and costume designer based in the UK. He trained at Bristol Old Vic Theatre School with an MA in Theatre Design, and a BA in Visual Arts from the UNAM/ ENAP, México City. He has worked both in México and the UK collaborating with international directors and actors from Argentina, Canada, China, México, USA, UK, and Switzerland.

Theatre design credits in the UK Include: Falkland Sound (Swan Theatre RSC); Blood Wedding (Tobacco factory); Cheeky Little Brown (Weston Studio); The boys are kissing (Theatre 503); Icarus (Tobacco Factory); Robin & Marian (Redgrave); Fefu and Friends (Tobacco Factory); Moreno (Theatre 503); Romeo and Juliet (Redgrave); Our House The Musical (Redgrave); Pigeon English (Tobacco factory); Caresses (Tobacco factory); The Tempest (Redgrave); King Lear (Bristol Old Vic).

Theatre design credits in Mexico Include: 245 Actos de maldad extraordinaria (La Teatreria);  La escuela del dolor humano (Teatro Santa Catarina); Sasha y Spot (Teatro el Galeón); Mensajes (Teatro Juan Ruiz de Alarcón); Me hago la Muerta (El Milagro); Bajo el signo de Tepsis (El Granero); El funesto destino de Karl Klotz (El Granero); Se compran Corazones (Teatro Lopez Tarso); El Jardín de los Cerezos (Foro Shakespeare); Sesión Permanente (CUT).

Luca Panetta

Associate Lighting Designer

Luca is a freelance Lighting & Video Designer, Associate, and Lighting Programmer.

Training: LAMDA Production Technical Arts at LAMDA (London Academy of Music & Dramatic Arts).

As Associate: Macbeth (Wessex Grove/International Tour); The Merchant of Venice 1936 (RSC, West End & UK Tour); Birthmarked (Bristol Old Vic 2023 & UK Tour 2024); The Real & Imagined History of The Elephant Man (Nottingham Playhouse & UK Tour); The Children (Nottingham Playhouse); Richard, My Richard (Shakespeare North Playhouse); A Playlist for the Revolution (Bush Theatre); Worth (Storyhouse, Chester); Mind Mangler: Member of the Tragic Circle [Video Assc.] (Virgin Voyages & UK Tour).

As Lighting & Video Designer: Polko (Paines Plough Roundabout); Edith (The Lowry / Theatr Clwyd); If Opera’s 2023 & 2022 Season (Belcombe Court); Cendrillon (Royal Birmingham Conservatoire); Diary of a Somebody (Seven Dials Playhouse), for which he was nominated for an Offie in Lighting Design.

As LX Programmer, Luca has worked with venues and companies such as: Young Vic; Hampstead Theatre; Bush Theatre; Rambert; Belgrade Theatre; Chichester Festival Theatre; Rose Theatre; NTLive.

www.lucapanetta.com

Charlie Smith

Associate Sound Designer

Charlie has always had a passion for sound design and quality audio for theatre. Since graduating from GSMD in 2013 with a first class degree and Gold Medal in Technical Theatre, Charlie has worked as a sound designer and operator within the West End and Internationally.

Theatre as Associate Sound Designer Includes: Guys and Dolls (Bridge Theatre); SIX the Musical (West End, UK Tour and International); Why Am I So Single? (Sadler’s Wells); Mary Poppins (West End, UK Tour and Japan); Identical (Nottingham Playhouse); 42 Balloons (Vaudeville and Lowry Theatre); Mandela (The Young Vic); The Little Big Things (@sohoplace); This is a Love Story (Workshop); Spring Awakening: The 15th Anniversary Concert (Victoria Palace Theatre).

Theatre as Sound Designer Includes: Piaf (Bristol Old Vic); Cable Street (Southwark Playhouse); Flowers for Mrs Harris (Riverside Studios); Police Cops (Southwark Playhouse); Carousel (Royal Academy of Music); Our House (Bristol School of Acting); St Anne Comes Home (Actors Church); Spend Spend Spend (GSA); Lipstick (Southwark Playhouse); Merrily We Roll Along & Fiddler on the Roof (Silk Street Theatre); The Manny (Kings Head Theatre); F Men (Waterloo East Theatre).

Theatre as Assistant Sound Designer Includes: Hymn (National Theatre).

Other Theatre Includes: Our Ladies of Perpetual Succour (National Theatre, International Tours and West End); The Book of Dust: La Belle Sauvage (Bridge Theatre); Flowers For Mrs Harris (Chichester Festival Theatre); This is My Family (Chichester Festival Theatre); Kiss Me Kate (Sheffield Crucible Theatre); The Wizard of Oz (Sheffield Crucible Theatre); Shipwreck (Almeida Theatre); Oh What A Lovely War (UK Tour).

Recording includes: Bluff the Musical; Flowers For Mrs Harris (Cast Recording).

Yarit Dor

Intimacy Director

Yarit Dor is a Certified Intimacy Director, Fight Director and Movement Director. She is co-director of Moving Body Arts and an Ensemble Associate Artist of The Shakespeare’s Globe.

Theatre credits include: Fiddler on The Roof (Regent’s Park Open Air Theatre); Hadestown (Lyric Theatre); Hamilton (Victoria Palace Theatre); A Strange Loop (Barbican Theatre); The Glass Menagerie (Duke Of York’s Theatre); Death Of A Salesman (Piccadilly Theatre & Young Vic); Rockets and Blue Lights (National Theatre);  Othello, Henry V, The Merchant of Venice, Richard II, Hamlet, As You Like It, Much Ado About Nothing Deutsch Bank (Shakespeare’s Globe); The Years, Look Back In Anger, “Daddy” A Melodrama (Almeida Theatre); The Band’s Visit, Love & Other Acts Of Violence (Donmar Warehouse); The Homecoming, The Second Woman, Changing Destiny (Young Vic); A View From The Bridge (Headlong); Black Superhero, This Is Not Who I Am (Royal Court); Of Mice and Men (Birmingham Rep); Old Bridge (Bush Theatre).

Dance credits include: Weather Is Sweet, Death Trap, Peaky Blinders (Rambert Dance Company); The Burnt City (Punchdrunk).

Film/Television credits include: Wicked; The Rings of Power; Daisy Jones and The Six; Adult Material; Atlanta 3; Mood.

Phoebe Bath

Production Manager

Production Manager: The Lion, the Witch and the Wardrobe (Birmingham Rep); The Score (Theatre Royal Bath); Why Am I So Single? (Sadlers Wells); Noises Off (Theatre Royal Haymarket, UK Tour 2022-24, Phoenix); WordPlay (Royal Court Upstairs); Akedah (Hampstead Downstairs); Saving Grace (Riverside Studios); The Contingency Plan – On The Beach and Resilience (Sheffield Crucible).

Associate Production Manager: Hey Duggee (UK Tour); Mind Mangler: Member Of The Tragic Circle (UK Tour); Magic Goes Wrong (Apollo, UK Tour); Private Peaceful (UK Tour); Cluedo (UK Tour); Mischief Movie Night (Immersive London, Vaudeville, Riverside Studios); Groan Ups (Vaudeville and UK Tour) .

Ameena Hamid Productions

General management

Ameena Hamid Productions is a leading London based theatrical production company working in the commercial sector creating joyful and innovative high-quality theatrical, audio and live capture productions specialising in creative production and the development of plays and musicals. The company is led by Ameena Hamid, an award-winning producer and general manager.

The company’s credits include:

As Producer: Why Am I So Single? (Garrick Theatre), Invisible (Bush Theatre & 59E59TH, 2023), The Wiz(Hope Mill Theatre), The Producers (No, Not That One) (Pleasance Theatre), Graduates at Cadogan Hall, Eating Myself (Applecart Arts and FAE Lima, Peru), Killing It and Since U Been Gone (VAULT Festival), Tales From The Tombstone Tavern (Podcast), Fizzy Sherbet (Podcast), Right Ho, Jeeves! (Podcast).

As Co-Producer: Bonnie & Clyde (Garrick Theatre), Dick Whittington (Phoenix Theatre).

As Associate Producer or General Manager: Death Drop (Criterion Theatre & Garrick Theatre).

Kenny Wax Productions

General Management

Kenny Wax MBE has been working in the West End since 1989, first as an usher, then as a flyman, box office clerk, follow spot operator and on-stage crew. He is delighted to have received an MBE in the King’s Birthday Honours in recognition for his services to the theatre industry, having previously completed a six-year term as President and subsequently as Vice President of the Society of London Theatre (SOLT) – the trade organisation for the West End Theatre industry – and now serves as a member of the Board.

Current productions include SIX the Musical, which is playing to packed houses in the West End and on a UK tour, on Broadway where it won two Tony Awards, on a North American Tour and is about to reopen in Australia. It recently played in Toronto, Amsterdam, Berlin, Munich, Trieste and Zurich, having previously completed a run in Korea. In the next 12 months, SIX will open in Japan, China, The Philippines, Singapore and Hong Kong. The studio album received ‘gold’ status and together with the Broadway cast album across various music platforms, the songs from the show have thus far reached one billion streams.

Opening at the Garrick Theatre in August 2024 is Marlow and Moss’s new musical, Why Am I So Single?. Opening July 2024 at The Other Palace is Fantastically Great Women Who Changed The World, an 80-minute pop musical for families about influential women in history, winning the UK Theatre Award for ‘Best Show for Children and Young People’ (2022). In development, the Company is working on The Boy Who Harnessed The Wind, based on the true story of William Kamkwamba who single-handedly built a windmill in his village to create electric light for his family’s dwelling and to pump water to the crops in their fields.

Kenny has so far produced nine stage shows with Mischief, including: The Play That Goes Wrong (winner of the Olivier Award for ‘Best New Comedy’ and a Tony Award on Broadway) which is entering its tenth year in the West End at the Duchess Theatre; Peter Pan Goes Wrong which completed successful runs in Los Angeles and Broadway before embarking on a UK tour in 2023 starting in the West End; The Mind Mangler, The Comedy About A Bank Robbery which ran for four years at the Criterion Theatre; Mischief Movie Night which gained Mischief its fourth consecutive Olivier nomination and was streamed for the first time all over the world in December 2020 and sees a return at The Other Palace in July 2024; Groan Ups which played at the Vaudeville in autumn 2019 and later toured the UK and Magic Goes Wrong, made in collaboration with magicians Penn & Teller. Establishing Mischief Screen with Mischief Theatre, Kenny was Executive Producer of two Christmas television specials on BBC 1: Peter Pan Goes Wrong and A Christmas Carol Goes Wrong, as well as the BBC comedy series The Goes Wrong Show, available on DVD with the second series available on BBC iPlayer.

Notable shows include the world première of Top Hat, winner of three Olivier Awards including ‘Best New Musical’ (2013) and winner of the Evening Standard Award for ‘Best Night Out’ (2012). Once On This Island, winner of the Laurence Olivier Award for ‘Best New Musical’ (1995). The Worst Witch won the Laurence Olivier Award for ‘Best Family Show’ in 2019 with Hey Duggee The Live Theatre Show winning the same award in 2023.

In 2022, Kenny opened Identical, based on the book ‘The Parent Trap’ by Erich Kastner. Directed by Sir Trevor Nunn, it received tremendous reviews for its try-out production and is awaiting a theatre for a West End transfer. The Company produced the first ever UK tour of Bugsy Malone – the acclaimed Lyric Hammersmith production, based on the world-famous movie by Alan Parker; and a stage version of the much loved book, We’re Going On A Bear Hunt, recently completed a UK and international tour. Kenny also collaborated with New Vic Theatre from Stoke-on-Trent, to produce at the Alexandra Palace Theatre in London, the legendary story of The Great Escape in Tom, Dick & Harry and in 2023 collaborated with legendary mentalist Derren Brown and his team to create Unbelievable, a show which ran for four months at the Criterion Theatre in the West End.