New York is a new place for me, having grown up in England and spent my career in London. Throughout that time I learnt the game, made some good friends and networked like crazy. In fact, out of all my activites, I can think of nothing more important than networking.



At the time I left London, I could have recorded an entire CD for little more than the cost of the CDs themselves and yet arriving in a new city always has the challange of starting fresh with no contacts.



One… Continue

As a new resident of NYC, I arrive with a wealth of experience in producing, designing and creating theatre. In this city, however, I find myself a complete novice once again.



I've been used to collecting a group of strong performers, rehearsing in everyone's spare time for 4-5 months, running the show for a few weeks only and reaping the rewards (whilst sharing them with everyone involved).



I don't think I can do that here.



Of course my experience falls into… Continue

Whenever a musical succeeds, the music is often praised and held accountable. When a musical flops, the book writer is generally to blame - such is the fate of a librettist.



Unfortunately, the truth behind this matter is that the book is the most important part of a musical. A show with mediocre music but a gripping, dramatic story will generally do well, where as a show with soaring tunes but a terribly dull story with often close before the critics have finished eating their… Continue