AMALGAMATED ARTS
MUSICAL THEATRE WORKS
Combining his experience as both actor and composer, Michael developed an innovative style of weaving text, lyrics and music into literate music dramas with both small and large scale orchestrations and arrangements that cover a wide range of theatre pieces.
LAURA
An innovative and exciting piece. Intense, involving and deeply moving, it is unlike anything else the West End has seen for many years: a small scale, through-composed musical drama in two acts for five actor-singers, comprising three very demanding leading roles and two important supporting roles, plus two smaller non-singing roles. A pre-recorded off-stage boys’ choir is heard at the end of Act One. The dramatic and moving score is highly melodic and orchestrated for twelve players.
The power of the piece derives from its story, music and lyrics and has no reliance on special effects or grandeur of design. Act one is a single set. Act two has one main setting and three other short scenes. Furniture and props are minimal. Each act runs between fifty-five minutes and an hour.
The piece is set in Vienna in 1938 at the time of the Anschluß, when Austria was annexed to Nazi Germany – a particularly apposite period for today’s audiences and the present concern over the resurgence of right wing extremism. Although a love story and not a political work in itself, it makes a clear statement about the evils of extremism and the abuse of power. The source material is Sardou’s original 19th century play Tosca (on which Puccini’s Opera of the same name was based).
Apart from a few passages that are spoken over underscore, all the dialogue is sung and the entire piece is scored throughout.
The music, lyrics and orchestrations are by Michael Heath
First performance (edited highlights) in concert – St James Church, Piccadilly. Second performance – a six week season at The Watermill Theatre, Newbury. Third performance – a one week season at The Palace Theatre Centre, Westcliff.
Cast:
Laura – Soprano
Strachen – High Baritone
Karl – Tenor
Father Eberle – Bass Baritone
Angelika – Mezzo Soprano
Müller – non-singing
Hansen – non-singing
Off-stage boys’ choir (pre-recorded)
Orchestra (12): Flute/Bb Clarinet, Bb Trumpet, Trombone, Percussion, Keyboards 1, Keyboards 2, Piano & Keyboards 3, Violin 1, Violin 2, Viola, ‘Cello, Double Bass.
Play adaptation by Michael Heath.
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
The season at The Watermill Theatre, Newbury was a scheduled run of 42 performances and played to over 6000 people. At a time when the season’s average audience for a production was 44% – and with virtually no publicity budget – LAURA achieved 65% business through audience reaction and word of mouth alone.
“The audience reaction was amongst the best The Watermill has ever had. The theatre was inundated with requests to purchase recordings, the ‘comments’ book was filled on every page with superlatives and many people returned two and even three times.”
Jill Fraser – Executive Director, The Watermill Theatre
PRESS REVIEWS
Major Reviews
SHERIDAN MORLEY – International Herald Tribune and The Spectator
Out at The Watermill in Newbury, Michael Heath’s “LAURA” is that comparative rarity, an all-new, through-sung, British stage musical not composed by Andrew Lloyd Webber. It’s set in Vienna in 1938 and tells the wonderfully grand operatic tale of a singer torn between the resistance hero she loves and the evil Nazi villain who wishes to steal her and kill him………………music and lyrics are both romantic and dramatic, from the haunting “Vienna Days” to a melodramatic firing-squad climax of considerable musical courage and authority. Again, it has taken a theatre well off the beaten track to come up with a new and exciting score…………………….unless it gets picked up, nobody is going to bother to write scores like this anymore. It has three major starring roles, an absolutely unashamed belief in the old grand operatic values of heightened feeling, and a very melodic line……….its ancestors are Verdi and Puccini rather than Rodgers and Hammerstein and, at a time when that particular line of musical invention would seem to have run its course, it is perhaps time that we started taking the likes of “LAURA” more seriously and found a way of guaranteeing them adequate funding to reach a wider audience.
The Times
A very impressive affair……..a testimony to its composer’s self-belief and endeavour………..Viennese architecture has become a vortex of receding arches at impressionist angles, spiralling towards a crucifix soon replaced by a swastika……the interrogating, manipulative Strachen: a complex portrait shifting between tenderness and cold cruelty…….the score and singing have professional polish.
The Guardian
Quite superbly sung throughout………..the music proves capable of generating emotion and atmosphere
The Stage
Michael Heath’s full-blooded musical drama, having its premiere production at The Watermill, is set in thirties German-occupied Vienna and confronts its showgirl heroine with the stark choice of protecting her lover and mentor or betraying a young Jew. It fleshes out what could have been an abstract moral dilemma and even its Gestapo “heavy” Strachen is a man with civilised impulses………..Heath’s intelligent rhymed libretto compliments his score, which features a surging piano concerto theme of the kind barely heard since forties movies. He also provides a powerful Act 2 interrogation scene for Laura, Strachen and Karl as well as a splendid operatic finale. Altogether it was a compelling evening, proving that a “small” musical can offer as many rewards as a “big” one.
Minor Reviews
The Oxford Times
Mr. Heath cleverly keeps you guessing……….the score perfectly suits a show which has quite a potent feel-good factor………The Watermill may well have a winner here.
The Newbury Weekly News
To bring such a dramatic musical story to the confines of The Watermill requires strong performances from all areas of production – it is in such professional expertise this musical stands out………..the cast, who all possessed beautiful voices, displayed the acting skills needed to convey drama in such a limited environment………..the music came over powerfully……….a very well composed and arranged score…….amid the 1945 anniversary celebrations, it entertained but also reminded.
The Swindon Evening Advertiser
…..a scenario which must have been chillingly and ruthlessly enacted many times in real life…………..what made this production so special was the seven extremely talented performers…………….vocal and dramatic ability combined to achieve Michael Heath’s aim of a rich marriage between play and musical.
The Hampshire Chronicle
……….a passionate love story overflowing with murder, revenge, and betrayal.
The Newbury and Thatcham Chronicle
A superb piece of musical theatre………….this compelling theatrical experience……the fine cast of musically talented actors and actresses held the audience spellbound with their emotive singing and acting during the tense drama.
SILENT STAR
Silent Star is a new musical comedy.
Set in Hollywood in the silent movie era of the 1920’s, it tells the story of Simon Mann, an English variety performer who went to seek his fortune in the United States.
The piece is structured as a vehicle for its central character and is designed for a star singing actor who is also an experienced comedian and entertainer.
This bright, comic and entertaining work has been written to attract a broad-based audience and to appeal to all ages and social groups.
It contains several big set-piece numbers – and these provide spectacular moments – but the power of the piece is in its performers and not in expensive, elaborate or highly technical set-design.
The nature of the piece – the relating of a story in the imagination of the central character – lends itself to a simple staging. The huge success of the musical Chicago – which has virtually no set and props – illustrates the validity of this style of production.
The design is simple – an open stage with the band on the set at the rear, in tuxedos, accompanying Simon Mann as he tells his story – with minimal set and props in the art-deco style of the period.
The cast of 27 performers comprises the star character of the title role, six principal players and an ensemble of 20 (12 male and 8 female) who cover all other parts. The band consists of 10 musicians, including the musical director who will direct from the keyboard. The style of orchestration reflects the 20’s and the jazz age.
The music, lyrics and orchestrations are by Michael Heath with a book by Colin Bennett.
Cast:
Simon Mann: The hero – High Baritone
Emma Saunders: The leading lady – Soprano
Jackie Roonie: The gofer – Tenor
Clare: The make-up girl – Mezzo-Soprano
David Graham: The director – Baritone
Randolph Roberts: The leading man – Tenor
J.J. Ragotta: The gangster – Baritone
Duke: The henchman – Bass Baritone
Clarke: The gate-keeper – Bass Baritone
Small speaking parts amongst the ensemble (SATB):
Actors, actresses, pressmen, studio technicians, gangsters, cops, music-hall performers, chorus girls and boys…….. the comic and the quaint, the epic, the pathetic, the villain and the saint, the stars and the glamour…………
Orchestra (10): Violin, Flute/Bb Clarinet/Tenor Sax, 2 x Bb Trumpet, Trombone, Piano/Keyboard, Banjo/Guitar, Double Bass, Drums (Kit), Percussion (Timps, Xylophone, Glockenspiel, Tambourine, Triangle, Suspended Cymbal, Wind Chimes, Claves, Bell Tree).
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
SILENT STAR
Silent Star is a new musical comedy.
Set in Hollywood in the silent movie era of the 1920’s, it tells the story of Simon Mann, an English variety performer who went to seek his fortune in the United States.
The piece is structured as a vehicle for its central character and is designed for a star singing actor who is also an experienced comedian and entertainer.
This bright, comic and entertaining work has been written to attract a broad-based audience and to appeal to all ages and social groups.
It contains several big set-piece numbers – and these provide spectacular moments – but the power of the piece is in its performers and not in expensive, elaborate or highly technical set-design.
The nature of the piece – the relating of a story in the imagination of the central character – lends itself to a simple staging. The huge success of the musical Chicago – which has virtually no set and props – illustrates the validity of this style of production.
The design is simple – an open stage with the band on the set at the rear, in tuxedos, accompanying Simon Mann as he tells his story – with minimal set and props in the art-deco style of the period.
The cast of 27 performers comprises the star character of the title role, six principal players and an ensemble of 20 (12 male and 8 female) who cover all other parts. The band consists of 10 musicians, including the musical director who will direct from the keyboard. The style of orchestration reflects the 20’s and the jazz age.
The music, lyrics and orchestrations are by Michael Heath with a book by Colin Bennett.
Cast:
Simon Mann: The hero – High Baritone
Emma Saunders: The leading lady – Soprano
Jackie Roonie: The gofer – Tenor
Clare: The make-up girl – Mezzo-Soprano
David Graham: The director – Baritone
Randolph Roberts: The leading man – Tenor
J.J. Ragotta: The gangster – Baritone
Duke: The henchman – Bass Baritone
Clarke: The gate-keeper – Bass Baritone
Small speaking parts amongst the ensemble (SATB):
Actors, actresses, pressmen, studio technicians, gangsters, cops, music-hall performers, chorus girls and boys…….. the comic and the quaint, the epic, the pathetic, the villain and the saint, the stars and the glamour…………
Orchestra (10): Violin, Flute/Bb Clarinet/Tenor Sax, 2 x Bb Trumpet, Trombone, Piano/Keyboard, Banjo/Guitar, Double Bass, Drums (Kit), Percussion (Timps, Xylophone, Glockenspiel, Tambourine, Triangle, Suspended Cymbal, Wind Chimes, Claves, Bell Tree).
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
BRAM
An original musical drama in two acts based on Bram Stoker – the man who wrote Dracula – and his 30 year relationship with Sir Henry Irving and his Lyceum Theatre company.
The setting moves in and out of the two realities of Bram’s actual life and the imagined world of his novel. The characters all double between these two realities. Stoker plays Jonathan Harker while Irving – whom we see as both himself and as Mephistopheles in scenes from Faust – doubles as the infamous Count. Ellen Terry becomes the flirtatious Lucy and Florence plays Harker’s wife Mina. The Van Helsing character is portrayed by Dr. Charcot, the mesmerist. The dual cast links the two worlds of book and life. The quartet of Victorian “stout-hearted men” are doubled by actors of the Lyceum company, including Quincy Morris, the Texan who represents Stoker’s fascination with all things American and brings the incongruous but effective cowboy element to the quintet of Victorian heroes who pursue the evil Count.
The entire novel is told in reported speech – everything is written as diary entries, journals and recordings of the strange events that take place – and this convention is utilised both to be faithful to the book and as a device to slip between the Dracula reality, with its Gothic sets and marvellous melodrama, and the world of actual Victorian theatre where Irving and Bram are creating their famed production of Faust.
The combination of these two fascinating stories provides a hugely entertaining work of great spectacle and magical effect that also tells the powerful, poignant and emotional tale of a man who is known world-wide but little understood.
All music, orchestration, sung text and lyrics by Michael Heath.
Book by Charles Sharman-Cox.
Cast:
Bram Stoker/Jonathan Harker – Tenor
Florence Stoker/Mina Harker – Soprano
Henry Irving/Dracula – High Baritone
Ellen Terry/Lucy Westenra – Soprano
Dr. Charcot/Van Helsing – Bass
Penfold/Renfield – Tenor
Quincy Morris – Tenor
Arthur Holmwood – Baritone
Faust/Dr. Seward – Baritone
Maitre D – Bass
Bride 1 – Soprano
Bride 2 – Mezzo-Soprano
Bride 3 – Alto
Ensemble of 8 (SATB) to also cover all solo roles
Orchestra (15): Flute/Bb Clarinet, Bb Clarinet/Bass Clarinet, Oboe, Horn in F, Bb Trumpet, Trombone, Piano and Keyboard 1, Keyboard 2, Percussion (Timps, Snare, Bass Drum, Xylophone, Glockenspiel, Tambourine, Wind Chimes, Triangle, Suspended Cymbal), Harp, Violin 1, Violin 2, Viola, ‘Cello, Double Bass.
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
CHRISTMAS CAROL
A setting of the famous Dickens story in two acts. Each act runs between 50 minutes and an hour.
The premiere production was staged as a concert at The Crowstone Performance Centre, where it played to a complete sell out of all four performances.
Through public demand, the production was again staged four years later and it again played to sold-out performances.
The piece is completely true to the original book, using Dickens’ own text as dialogue wherever possible. Dickens himself was famous for his dramatic readings from his novels and made many performance tours. This version of A Christmas Carol begins with Dickens giving such a reading and he serves as a narrator throughout the drama.
The work is written for a cast of 10 actor/singers (seven men and three women) together with a youth cast of 7. A great deal of the piece is underscored, unifying the spoken and sung text into an integrated music drama rather than simply a play with a collection of songs. The music is scored for an orchestral accompaniment of five players.
All music, sung text and lyrics, and orchestration by Michael Heath
Book adaptation by Charles Sharman-Cox
Cast:
Charles Dickens – Non-singing
Scrooge – High Baritone
Topper – Tenor
Bob Cratchit – Teno;
Fred/Third Spirit – High Baritone
Marley – Bass Baritone
Second Spirit – Bass Baritone
Mrs Fezziwig – Alto
Belle – Soprano
First Spirit – Soprano
All roles with the exception of Scrooge and Dickens double other characters throughout the piece.
Youth cast:
Tiny Tim – Soprano
Little Ebeneezer – Alto
Young Ebeneezer – Tenor
Peter Cratchit – Baritone
Little Fan – Soprano
Martha Cratchit – Alto
Belinda Cratchit – Soprano
All youth roles double other characters.
Orchestra (5): Piano doubling keyboards, Soprano Sax doubling Clarinet, Violin, Double Bass, Percussion – (Timps, Snare, Bodhran, Xylophone, Glockenspiel, Triangle, Wind Chimes, Sleigh Bells, Suspended Cymbal).
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE.
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
CHRISTMAS CAROL
A setting of the famous Dickens story in two acts. Each act runs between 50 minutes and an hour.
The premiere production was staged as a concert at The Crowstone Performance Centre, where it played to a complete sell out of all four performances.
Through public demand, the production was again staged four years later and it again played to sold-out performances.
The piece is completely true to the original book, using Dickens’ own text as dialogue wherever possible. Dickens himself was famous for his dramatic readings from his novels and made many performance tours. This version of A Christmas Carol begins with Dickens giving such a reading and he serves as a narrator throughout the drama.
The work is written for a cast of 10 actor/singers (seven men and three women) together with a youth cast of 7. A great deal of the piece is underscored, unifying the spoken and sung text into an integrated music drama rather than simply a play with a collection of songs. The music is scored for an orchestral accompaniment of five players.
All music, sung text and lyrics, and orchestration by Michael Heath
Book adaptation by Charles Sharman-Cox
Cast:
Charles Dickens – Non-singing
Scrooge – High Baritone
Topper – Tenor
Bob Cratchit – Teno;
Fred/Third Spirit – High Baritone
Marley – Bass Baritone
Second Spirit – Bass Baritone
Mrs Fezziwig – Alto
Belle – Soprano
First Spirit – Soprano
All roles with the exception of Scrooge and Dickens double other characters throughout the piece.
Youth cast:
Tiny Tim – Soprano
Little Ebeneezer – Alto
Young Ebeneezer – Tenor
Peter Cratchit – Baritone
Little Fan – Soprano
Martha Cratchit – Alto
Belinda Cratchit – Soprano
All youth roles double other characters.
Orchestra (5): Piano doubling keyboards, Soprano Sax doubling Clarinet, Violin, Double Bass, Percussion – (Timps, Snare, Bodhran, Xylophone, Glockenspiel, Triangle, Wind Chimes, Sleigh Bells, Suspended Cymbal).
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE.
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
LACRYMOSA (The Jewel Within)
An opera-play in two acts using the music of Mozart to tell the story of the last year of his life.
Commissioned by the Vienna Kammeroper for the Vienna Mozart Bi-Centenary, it ran for an acclaimed season of six weeks in Vienna.
It was staged in the UK by Rug Opera for a one week season at the Palace Theatre, Westcliff, where it won the award for best production of the year.
Text by Michael Heath and Colin Bennett. All music by Mozart.
Music editing and German translations by Michael Heath.
Cast:
Mozart – High Baritone;
Man 1, The Father – Bass;
Man 2, The Exploiter – Tenor;
Man 3, The Friend – Baritone;
Man 4, The Actor – Tenor;
Woman 1, The Mother – Coloratura Soprano;
Woman 2, The Wife – Soprano;
Woman 3, The Sister – Mezzo-Soprano;
Woman 4, The Lover – Soprano;
Ensemble, The Diener – (SATB – minimum of 8).
Accompaniment: Two Pianos (The Rug Opera production added a string quartet).
FULL PRESENTATION DOCUMENT/SCRIPT AVAILABLE
PRESS REVIEWS
Wiener Zeitung (Written by: H.G. Pribil)
Kammeroper: World Premiere of Lacrymosa – Magical Mozartiana
The courageous head of Vienna’s Kammeroper, Hans Gabor, wanted no part in the general “Mozart massacre”. He did not want to produce a Mozart opera. He staked everything on one card – the first production of Colin Bennett and Michael Heath’s opera-play Lacrymosa – and won hands down. Lacrymosa is a quite magical piece of Mozartiana which manages to be moving without being sentimental.
In their opera-play, Bennett and Heath have interwoven a new text and format with Mozart’s original music, text and characters. The starting point is the Requiem Aeternam from Mozart’s unfinished Requiem. We leap to today. A guide is taking a group of tourists around the Figaro house in Vienna. Angered by the nonsense which the guide is saying, Amadeus himself mingles with the party and leads them back to the last year of his life – the year of The Magic Flute and The Requiem – where they experience his feelings, dreams, inspirations and fears.
The piece combines taste and originality to the highest degree. It has bite, unexpected turns, wit and irony. It is no cheap copy of Schaffer’s Amadeus, although the temptation must have been great.
Unexpected turns: suddenly we hear the music of Romeo and Juliet. Amadeus turns with a smile and says: “Happy Birthday Prokofieff” (the Russian maestro would have been 100 years old – which you could all too easily forget in the general Mozart frenzy of this year). Perhaps it was not a good idea to perform the piece in English, as this shows up the fact that the others do not speak English as well as Michael Heath speaks German, but this hardly detracts from the piece’s magical effect.
The production of Lacrymosa is also brilliant. The co-author Colin Bennett is responsible for the direction. He makes sure that the opera-play is delivered with wit, taste and tempo from the extended apron of the stage. The original and imaginative stage design by Mimi Zuzanek is particularly successful and Mark Metcalf and Kristin Okerlund are the two splendid pianists. There is a great deal of commitment and evident pleasure from the main characters. The radiant Helga Grazcoll as Constanze, Christa Weber (who also sings a respectable Queen of the Night), the charming Doris Lang and Elizabeth Lang (as Nannerl). The gentlemen fight bravely – Ernst Garstenauer, Joseph Renee Rumpold (who is under-used because he has more to say than sing), Barry Coleman and Andrew Murphy.
The stage action was dominated by the towering performance of Michael Heath who played Mozart himself. A fascinating stage personality of the greatest intensity, he commands the stage and reveals all the facets of Wolfgang Amadeus Mozart’s multi-layered personality.
If you are looking for a charming, delightful and truly ‘alternative’ contribution to Mozart year you will find it in the Kammeroper’s Lacrymosa. It is not to be missed.
MERCUR (Written by: Gerhard Magenheim)
Lacrymosa
Having established some time ago that, within its own style, its limited staging possibilities were fit for “The Great Mozart”, the Kammeroper decided to produce something singularly original for this much vaunted year of the “Wolfgang Massacres”. The imaginative Hans Gabor won over to this idea the Englishman Michael Heath, who created this multi-faceted colourful collage of Mozart’s life, with special emphasis on the last year, under the title Lacrymosa. Despite the ever present Amadeus of Peter Schaffer, the author, together with Colin Bennett, has been totally successful in projecting his own artistic stamp. The rich use of live music – accompanied by the two excellent pianists Mark Metcalf and Kristin Okerlund – was extremely helpful in distancing the piece from the inspired Schaffer.
It is not every day one comes across the exceptional multiple stage talents of Michael Heath. Not only do the concept and realisation (both remarkable) stem from him, but this multi-talented man of the theatre also performed the relentless and highly believable leading role himself, playing with a typical English, dry, underplayed style. What is perhaps even more amazing is how, despite the extensive prose, he was able again and again to present sung passages of elevated quality. Without any exaggeration, this is a top man of his craft worth seeing.
The various characters accompanying Mozart on his journey (from Maria Theresa through the Webers to Schikaneder and Puchberg) were excellently brought to life by an ensemble – each in several roles – deserving of respect. As representative of them all I should mention Ernst Garstenauer’s meaningful aria Isis und Osisris and Christa Weber’s spectacular curse as the Queen of the Night.
Mimi Zuzanek’s design was imaginative in depicting the period. The original English text was performed in preference to a translation. This was good for those who know the language since the hard to translate, specifically British style was all the more distinct. The piece remained more elusive to those not familiar with these idioms but, whatever one does in the matter of translation, no solution is perfect.
All in all it was certainly something that seems sure to bring the Kammeroper’s director new creative laurels, and the continuing success of this premiere production seems assured.
THE SELFISH GIANT
A Youth Opera in one act based on the fairy tale of the same name by Oscar Wilde.
The work was commissioned by Southend Musical Services for their annual concert at The Cliffs Pavilion.
The central role of the Giant is written for an adult professional baritone and that of The Snow Queen for an experienced student soprano.
All other roles are written to be performed by singers of school or college age, from upper juniors to senior level.
The orchestration is for a mainly student orchestra in combination with teaching staff and a few added professional players where necessary.
The staging is deliberately simple with minimal set and props. The running time is 35 minutes.
All music, orchestration, lyrics and sung text by Michael Heath.
Structure adapted by Charles Sharman-Cox.
Cast:
The Giant – Baritone
The Snow Queen – Soprano
Numerous solo children’s roles and children’s chorus
Orchestra (21 plus optional juniors): 2 Flutes, 2 Oboes, 2 Bb Clarinets, Bassoon, 2 Bb Trumpets, 2 Trombones, Tuba, Timpani, Percussion (Crotales, Glockenspiel, Marimba, Xylophone), Harp, Piano, Violin 1, Violin 2, Viola, ‘Cello, Double Bass.
Beginners parts for 6 Descant Recorders, Junior Violins, Junior ‘Cellos.
The intention is for the orchestra to comprise a professional string quintet and pianist with high quality student players for other instruments. The beginners parts (elementary strings and recorders) may be added or omitted according to need and are all doubled elsewhere.
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
THE SELFISH GIANT
A Youth Opera in one act based on the fairy tale of the same name by Oscar Wilde.
The work was commissioned by Southend Musical Services for their annual concert at The Cliffs Pavilion.
The central role of the Giant is written for an adult professional baritone and that of The Snow Queen for an experienced student soprano.
All other roles are written to be performed by singers of school or college age, from upper juniors to senior level.
The orchestration is for a mainly student orchestra in combination with teaching staff and a few added professional players where necessary.
The staging is deliberately simple with minimal set and props. The running time is 35 minutes.
All music, orchestration, lyrics and sung text by Michael Heath.
Structure adapted by Charles Sharman-Cox.
Cast:
The Giant – Baritone
The Snow Queen – Soprano
Numerous solo children’s roles and children’s chorus
Orchestra (21 plus optional juniors): 2 Flutes, 2 Oboes, 2 Bb Clarinets, Bassoon, 2 Bb Trumpets, 2 Trombones, Tuba, Timpani, Percussion (Crotales, Glockenspiel, Marimba, Xylophone), Harp, Piano, Violin 1, Violin 2, Viola, ‘Cello, Double Bass.
Beginners parts for 6 Descant Recorders, Junior Violins, Junior ‘Cellos.
The intention is for the orchestra to comprise a professional string quintet and pianist with high quality student players for other instruments. The beginners parts (elementary strings and recorders) may be added or omitted according to need and are all doubled elsewhere.
A FULL PRESENTATION DOCUMENT AND SCRIPT/SCORE IS AVAILABLE
A DEMO RECORDING OF SELECTED EXCERPTS IS AVAILABLE
PULLMAN 55
The show tells the story of a group of people crossing America on a train in 1955. It was written as a ‘try-out’ piece and was staged for one night at the Cambridge Theatre in London’s West End on a Sunday, using members of the cast of Chicago, which was palying at the theatre at the time.
Whislt it was very successful on the night – particularly the first act – the show was under rehearsed and not the finished article the creators wanted it to be. It garnered some good and encouraging reviews but, whilst the creators felt it was a laudable ‘first effort’ they wanted to move on to new work and so the show was never remounted.
If there is ever a revival of the work, both the script and score will need revisions and re-working and the band arrangements (not by the composer) will need to be entirely re-written.
The show is written for a cast of five singer/actors – two females and three males who each play double roles.
Cast:
Nora
Mary
The Young Man – Gerry / Benny
The Bridegroom – Harry / Lou
The Black man – George / Cool
The band (5) for the single performance was Piano, Bass, Drums, Reeds (Flute/Bb Clarinet/Alto Sax) and Gutar/Banjo.
Music is by Michael Heath
The book and lyrics are by Colin Croydon (the alias used by Colin Bennett and Colin Prockter when working together)
All enquiries – Contact:
Ellie Madden & Gemma Towersey
Jeffrey and White Management
Email: info@jeffreyandwhite.co.uk
Tel: +44 (0)1462 433 752
or
Amalgmated Arts
Email: enquiries@amalgamatedarts.com