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               COVID-19 Advice (issued 18 March 2020)

Given the current circumstances we've had a high number of groups make contact with us, and, due to the amount of effort put into rehearsals/marketing etc, most of them have so far wanted to re-schedule rather than cancel. We're not charging fees for any deferral of productions.

If you decide to postpone your production you probably won't know the dates for later in the year, or next year, yet, but please advise us nevertheless, and we'll issue a new temporary licence to show a date range of 2-3 months which you can then refine with us when the actual production dates are known.

Regarding cancellation: our administration fee will not be levied where you are forced to cancel your production.
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PLEASE DON'T PHONE US.
INSTEAD, CONTACT US BY E-MAIL (sales@stagescripts.com) AS PHONE CALLS TEND TO BE LONG-WINDED.
WE CAN DEAL MORE QUICKLY WITH REQUESTS BY E-MAIL.

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We will be unable to fulfil any orders for printed scripts for the foreseeable future. Any orders placed will be cancelled and a refund made.
Orders for downloadable preview scripts and e-scripts are not affected.

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New British Musicals

The creation, gestation, birth and production cost of a new musical is an order of magnitude more difficult than the similar process for a piece of drama, and in the UK (unlike in the USA) there is no 'greenhouse' to nurture the creators of musical theatre.

This is not to say that the creation of a play is easy, for it too has its difficulties, but the large musical, with its crucial inter-dependence between book and score, its larger team of interpreters (director, musical director, choreographer etc), often larger cast size and its generally larger production scale, conspire to throw up problems not usually faced by the producer of a straight play.

We strongly believe in the need to develop and support the talents of British writers and composers and consequently we have a strategy of representing 'homegrown' creative people wherever possible. So far we've contracted these entirely British (mostly full length) musicals ...

(** means writer/composer is a member of Mercury Musical Development)

General Audiences

  • Act Your Age (by Christopher Wortley)
  • Billy Buckett (by Jay Turner, Cath Mundy & Peter Cann)
  • Bugle Boy (by Den Stevenson)
  • Clarinda (by Mike Gibb and Kevin Walsh)
  • Emerald (by Chris Burgess** & Denise Wright**)
  • Feelgood Academy (by Steve Jones, Penny Lane & Glenn Keiles)
  • Gulliver's Travels (by Chris Chambers** & Andy Rapps)
  • Hooked (by Max Kinnings, Matthew James and Nick Hale)
  • King David (by John Fletcher & David Chapman)
  • Lillia (by Stephanie Jayne Amies)
  • Quasimodo (by Steve Humfress & Andy Rapps)
  • Reality (by Stephen Bridges & Noel Bannister)
  • Rock Apocalypse (by Simon Haynes & Adrian Cross)
  • The Best Man (by Ian Cook & Ian Newton)
  • The Girl Who Saved Christmas (by Paul Alexander, Penny Lane & Glenn Keiles)
  • The Reunion (by Ian Cook & Ian Newton)
  • Threads (by John Fletcher & David Chapman)
  • Whisky Galore (adapted from Compton McKenzie's novel by Shona McKee McNeil and Ian Hammond Brown)
  • Whisky Kisses (by Euan Martin, Dave Smith & James Bryce)
  • Witchfinder (by Martin Roche & Ian Crabtree)

Youth Theatre