Monday, 26 August 2013

The motivational song

I was asked to write a motivational song. Easy enough. There is not much trickery to it. I just have to write something about how great things will turn out if you keep on believing in yourself.

As homework, I decided to do a bit of song analysis. Let's see what song forms other popular motivational songs take on and see if there is something in these songs that made them popular. It is not difficult to find motivational songs. There has been many of them throughout the history of pop music. To choose the songs to analyze, I googled for inspirational songs, and came up with 13 songs, many from the list at lifehacks.

You may come up with a list of your own favorite inspirational songs. Feel free to add your list and analysis in the comments below.

Looking at the song form, one thing became very clear, i.e. each song is structured a bit different, but there is no definite thing in the song form that will make an inspirational song different than any other pop song. Most songs in my analysis has the standard verse-chorus plus bridge structure. Louis Armstrong's What a wonderful world is the only song in this list that broke away from that form with the AABA song form.

Many of the songs have an anthem section, either as the chorus, or part of the chorus, or, as in the case of Don't stop believing, an anthem added as a bridge part at the end.

The theme of the lyrics are also diverse. There are a few run-of-the-mill love songs, a few breakup songs, a few general-life inspirational songs, and even a few protest songs. The one thing common amongst them all are the positive inspirational message, usually sung as the chorus or anthem.

Here is my list of the13 popular inspirational songs:

Purple rain by Prince

It is the epic performance by Prince and the production of this song that makes it stand out. It is in essence a standard love song with a standard verse-chorus-verse-chorus-bridge-chorus (ABABCB) song form, with a fairly extended add lib section at the end. The chorus is in an anthem style.

Stronger by Kelly Clarkson

This is a great modern pop song with a ABABCB form and the first break-up song on the list. The first verse gives the backstory - rather sad and down in mood. The chorus immediately changes the mood to an inspiration song with a possitive message in an anthem style. The second verse moves the story forward into the present with a 'take that, you bastard' type message. The bridge moves the story line further forward into the future, with the last chorus and add lib to re-inforce the anthem.

Don't stop believing by Journey

This is a classc in every way. The song form is a standard verse-chorus song with a bridge (ABABC). It is different from the previous two songs in that it does not return to the chorus at the end, and the bridge forms the anthem part of the song. Typically of many 80's pop songs, this one has pretty impressive instrumental breaks in between.

Ain't no mountain high enough by Marvin Gaye

This song is from an era before bridge sections were common in songs. The song form is very standard verse-chorus form with a variation in form by starting the song with the chorus, and repeat the chorus at the end, making it a BABABABB form. The theme is a standard love song, with every verse giving the same message in different words. The chorus is in an anthem style.

Save the world tonight by Swedish house mafia

This is the first protest song on my list with a very strong message. The song is made even more memorable with a very cute music video of the doggy gang saving the world. Song form is plain ABAB (verse-chorus-verse-chorus). The anthem is mostly pointless oohs at the end of the chorus, in my view spoiling what would otherwise have been a great song.

Skyscraper by Demi Levato

Another break-up song in standard ABABCB form. The verses starts with a backstory, then moves the song into the present, with the bridge giving a conclusion to the story line. The songwriting team of Gad, Koiv and Robbins did a great job of following a very standard format. Even though the message is very possitive, Demi's performance gives the whole song a very sad mood. This is the first song on my list that lacks an anthem section.

Get up, stand up by Bob Marley

Another political protest song. The song form is identical to Gaye's song above, i.e. chorus-3x(verse-chorus)+chorus (BABABABB). It is the chant-like chorus / anthem that makes this song memorable.

It's my life by Bon Jovi

Another 80's pop song, with everything that makes Bon Jovi's songs popular. Another ABABCB song form with an almost-over-the-top anthem style chorus. The lyrical theme is a general-life inspirational theme.

Where is the love by Black eyed peas

Another protest song with a standard 3x verse-chorus form (ABABAB). The chorus consist of three parts, with a pre-chorus, anthem and chorus.

What a wonderful world by Louis Armstrong

This is another general-life inspiration feel-good song. It is unique in that it is the only AABA song form on my list, with added BA sections and a simple refrain at the end. The song does not really have an anthem section, other than the refrain.

Stand by me by Ben E. King

Another love song in the verse-chorus form (ABABB). A classic in its simplicity with the chorus as the anthem.

Lovely day by Bill Withers

Another love song in the 3x verse-chorus form (ABABAB). Beautiful song, but nothing special. Not much of an anthem.

Beautiful day by U2

Before I go on, let me make something very clear. These guys are infinitely more successfull than I could ever dream to be and this song sold infinitely more than any of my songs. I respect these guys and have no right to critisize them, but can merely state my opinion, which, in this case I will withold.


Sunday, 25 August 2013

Strength to carry on

When you go through life, you have to find inspiration from many places. Sometimes that inspiration may come from other people. Sometimes that inspiration comes from a song. Sometimes that song may even be your own song,

Sometimes it may be all of the above.

This time, I found my inspiration from a song from my musical, The exile - Strength to carry on. (Listen to the song on the link to Soundcloud)

Thank you for my wonderful family, who are always there. This all would be nothing without you and your strength to help me carry on.


Monday, 19 August 2013

So, I am an iPad musician

I own my iPad since the iPad2 was released and have found many ways to use the iPad. published an interesting survey done on how musicians use the iPad. One problem I find with most app reviews on the internet, is that the apps are almost always reviewed by people who have been using the app for a day, or maybe a week, and by people who have been given the app for the review. Reviews by people actually using the apps in real life, and have been doing so for beyond the 'novelty-week', are hard to find.

I have downloaded many apps, most of which I tried out and never used again beyond the first week. Here is my list of how I use the iPad, and the apps that I actually use.

Tuner: I hate people who refuse to use a tuner. You know the type? Yes, there are still people around who believe that they can tune a guitar by ear only, and then halfway through a practice complains that everybody else is out of tune. Tuners are cheap, and often even free if you use an app on your phone. If you don't own a tuner of some sort, please give up playing guitar, or at least don't play in front of people. I have a few free tuner apps on my phone and on my iPad, but the one that I now use is the tuner built into Amplitube.

Guitar effects: Amplitube makes up the mainstay of my guitar sound, with Stompbox being used mainly for the odd clean sound. To be able to use either of these apps, you will need some hardware options to go with it. My rig consist of:

-My fender stratocaster - it all starts with a good guitar, and this is my idea of a good guitar. For acoustic work, I use my Yamaha APX.

-My guitar is plugged into an iRig Stomp.

-The iRig Stomp is plugged into my iPad2, running Amplitube or Stompbox. I also have the Audiobus app, which in theory would allow me to chain Amplitube and Stompbox, but for some reason, my iPad cuts out and go into silence mode at unexpected times when it is over-burdened.

-My iPad is held in place with the Hercules Tab Grab, which is fitted to my music stand.

-From the iRig, I have a cable plugging into my Marshall 14W amp. This requires that all the presets I use in Amplitube has the amp models switched off.

Next to my music stand, I have another music stand with my laptop. On the laptop I have Notion running as my drummer, pianist and synth. Notion on the computer has been my main composition tool for many years now and have served me well for all these years. I have the iPad app as well, but only use it to make small adjustments or compose melody lines and sound effects, etc.

For lyrics and set lists, I use a nifty little app called Songsheet. There are many apps around doing lyrics tabs and set lists, but I have settled on this app. It allows my to enter my lyrics and chords and transpose the chords to a new key and move verses around as the musical director change the arrangements. The only problem here is that I use my iPad to play live and in rehearsals for guitar effects - therefore I still need to print the lyric sheets and use my flip files on the music stand.

When it comes to staying in touch, I use the usual social media apps, like Blogsy, twitter, Facebook and Youtube.

To stay organized I mainly use Goodreader for all pdf needs and Evernote to keep notes of all meetings. There are also the usual office apps like Numbers for speadsheets and Pages for writing letters. For keeping track of income and expenses, I use Bookkeeping3.

As I look at the apps on my iPad, I see plenty more, including Garageband, Symphony Pro, Band-in-a-box, Sheetmuse, Progression etc. Most of these apps have never been used beyond the initial 'novelty-week'.

So there you have the list of apps that has proven themselves as being of real value. Let me know what you use in the comments or by email.

Until next week.


Tuesday, 13 August 2013

What is the job of a musical director

Last Sunday I blogged about the job of the music coordinator. Panic ensued in some places after reading the post, mostly from people who confuse the job of a musical director (MD) with the music coordinator. Ok, so if the coordinator is not the director, to make things easier for you, I researched a bit about what is the job of the musical director, or MD.

I started my research with google. The old saying is, if it is on the internet, it must be true. I think it must have been Confucius who said it. Here are some opinions about what the job of a musical director is, and my opinions about their opinions.



  • A music director may be the director of an orchestra, the director of music for a film, the director of music at a radio station, the head of the music department in a school, the coordinator of the musical ensembles in a university, college, or institution[1] (but not usually the head of the academic music department), the head bandmaster of a military band, the head organist and choirmaster of a church, or an Organist and Master of the Choristers (a title given to a Director of Music at a cathedral, particularly in England).

Mmmm. Musical theatre is not included there. Maybe we should not relax, as we do need one - or maybe wikipedia is, well, remember what Confucius said.

  • The role of a music director is to conduct and compose music, as well as hiring and firing of musicians. He/she is in charge of the overall musical performance including ensuring that the cast knows the music thoroughly, supervising the musical interpretation of the performers and conducting the orchestra.
  • The role of a musical director is to teach the songs, coach the actors and direct or monitor the orchestra. A musical director can as well be in control of symphony orchestras, choirs and the musical content of a show or musical awards. The range of their responsibilities however differs depending on the size of the group they are working with.

This one is more to the point and relevant for musical theatre. Compose the music? More than 98.3% of all musicals are revivals and productions of existing musicals. Even those who are originals list a different composer than MD. Go check the Broadway Internet Database. As the old Chinese proverb goes, 90% of all statistics are just made up on the spot.

  • Music directors are responsible for making the creative decisions associated with a live performance.
  • Musical directors will conduct a group or orchestra. This involves having a clear idea about the performance of a piece of music and leading a group of musicians to realise this idea.
  • The director or conductor may carry out the following functions:
  • Sets the pace of a musical performance and ensure that everyone plays or sings the right notes at the correct speed
  • Interpret the musical score and whether musicians or singers should perform softly or loudly
  • Balance instruments and voices against each other in a performance
  • Lead rehearsals so that every piece is properly rehearsed in preparation for the performance.
  • Musical directing - Musical shows in the theatre have a musical director. Their job is to conduct the musical element of the show, directing both performers and the offstage musicians

This list seems more complete and very relevant for theatre. Maybe Confucius was right. You just have to continue looking.


  • The Musical Director's job is to teach the actors the music during the rehearsal period of a show. They train the actors in technique and teach notes, rhythms, and expression of songs in a musical theatre show.

This is the shortest and the simplest. I know some MDs who stuck with this definition, even though, in my opinion this is the job of the vocal coach, who is usually appointed by the MD, but very often, the MD will perform this task herself - amongst all her other duties.

Enough for the most trusted resource. Let's see if some other opinions exist in printed resources.

Staging a musical by Matthew White

The musical director (more commonly known as the MD) is, of course, responsible for all aspects of music in the show. Not only will the MD work with the actors in the rehearsal room, but he or she will be fully in charge of the orchestra, or band, and will rehearse these musicians separately until the 'sitzprobe' (i.e., the sing-through involving both actors and musicians; see Chapter 10). For this reason, there will often be an assistant musical director who can be present in the rehearsal room, while the main MD is busy working with the band. In detail, the MD is responsible for:

  • Organising (with the help of the producer) a pianist for auditions and
    rehearsals. Attending auditions and advising the director on the casting of the singers.
  • Teaching the cast their vocal parts and helping to solve any musical problems which the singers may have.
  • If required, making a rehearsal tape for the choreographer of all the dance music in the show.
  • Selecting the band or orchestra (in larger productions this may be done by a 'fixer'), and rehearsing the musicians.
  • Conducting the band or orchestra in performance.
  • Organising vocal warm-ups for the cast during the run, and ensuring that musical standards are maintained. This may involve calling the cast for extra vocal rehearsals.

This book by Matthew is a very valuable resource for anybody interested in any aspect regarding the staging of a musical. He clearly knows what he is talking about.

The Complete Idiot's Guide to Amateur Theatricals by John Kenrick

The music director’s responsibilities include …

• Taking part in the audition and casting process, helping assess the musical ability and potential of each performer.

• Recruiting and supervising all musicians, both professional and volunteer. Finding the right people can be a challenge on a tight budget, and pit musicians (whether paid or volunteer) can have egos that more than match the ones onstage.

• Recruiting and supervising any other musical staff. When a rehearsal pianist and/or vocal coach is required, they should report to the MD.

• Scheduling and running effective orchestra rehearsals. The trick is determining the number of these rehearsals based on the budget and the musicians’ level of talent.

• Coordinating the rental, purchase, and distribution of all sheet music, including orchestral and vocal scores. In most organizations, this is handled in partnership with the producer and director.

• Running effective vocal rehearsals for the leads and chorus. It is up to the MD to be sure every song in a show meets its musical and dramatic potential.

• Creating recordings of dance music to be used in dance rehearsals. This can free up the MD or rehearsal pianist for vocal rehearsals.

• Obeying all relevant copyright laws. Rehearsal recordings, photocopying of music, and any changes to the score must be handled within legal guidelines. When in doubt, consult the rights holders.

• Making sure the piano is tuned and well cared for.

• Conducting all major rehearsals and performances. When the curtain goes up, the performers must rely on the MD to set the pace and sidestep potential disasters.

• Maintaining any space reserved for musicians, including the pit and backstage. Cleanliness and safety mean as much here as anywhere, especially with the ever-increasing presence of electronic equipment. It is also the MD’s responsibility to be sure these areas are cleared and cleaned after a production ends.

• Supervising the ongoing use and final return of all rented scores, including cleanup. This tedious task can best be handled by inviting the musicians to a “cleanup” party, handing out erasers and having them clean up their scores before food and drinks are served.

I am a fan of the idiot's guide series, and often these books provide a very valuable resource.


There are many other good resources on the subject. You can have your own opinion on the subject and you can have another opinion if you are of the opinion that I am opinionated, but in final conclusion, I want to suggest that, if you are serious about being a MD, do not rely on what you read in a single paragraph on the internet. Go and buy one of these good books around. I have quoted from two very good resources, but there are many others. Books are very cheap, compared to what will happen to your reputation if you screw it up because you had no idea of what your job really is.

Finally, some advice to prospective producers and directors. Always make sure that people know from the start what you expect from them. Refer back to my article on basic management principles (principle No 2).

Happy directing!



Monday, 12 August 2013

So, what does a musical coordinator do?

If you google for a musical coordinator, you will find many pages telling you what a musical coordinator does. None of them are really in agreement, and none of them really describe what a musical coordinator really do. So, here is my take on what a musical coordinator does.

In summary, a musical coordinates all the aspects relating to the music in the production of a musical theatre show. A musical coordinator's job is to do everything that nobody else does.

The tasks listed here are usually the responsibilities of the musical director, but the musical coordinator does not report to the musical director. If he does, he would be called an 'assistant to the musical director'. He would still do all the same tasks. The only difference is, if you report to the musical director, you do what the musical director tells you to do, but if you report to the producer, then you have to take the initiative, check for everything that needs be done, and do it - or find somebody to do it.

In our show, I am performing the role of the musical coordinator. As the production developed, I invented this job myself, and are making up the job description as I go along. Your job description will be different from show to show and in many cases, some of these tasks are not relevant. Just for the sake of completeness, I will add some tasks which I do not perform in this show, but which may normally form part of your task.

1. Song writing

This will depend on the show. The director may ask you to write some songs if he can not find an appropriate song to fill a specific gap. You have to write a song 'to spec'. The director will tell you what mood and feel is needed, and sometimes what the lyrics of song is about. This is not your chance to showcase your personal favorite from your own past catalog. Write a new song according to what the director want. If you can not write your own songs, coordinate with a songwriter. If the show is for a non-profit organization, chances are that you will not get paid for it. Just make sure that you sign a songwriting agreement and retain all the rights to the songs you write. That way you might be able to use the song again in another show or demo reel.

2. Music licensing

If the director makes use of pre existing hit songs, make sure that you obtain permission to use that music from the local music rights organization (SAMRO, BMI, ASCAP, etc.). This may require you to do some research to determine who the rights holders are and fill in the forms, or at least assist the producer in these tasks.

3. Music budget

Ok, in this case, I have no responsibility regarding the budget, but in many instances, the producer may give you a maximum budget within which you have to hire musicians, musical directors and pianists, etc. At least, if the director handles the full budget himself, you may have to make sure that you are compensated for all your own expenses,

4. Hiring

This is a difficult one. It is the responsibility of the show director to hire a musical director. The musical director must be responsible to the director. If the director ask for your assistance in this regards, make sure that everybody understands that you are only acting on behalf of the director. The musical director may ask you to hire a rehearsal pianist. It would be ideal to have the show pianist and the rehearsal pianist as the same person, but it is not always possible. If you have a large orchestra, you also may need to hire a conductor.

5. Musicians

The musical director may abdicate her responsibility regarding the band to you. Check with the director and musical director what kind of sound they want, and put a band together according to their needs. In the average non-profit show you may end up with a 4 or 5 piece band (drums, bass, piano, guitar, saxophone). In the average Broadway show you may have a 9 to 24 piece orchestra.

The director may have made commitments to some people or friends to include in the band. Make sure you adhere to his wishes. Where there are gaps, get somebody. It may even mean that you fill in a seat yourself - just leave your ego at home. This is not a time for you to showcase your talents as lead guitarist, but rather an opportunity to demonstrate how well you can make things happen 'behind the scenes'.

6. Band practice

You must make sure that the band know the songs. Draw up a schedule and agree the schedule with the director, musical director, choreographer, producer, and band members. It is very unlikely that you will get all those people in one place at one time, so you will be required to do a lot of walking and phoning around. The normal schedule would include:

  • Singers training and rehearsals. This is almost always the job of the musical director. Attend the sessions to understand what keys they sing in, what verses gets dropped, and what tempo songs are done in. Record the singers and play it to the band. Keep on recording the songs at each rehearsal and always keep the latest and best version.
  • Band practice. Give the band enough time to get to know the songs before they rehearse with the singers. First just practice the songs until all band members know the music, the chords, and the tempo, etc. The songs don't have to be practiced in any specific order. Spend as much time on each song as may be needed. More difficult songs may need more time.
  • Band rehearsals. When all band members know all the songs, rehearse the whole show from start to finish. At this stage each musician must be on the instrument he or she will use during the show. It is fine for the pianist to use an electronic keyboard during practice, or the guitarist using an acoustic guitar. In rehearsals the pianist must use a real piano if that is what she will use in the show, and the guitarist must switch to the electric guitar if the show needs it.
  • Rehearsals with singers and dancers. Somebody invented the name 'sitzprobe' for this. I have no idea what it means, but it sounds epic. It is your job to make sure that the band knows all the songs by heart by this time. There may be some surprises as you may need to adjust some songs in tempo or key at this stage. During rehearsals songs may be done in whatever order is convenient. Coordinate with the band, directors, and singers to draw up a schedule. You do not want singers to sit around wasting their time while waiting for their songs to be rehearsed. However, when you rehearse a song, it can be a waste of time if the right singers are not present. That includes the chorus ensemble. During this time, take special care to balance the volume between the instruments and the singers.
  • Dress rehearsals. The last week before a show is usually set aside for dress rehearsals. This time, the whole show is rehearsed from top to finish, in the order that the show runs. This is like running the show without an audience. The first dress rehearsal may be stopped and started as needed. The director would want to have at least two dress rehearsals running all the way through without interruptions, before the show opens. As musical coordinator, you must leave proceedings in the hands of the director. Do not interfere, comment, or interrupt. Make sure that no interruptions are caused by the band. If needed, make notes and discuss with the band after the rehearsal. The sound engineer must be present at dress rehearsals to make sure that sound levels are appropriate.
  • Opening night. Calculate your schedule by starting with this date. This is the date you can not miss. Determine how much time is needed for each task and work backwards from here to calculate a start and end time for each step listed above.

7. Coordinating between band, musical director and choreographer

It is your job to make sure everybody has a copy of all the music. Make up a folder for each musician in the band, choreographer, musical director and rehearsal pianist. The 'flip files' work best for this (a file book containing 30 or 50 see-through plastic pockets). Inside each musician's file, place a copy of the chord tabs of each song. Keep the songs in the order in which they will be done in the show. Do not print songs double sided. If a song spills over to a second page, place it such that the song starts on the left side and continue on the right. This will avoid musicians having to turn pages during a song.

Pianists do not like chord tabs. Print out complete scores for the pianists. Again, print on single sided paper. Pianists like to tape the score together to enable them to open it out on one long stream to place it on the piano music shelf. Brass and wind players also need a score printed, but for them you need their dynamic parts, i.e. the music notes containing only the parts they play, with no piano or vocal parts. Take heed of special tuning requirements for brass players.

Each file must also contain a CD of all the songs. This CD must be replaced every week. In the beginning each CD will have only original artist recordings. Replace these recordings with the singers and rehearsal pianist recordings.

8. Other music consumables and needs

You may need to check that all musicians have all they need. Each band member needs a music stand and music lights. Guitarists must put on fresh strings before the show. Pianos may need tuning. Everybody will however have to bring their own toilet paper.

This list is by no means complete. There may be many other tasks added here. Feel free to add anything you feel belongs here in the comments below.


Saturday, 10 August 2013

Life for convicted murderers

The newspaper reported this week that the murderers are now finally convicted for a crime I talked about in January.

It was the murder of the parents of my friend, by two men who stuck them in a freezer.

I know nothing will make the pain go away or bring your parents back, but it is some consolation at least that the justice system finally worked the way it should.

Sunday, 4 August 2013

PSP.TV @ProteaStage interview with Shannon Hancock

Our PSP.TVT host, Michael, presents the second of our interviews with cast and crew of Aladdin and his magic lantern! Earlier this week we had an interview with the show director and writer, Cameron Lawry.

Today we have the first cast member, Shannon Hancock, who plays the role of the genie in the lamp.

Watch out for our next interview with Ruvi Naidoo.

Activity is picking up everywhere, so also wait for some action footage as we have spent most of our Sunday painting the sets.

As it goes with many shows, things will have to change along the way.

One of the things that can change is the name of the show. Our show will from now on be known as Aladdin and his magic lantern! to keep it with the South African flavor of the show.

A number of songs will have to change and all advertising material will have to updated. Be patient and soon all will be done, so while I have lots of work to get all that on the internet, have fun and watch out video!


Don't forget to like us on Facebook, twitter and join our newsletter.


Friday, 2 August 2013

PSP.TV @ProteaStage

PSP.TV Backstage with Michael Brownhill: Interview with Cameron Lawry

Please subscribe to our youtube channel, like us on Facebook and follow us on twitter and go to our web site to subscribe to the newsletter.


Protea Stage Productions presents


Backstage with Michael Brownhill


MB. Welcome to PSP.TV . I'm your host Michael. Today we will be interviewing our very own director, Cameron. Cameron.


CL. Yeah, well, my name is Cameron. Thank you for having me on the show.


MB. Tell us a little bit about yourself. Ow old are you? What grade are you in?


CL. I'm seventeen. I go to St Dunstan's and I decided on writing a pantomime in December, somI started writing it. I talked to Protea and ja, here we are.


MB. Tell us about your role in the production.


CL. Well, I'm the director, so, make sure that everyone's here. Put everything together. Ja, stuff like that.


MB. And what kind of skills are necessary for a person in your position?


CL. Ja, patience - a lot of patience.


MB. Tell us about the kind of training you had to go through for this role.


CL. Well, I've been with Protea since 2005, so I've picked up a couple of things along the way, and I think it is a lot of trial and error.


MB. And what was your first job in theatre?


CL. Was a chorus members I said in 2005 in Oliver.


MB. D why do you thing theatre is important?


CL. Think theatre is important because a lot of focus is on the sport and stuff like that nothing gets done about the other people in the world. You know, the cultural people. And what will we do without watching TV every evening when you get home going to watch that movie at the cinemas. Ja.


MB. D what is the greatest challenge for theatre today?


CL. I think to get guys to come and act.


MB. Amen. Amen. And would you like to pursue a professional career in theatre?


CL. Yes, I would. I'd like to become a writer and director of film and theatre. Yes.


MB. And anything else you'd like to tell us about?


CL. Come and watch the show!


MB. Thank you for PSP.TV It's Michael. Over and out.

End of transcription.


Since kicking off our SMM campaign, we picked up considerably on Facebook followers, email subscribers, twitter followers and got some youtube subscribers. The youtube numbers seem to be a bit low, but with about 25 video views on the first day, and over 50 views within two weeks, I suppose most folks feel that they get notifications of new videos through twitter and Facebook. Not exactly viral yet, but it is not bad for the first two weeks!

A major part of the SMM campaign will be the interviews with cast and crew to keep interesting content flowing, so please subscribe to the links above to make sure you are the first to know.

The success of the campaign will be eventually in the attendance numbers for the show, so please book your diaries for October 18th to November 2nd.

Over and above being songwriter, musical coordinator and marketing assistant, your honourable blog host will also be featured as guitarist in the pits!