Music by Charles Miller. Book and Lyrics by Kevin Hammonds.
Directed by Fenton Gray.
Musical Staging by Norma Atallah. Musical Direction by David Randall.
Designed by Wai Yin Kwok. Costume Design by Amy Jackson. Lighting by Alan Bratton.
Presented by Aaron Prior and Fenton Gray for Strike Up The Band Ltd
Cast includes: Nancy Baldwin. Bradley Clarkson. Ben Enwright. Stephanie Flavin. Lorraine Graham. Emma Hatton. Nicholas Moorhead. Susan Raasay. Miles Western. Shona White. Alan Winner.

The world premiere of a new musical from Charles Miller and Kevin Hammonds

5 – 29 September 2007

New Year’s Eve 1999 - the dawn of a new millennium. In an upscale New York loft apartment, twelve Manhattan socialites celebrate with an intimate dinner party, where new resolutions, past mistakes, and an uncertain future merge into one explosive and life-altering evening. With Kevin Hammonds’ trademark witty dialogue and a score from Charles Miller packed with show-stopping songs, this promises to be an unmissable production.

London composer Charles Miller and New York writer Kevin Hammonds are rapidly gaining a reputation amongst musical theatre aficionados. Their songs were featured as part of the highly acclaimed Notes From New York series at the Duchess Theatre last year. Mark Shenton of the Sunday Express said “West End producers are missing out on a potential goldmine of hit musicals…Those lucky enough to be at the theatre were amongst the privileged few who in future years may be able to say they were there when these major talents were first brought to fuller attention”. West End star Julie Atherton’s recent album A Girl of Few Words – The Songs Of Charles Miller has been acclaimed by the critics, and the publication of The Miller and Hammonds Songbook has further raised their profile.

The cast includes Olivier Award-winning actor Miles Western, who won Best Supporting Actor in a Musical for his performance as Miss West Coast in Pageant , Shona White whose recent credits include the standby to Elphaba in Wicked, Spohie in Mamma Mia and Magenta in the West End production of The Rocky Horror Show , Bradley Clarkson, one of the finalists in ITV’s Grease Is The Word , Lorraine Graham whose West End credits include Grease and Cats , and Stephanie Flavin whose credits include Les Miserables and Oliver .

Director Fenton Gray’s credits include The Mikado at the Royal Festival Hall for Raymond Gubbay, Madama Butterfly at Queen Elizabeth Hall for English Festival Opera and Iolanthe for The D’Oyly Carte Opera Company on a UK National Tour. He is also a highly experienced performer, appearing in leading roles in the West End productions of Cats, Blood Brothers and Les Miserables. His long association with Miller and Hammonds includes directing Brenda Bly: Teen Detective and RSVP ASAP as well as producing The Miller and Hammonds Songbook.

The Original Cast Recording of When Midnight Strikes is available here

The original cast recording album includes:
1. Prologue (Orchestra)
2. Resolutions (Nicholas Moorhead, Alan Winner, Ben Enwright, Shona White, Lorraine Graham and Susan Raasay)
3. We’re Here (Miles Western and Emma Hatton)
4. Shut Up (Company)
5. What You See (Shona White)
6. Let Me Inside (Bradley Clarkson)
7. A Jerk Like Me (Alan Winner)
8. Smoke ‘Em If You Got ‘Em (Miles Western and Company)
9. Party Of Parties (Company)
10. Little Miss Perfect (Stephanie Flavin)
11. When Midnight Strikes (Company)
12. Like Father Like Son (Nicholas Moorhead)
13. Too Little Too Late (Hannah Lindo)
14. Never Learned To Type (Lorraine Graham)
15. I Never (Company)
16. Party Conversation (Nancy Baldwin and Ben Enwright)
17. You Know How To Love Me (Emma Hatton)
18. It’s Not A Party ‘Till Something Get’s Broken (Stephanie Flavin and Nicholas Moorhead)
19. Rooftop (Orchestra)
20. Up In Smoke (Susan Raasay and Company)
21. When Midnight Strikes – Reprise (Stephanie Flavin)

Full information on the cast and production team at
www.whenmidnightstrikes.com

The Press on When Midnight Strikes

Critic’s Choice – Time Out
Critic’s Choice – Sunday Express
**** Time Out
**** Evening Standard
**** LBC
**** MusicOMH

“When Midnight Strikes is rancorously diverting. In Fenton Gray’s stylish production the dialogue is at its best when it’s at its bitchiest, and the songs likewise thrill most when the gloves come off: ‘Shut Up’ establishes the fractured, fractious mood of the revelers, while ‘It’s Not a Party ‘Til Something Gets Broken’ kicks off the knock-out final sequence in suitably pugilistic fashion. But it’s the Latin-flavoured seduction number ‘Party Conversation’, which sees more than just gloves coming off, that’s the evening’s highlight.” Robert Shore, Time Out

“When Midnight Strikes offers a musical treat, albeit one for those who appreciate acerbic songs with a twist of Sondheim and an ability to smash through the thin ice of social nicety. Yet one of the many strengths of this sophisticated new show from the increasingly impressive pairing of Charles Miller and Kevin Hammonds is that the whole thing wouldn’t collapse even if the songs were removed, so well drawn are the characters… An enterprising producer would do well to take a closer look.”
Fiona Mountford, Evening Standard

"In the parched environment of original indigenous new musicals in London, When Midnight Strikes offers a genuine wake-up call for the homegrown musical, proving that its still possible to be musically adventurous and offer audiences things that they are not, for once, already familiar with. Literate, witty songs that inform and illuminate character attached to a book that creates believable situations and conflict lead director Fenton Gray to create a fully-realised world in the intimate surroundings of the Finborough. But the work can and should expand to fill a larger stage."
Mark Shenton, Sunday Express

“We need to cherish composers and writers like Charles Miller and Kevin Hammonds, who dare to strike up a new note in musical theatre when everyone else in show biz seems to be in the thrall of juke box compilations, revivals or high-tech blockbusters. Fenton Gray's slick direction, Norma Atallah's smart musical staging and a large West End-quality ensemble cast all combine to turn this small but perfectly formed tale of flawed human beings given a second chance to mend their ways into a highly enjoyable and completely memorable night out.” Roger Foss, LBC

“Composer Charles Miller and lyricist Kevin Hammonds have created an original and accessible story, with a selection of lively numbers and romantic ballads that show much promise for this relatively new writing team…It’s original, entertaining, even exciting and hopefully heralds the dawn of a successful collaborative team.”
Paul Vale, The Stage

“When Hammonds' intelligent and savvy lyrics are matched with Miller's melodic score, the result is a collection of terrific show-stopping numbers, and Sondheim fans will spot the occasional homage to the master… we get set pieces - such as "Party Conversation" where nerdy Edward and grumpy Murial abandon their inhibitions - that are as near-perfect as you can get… In When Midnight Strikes London-based Charles Miller and New York-based Kevin Hammonds have borrowed the baton from the likes of Sondheim and created a rare thing - a witty and entertaining piece of musical theatre that is also a treat for the brain. It's enough to restore one's faith in the genre!” The British Theatre Guide

“Kevin Hammonds' Book is... witty and engaging and at times quite moving, while his delicately constructed lyrics are perfectly adorned by Charles Miller's highly melodic score. The songs not only work perfectly within the piece, advancing the plot and developing character but also stand out in their own right, leaving the listener wanting to hear them again… A genuinely classy, fresh, articulate musical with a score that leaves you wanting more.” BroadwayWorld.com

“Another highlight of London’s exceptional 2007 musical calendar… sitting amidst this new story with unheard songs, a fine cast and finer comedy is a cherished and exceptional joy.” Geoff Ambler, Reviewsgate.com

“Brimful of fresh songs, it gives a remarkably accurate sense of the brittle gaiety of a New Year party, with all the tensions so often seething behind lipsticked smiles… It is the depth of character awarded each guest that gives the musical genuine warmth… Miller and Hammonds manage the tricksy feat of threading the music carefully through the play, so that characters appear to break into song naturally, as if we were able to hear their thoughts… there are enough truly memorable songs to occupy the journey home with humming. The dialogue has the snap and crackle of a good sitcom… That some of the third-hand nonsense currently hawking its wares in the West End has audiences of thousands, and that this production sits atop a bar in Earl’s Court, is genuinely infuriating. I advise you to go and do something about it.”
Sarah Perry, MusicOMH.com

“It’s a sort of urban song-cycle linked with sassy lines and situations and it is by no means an insignificant contribution to the new-musical scene… Strong women reacting against weak men in a transatlantic musical ‘comedy’: how could the West End not want it?” Michael Darvell, Classical Source

“Catch When Midnight Strikes and your faith in musicals will be renewed… one of a stable of works Londoner Charles Miller and New Yorker Kevin Hammonds have co-written, I think its time we saw more of them.” Katherine Hayes, Extra!Extra!

“A transfer-ready achievement to be proud of: this is a neat, sweet product, perfectly plausible for a run at a small West End venue.” Adam Sheldon, Rogues & Vagabonds

“It is a new musical and a new musical not derived as a spin-off from a book or film..If you (like me) have bemoaned the lack of original ideas for musicals, then you’d better go along to see it. There is plenty to enjoy.” Richard Woulfe, UK Theatre Net

"When Midnight Strikes is a shining example of that all too rare breed - a brand new British musical by a composer whose name is not Lloyd Webber - crammed with original jazzy Latino inspired songs, which are paired with dialogue that positively fizzes... Tango beats and plaintive multi-hued jazz harmonies infuse the whole with a zest for life… Super-slick direction, paced at just the right tempo and length.”
Julia Hickman, Theatreworld Internet Magazine