Under the surface, it’s just another boy-meets-girl story

If you care to go here:

You can listen to some of the existing Loch Ness soundtrack.

Vocal mock-up versions were done at pace; however, since then, the Talent have themselves gone on to star in the West End, Broadway, and toured in shows such as Joseph, Sister Act, We Will Rock You, and Fame. I can pick ’em.
My favourite track is still in mock-up only: ‘Time Stands Still (For No-Man). The ‘da de dum’ bit is fun; might sound attractive in Gaelic? ‘Cantankerous’ was originally written for accordion; its current treatment reflects the housekeeper’s character (Latino origins).

In the beginning, I was invited to attend a weekend writing retreat with CM’s producer and Stiles + Drewe, who adapted and wrote the musicals: Mary Poppins, Peter Pan, Wind In The Willows, etc.

Years of distraction, including 2019, were marked by illness – a long story, but I’m fine now.

In early 2020, I had begun to build a relationship with the Eden Court folks when an opportunity arose in the US. With a view to a workshop and then a run in the Denver Centre for the Performing Arts, I was in talks with Scott Shiller, producer of New York’s longest-running Off-Broadway magic show. Then the Pandemic hit—lucky white heather. Most recently, talks with the Loch Ness Castle Experience.

After 45 years as Creative Director at Ideas.co.uk, I am stepping back to pursue a few personal interests. Recently, I acquired the rights to my music from Warner Bros. Had they thought more of them, that may have proven more difficult. My experience in theatre encompasses writing, performing, and directing content for provincial theatre tours, cabaret shows, suites (some of which I designed), as well as audience-number-breaking shows in the West End and on Broadway. You may be aware that I recently surrendered my interest in our magic show at the Mirage Las Vegas. My renown as a magic consultant for the BBC, ITV, BTG, and AGT is worth mentioning.

Back to the story.

I recently came across the image below, taken when my family and I stayed a few days with the cast of Loch Ness (the Movie)

Over dinner one night, Ian and Joely especially encouraged me to submit some of my music for the Movie. Joey’s husband, nd Tim Bevan (Working Title Films) was the producer. The music then became the basis for my finalist entry into Sir Cameron Mackintosh’s Highland Quest for a new musical. Time flies – my daughter Pauline, front/centre, is now 35.

I am moving (slowly) towards establishing a provisional cast; I plan to workshop and rewrite to accommodate the specific format and setting, and add some sizzle. With a small cast and musicians, I hope to create the musical in some way, perhaps in a setting other than a traditional theatre. Audio-only, animated series or live performances are all options on the table. I was contacted by Disney some time ago and have yet to capitalise on that.

A live performance in an intimate theatre within a themed visitor attraction would offer intimacy and advanced technical sound and lighting support at a significantly lower cost than a traditional theatre.

As an aside, have a look at the new Matilda on Netflix. Tim Minchin’s storytelling and Dennis Kelly’s book are pretty inspirational. As is Tim’s story, I’m encouraged that his Matilda project goes back to 2009:

My client has used creature puppetry to his advantage. The appearance of the monster would likely follow such wizardry.
Here he is:

Not to overegg the ‘magi’ in the production, there is also the option for a digital Pepper’s Ghost when the protagonist’s mother appears to offer some advice from the spirit world.
Much of the script takes place in a castle. I had previously considered the musical performed across different rooms in a stately home, with audience members moving from room to room, much like singing tour guides. A natural performance space would be ideal.Despite all this and Johnny’s constant enthusiasm, LNtMM is just one of many things I could get serious about, but I likely… who knows?