As the director of this season’s musical, it seemed fitting to start us off with a bit of Broadway. I saw The Producers at the Manchester Palace Theatre as a teenager and laughed until my sides hurt. It’s gloriously funny and is, I feel, the blueprint for musical comedy writing. When you listen to the last 30 seconds, I urge you to imagine sitting in a theatre before a curtain rises. What a feeling that will be when the time comes.

Ariel Dorfman’s psychological thriller Death and the Maiden examines the after effects of human rights abuses and the ensuing tug of war in the search for peace, reconciliation and justice. I directed the play in Frankfurt in 2014. Originally set in the hot beach huts of Chile, we relocated the play to the mountainous regions of Bosnia in the depths of winter. Schubert’s string quartet triggers the memory of protagonist Paulina, hence the title of the play. We used this movement in the production itself to underscore the final confession sequence.

When launching a touring production of John Steinbeck’s Of Mice and Men in 2018, we were in the midst of the European refugee crisis. I wanted to draw a parallel with the Dust Bowl era of the 1930s, which caused the largest migration in American history. Shenandoah appears to have originated with American and Canadian fur traders voyaging down the Missouri River. By the mid 1800s, the song had become a sea shanty heard or sung by sailors in various parts of the globe. This recording perfectly captures that longing for a better world.

This is from the musical Sweet Smell of Success, based on the film of the same name, which follows the underground network of newspaper columnist, JJ Hunsecker. The character is inspired by Walter Winchell, the ruthless originator of gossip news - he has a lot to answer for. I was lucky enough to work with composer Marvin Hamlisch on a production of this in 2011, less than a year before he passed away. I’ll always remember the trust he placed in me as a 24 year old. I was in awe of him and very nervous, but his enthusiasm for our work was infectious and reassuring. I’d present an idea and he’d just say ‘Let’s just try it!’. The show had originally had poor reviews on Broadway so Marvin felt there was unfinished business. When I met his wife after he passed away, she told me our work ‘had mended his broken heart on that show’. It’s an experience I’ll never forget.

It was such a pleasure to direct The Food of Love at Cadogan Hall with Sir Patrick Stewart and Gemma Arterton. The evening, celebrating music written for Shakespeare productions on stage and screen was curated and conducted by Nigel Hess, with music from the RPO. Nigel is a master at composing for the theatre, as this suite from The Comedy of Errors illustrates.

Friends of mine who work in the music festival industry are of course suffering hugely due to the pandemic. A few years ago, I saw Riot Jazz Brass Band play at Wildfire Festival in South London. They created such an incredible atmosphere - I’m determined to use their music in a theatre production one day.

Forced to close when lockdown struck, my production of Some Mothers Do ‘Ave ‘Em was touring the UK, starring Joe Pasquale as Frank Spencer. After the chaos and mayhem you might expect, the show ends with a choreographed finale to this 70s favourite. The show will be back in 2022.

The original song by Radiohead is a personal favourite, but this beautiful cover by Kina Grannis felt a better fit for this list. There’s nothing special in my introduction to this song. It’s here because I love it.

In 2013 I played a very small part in the re-opening of the Glasgow Theatre Royal. The Royal Variety Performance brought together Scottish Opera, Scottish Ballet, National Theatre Scotland, and other independent companies who used the venue. The end of the performance culminated in all the performers singing this onstage, accompanied by the many individuals who had helped refurbish the theatre. The sight and sound of so many people will never leave me. It serves as a perfect reminder of just how many cogs are involved in opening a theatre production, let alone a theatre building.

Preparing for a production of the French farce, Boeing-Boeing, I became familiar with the wonderful ‘Yé-Yé’ music from Europe in the 1960s (derived from the English ‘Yeah Yeah’). The golden age of air travel provides the backdrop of the play set in Paris and this music seemed to evoke the glamour of the skies. I think it’s no surprise that ‘Yé-Yé’ music is often used for luxury car adverts, usually in a trendy town in the south of France. I’ve chosen this for anyone dreaming of a holiday like me!

My first real experience of classical music was at secondary school, when I had the chance to join the chorus of Verdi’s Requiem at the Liverpool Philharmonic Hall. It was all quite overwhelming for a 12 year old but I felt like I had the best seat in the house to watch the orchestra. Seemingly insignificant at the time, it’s a reminder that music in education, trips to the theatre and opportunities such as these are vitally important to the younger generation.

I can’t wait for life to return to some degree of normality but in the meantime, this might put a smile on your face. Thank you for listening.