Performed at the Greenwich Playhouse December 2000

Galleon's production of 'You're Gonna Love Tomorrow' was a musical review of Stephen Sondheim's extraordinary music. The twenty two songs, specially chosen by the master himself, only included musical numbers for which Sondheim wrote both the music and the lyrics. 'You're Gonna Love Tomorrow' celebrated Sondheim's versatility and musical genius and traced his immeasurable contribution to the world of musical theatre. It comprised well-loved songs such as 'Send In The Clowns', 'Johanna', 'Someone In A Tree', 'Being Alive', 'Not A Day Goes By', 'Another Hundred People', 'Old Friends', and 'The Miller's Son'.

Galleon's production of 'You're Gonna Love Tomorrow' was a magical celebration of Sondheim and of his work, which has always defied generality and remains to date, the most ambitious and technically challenging writing for the musical stage.

CREDITS

• Directed by Simon Bell
• Produced by Alice de Sousa

THE CAST

• Alan Atkins
• Kirstie Austin
• Stewart Briggs
• Gareth Davies
• Tim McArthur
• Maxine Gregory
• Jenna Shaw

THE CREATIVE TEAM

• Set Construction - Rebecca Adams
• Musical Director - Colin Billing
• Stage Manager - Jennifer Farmer
• Choreographer - Elizabeth Marsh
• Assis. Musical Director - Debbie Morris
• Set Designer - Cleo Pettitt
• Assis. Choreographer - Anthony Psaila
• Publicity Designer - Alison Rayner
• Costume Designer - Barry Simmons
• Lighting Designer - John Treherne
• Stills Photographer - Paul Welch

REVIEWS

'Immensely entertaining revue' - The Stage

'wonderful, heartfelt and stirring' - Time Out

'Producer Alice de Sousa and director Simon Bell of the Galleon Theatre Company have put together the perfect remedy for winter blues or a cold winter's night.' - theatreguide-london.co.uk

''This bubbly revue is Galleon's second foray this year in celebration of Stephen Sondheim's 50 year oeuvre, and this seamless selection of 22 songs from the great man's shows captures all that Broadway magic.' - The Stage

'This compilation demonstrates how infuriatingly - or, conversely, wonderful - the man can be, mixing songs with the most jarring of rhythms and chords with the most sublime of romantic ballads.' - Kentish Times