DEAN JOHNSON will direct a new production of the London Underground-set musical LIFT at London’s Southwark Playhouse from 13 May until 25 June 2022.
Developed by new musical theatre specialists Perfect Pitch and now presented by Gartland Productions, the musical which debuted at Soho Theatre in 2013 starring Cynthia Erivo, Julie Atherton and George Maguire, has music and lyrics by Craig Adams and book by Ian Watson.
This new version will feature Luke Friend as the Busker alongside star Hiba Elchikhe as Secretary, Kayleigh McKnight in the role of the French teacher, Jordan Broatch as Avatar and Marco Titus as BYT.
Dean’s career so far features a number of works over a broad range of material including Godspell for which he was nominated for the Broadwayworld.com Award for Best Director of a Musical in the West End 2016. He is also a passionate advocate of new work, staging productions of new musicals such as Paperboy (Lyric Theatre, Belfast) and Patterns (Landor Theatre).
Other credits as a theatre director include Dogfight (Southwark Playhouse), Spring Awakening (Stockwell Playhouse), In The Heights (Stockwell Playhouse), BKLYN – The Musical (Stream.Theatre) and Irish premieres of Pippin and Into The Woods in Belfast.
Here Dean continues Musical Theatre Review’s interview series: Five Questions With…
It’s very exciting to hear that you are directing LIFT, almost a decade after its first London production at the Soho Theatre. When did you first became aware of the show (and that incredible original cast!)?
I first became aware of LIFT, like many others I’m sure, from the concept album, which I bought in Dress Circle back in the days when they had a physical store. This was very shortly after the Soho run, and I vividly remember weeping the first time I listened to it in full. And yes, that original cast was incredible. They have all gone on to conquer theatre, TV, pop, comedy and film. I think it is a show that appeals to all artists and I believe this new cast has the ability to conquer the world too!
You have spoken about the relevance of the musical’s themes, how you are going to offer a modern retelling of the piece, and how will the 2022 cast will represent ‘the next generation of diverse talent in the UK’. Can you tell us more?
It’s a dramatically different world in 2022 compared to 2012, in so many amazing and interesting ways. London is more diverse than ever, and that needs to be reflected in the community of characters in the show and how they interact with the city they inhabit. LIFT is first and foremost a piece about the many ways in which we are lost and found, and I think that means something even more in today’s zeitgeist. Technology has also developed massively since the original production, and we are keen to explore how that affects how we connect and take up space in the world.
Picture: Michael Wharley
You have staged several revivals but have also shown a commitment to new work. How difficult is it to get new musicals off the ground in the current climate?
I love reimagining existing work, and I also love being part of new musical stories, each providing their own challenges, risks and rewards. Musicals can also evolve and develop over time. With LIFT, we have some brand new stuff from Craig and Ian which we cannot wait to show everyone.
When it comes to how difficult it is to get new musicals off the ground, I will say this: Creating something brand new is difficult. That is a truism of all industries. New musicals require a huge amount of investment in time, creativity and resources. But as the misquote from that Kevin Costner film goes: “If you build it, they will come” and I truly believe that when creative minds find a story they are passionate about telling or hearing and there are people willing to put in that time and resources to let the piece brew properly (like a good cup of tea), then exciting things can happen. There are some incredible new musicals in development in this country. Some I am involved in, and the rest I am an avid cheerleader of from the sidelines. If everybody, audiences included, invests some energy into supporting them, then the world is not ready for the amazing work that will come out of those development paths!
During lockdown you were involved in digital theatre projects but now you are able to be back in the rehearsal room after an incredibly challenging time for the industry. How does that feel?
It’s been nice to be back in the room and theatres for sure, and connect with other humans in a tactile environment and create theatre that will be shared in a three-dimensional space. I will say though that I think there are a lot of things I learned during lockdown about myself, other people and creating art, and it’s important we continue to develop some of those lessons and innovative ways of thinking. I am very proud of the work our whole sector created during that time and I am looking forward to more hybrid theatre/film projects in the future.
Impossible question, but can you pick out a special highlight from your career so far?
I always hate this question because it’s like trying to pick your favourite child! I believe in taking risks and learning from your failures as much as your successes. I directed my first show when I was in my early teens, when a theatre in Belfast generously (they must have been mad!) gave me the space for free. It was chaotic, rough and full of a million things I would never do today as a director, and yet without it I don’t know what my journey may have been. So for that reason, that terrible little show remains my proudest.
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