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    This platform performance, rehearsed reading, of the new musical stagework 'Tinderbox' is a production by White Knight Pictures, with music composed by Stephen Guy Daltry, and directed by Librettist Maureen Thomas. 

    Stephen Guy Daltry, composer & co-librettist, has written extensively for film and television, credits include BBC2's 'The Hunt' (Cultural Prix Italia Winner), the Sundance hit documentary 'The Moo Man' and 'The Lost World of Mr Hardy', of which director Ken Russell wrote in the Times (30/10/2009) :"a gorgeous musical score of violin and cello, breathtaking in its simplicity, beauty and effectiveness”. 
    His music theatre credits includes 'Alice Through the Looking Glass'', adapted from Lewis Carroll's works, at the British Library and New End Theatre Hampstead (Sunday Times critics and young people's choice - #2 London Christmas Show); 'Seats in All Parts' (with co-writer/director Lesley Albiston) at the King's Head, Islington & Salisbury Arts Centre and 'Did You Dr Crippen?' with playwright Brian McAvera. 

    Maureen Thomas, Llbrettist and co-lyricist on 'Tinderbox', is a dramatist, librettist and director. Credits include : librettist, 'Lombroso' in ‘About Face’ - composer Rachel Leach - commissioned Royal Opera House Covent Garden Blueprint Programme - Linbury Studio; librettist, ‘Zuppa Inglese’ commissioned Pimlico Opera - composer Daryl Runswick - Oxford & Nottingham Playhouses; book and lyrics, ‘Bright Sparks’ - composer Daryl Runswick - commissioned Arts Council West, UK; and co-writer/director with Stephen Guy Daltry on the musical 'Alice’ at the New End Theatre, Hampstead)
    The Cast for this reading feature Laurence Panter, Oskar McCarthy, Sarah Borges and Kariina Gretere.

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    Tinderbox

    Sun 26 & Mon 27 Jan at 7:30pm
    What happened when Hans Andersen visited Charles Dickens at his home in Kent, in 1857? Music frames comedy, Gothic drama and family tensions, illuminated by the power of the imagination.

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    “British theatre would be completely stymied without tiny, under-resourced venues such as CPT, which are a critical part of the theatre ecology.”

    Lyn Gardner Stagedoor