Bespoke general management and event consultancy across a wide breadth of shows and live events, from corporate conferences to comedy. Whether it’s light-touch advice on business planning or full-service events management, we provide swift, effective results.
Full production management services, from touring logistics to making complex get-ins a breeze. Our goal is to simplify the production process from start to end.
Full production accounting services across budgeting, cashflow and payroll management.
Current Projects
New pop musical · Book, music & lyrics in development
Comparable Feel
The satirical bite of Office Space meets the emotional sincerity of Next to Normal — with an original pop score.
A new pop musical about the oldest trap in the world: believing that if you just work hard enough, long enough, and sacrifice enough, it’ll all be worth it.
Synopsis
We follow Ric - a people-pleasing, email-answering, boss-appeasing corporate everyman, as he slowly wakes up to the cost of a life spent optimising for other people’s approval.
His romantic relationship with his therapist partner, Claire, is fraying due to his relentless workload, his colleagues are piling on the pressure, and a self-styled visionary tech mogul has swooped in by helicopter, promising that the grind is only just getting started.
Rise and Grind is a story about ambition, identity, and the question most of us are too busy to answer: what are you actually working for?
Past Productions
The Little — Southwark Playhouse, Borough · 14 Aug – 22 Sep 2023
“Joyous and refreshingly quirky”
“An infectious display of optimism… I couldn’t stop beaming.”
“Sizzles with wit and humour.”
“A punchy ode to teenage angst, this gloriously camp coming-of-age tale is catnip for Potterheads.”
It ain’t easy being Jack. He got sorted into Hufflepuff using the official online quiz, hates studying French, and is in love with his best friend Ollie.
Dodging bullies, keeping secrets and trying to get the guy is too much for him to take.
So, he changes his story one spellbinding moment at a time in pursuit of making the world a little more magical. Maybe this time he’ll get into Gryffindor.
Director
Tom Wright
Movement Director
Rachel Nanyonjo
Lighting Designer
Rory Beaton
Stage Manager
Tamasin Cook
Nominated for 4 Offies
From freelance stage technician to producing commercial work Off West End and Off-Broadway.
Jon’s experience in creating theatre is extensive, having worked his way up from freelancing as a stage technician to managing and producing commercial productions Off West End and Off-Broadway, as well as experience in managing touring and festival logistics.
He has a specific focus on new writing and new musicals, as well as productions that centre neurodiverse and queer performers and experiences, and productions with complex technical elements.
His current project is Rise and Grind, a new musical in development.
Jon holds a Diploma in Creative Producing, is a Fellow of the Royal Society of Arts, and holds certification with the British Pyrotechnists Association and Association of Stage Pyrotechnicians.
Investing in live entertainment is incredibly rewarding, whether you’re a seasoned entrepreneur, a serial investor, or if you simply want to be part of bringing an idea to life.
Producers are often introduced to new investors through their networks; if a show interests you, reach out directly. Put your money into work you love, through a producer you know and trust — that way you’re proud to have helped, recoup or not.
The amount needed to invest in a show varies from production to production.
Despite the £100k–£200k myth, the lowest unit in a West End show is generally around £10,000, with half units sometimes available. Provided a show isn’t oversubscribed you can invest more, partner with others in a syndicate, or spread risk across a few shows.
Once the capital to put the show on has been recouped and repaid, investors share in 60% of the production’s profits, with producers retaining the remaining 40%.
It also opens up “subsidiary rights” — tours, international productions, cast albums, licensing and screen adaptations.
Ultimately, you gain the opportunity to join the club of adventurous individuals who enjoy creating and supporting theatre.
The primary income source for all shows is ticket revenue, but there can be a number of different sources of revenue for a show.
Strong branding makes programmes and merchandise a real stream, and plays often sell playtexts. Touring venues may pay an upfront fee, and digital or livestreamed performances reach audiences who can’t attend.
The core difference is that a producer carries higher financial responsibility and manages the day-to-day oversight and operations of the production.
Lead producers make the management decisions; co-producers support marketing, events and award campaigns. Investors who raise a higher level of capital can be invited to become co-producers, with a credit above the title.
The risk level of investing in a Broadway or West End show is akin to that of a start-up or small business.
A show may return your investment without profit, or close without recouping — though many succeed and pay out for years. Whatever you invest is typically the most you can lose, with no ongoing costs to maintain. Think of it as a loan that may be repaid with interest.
For investment, press, and creative enquiries:
producing [at] kings [dot] ly