a LIVE re-staging ofThe Beatles at Abbey Road Studios

FoREwoRdWelcome to THE SESSIONS

Abbey Road was more than just a recording studio for The Beatles. Paul called it their monastery, that’s why they named an album after it. The SESSIONS at ABBEY ROAD is a once-in-a-lifetime backstage pass to a magical moment in history. Each song selection - from ‘Please Please Me’ to ‘Abbey Road’ - is played exactly as it was recorded. For the first time in a generation, all instrumentation, arrangements and vocals are identical to the original recordings - the closest thing to actually being in the studio with John, Paul, George and Ringo.

Overseen by the legendary recording engineer Geoff Emerick, authentic sounds are blended with an immersive environment. The original studio has been meticulously restored while the singularity of each album is captured through unique choreography. Dazzling cinematic effects take you on a journey from early Liverpool to swinging London and the phenomenon of Beatlemania.

Telling the Beatles story like you’ve never heard before...

CONCEIVED & PRODUCED BY STIG EDGREN

DIRECTED BY KIM GAVIN

PRODUCED BY JEF HANLON

CREATIVE CONSULTANT GEOFF EMERICK

MUSICAL DIRECTOR TIM SANDIFORD

SOUNDSTAGE THEATRE COMPANY (UK) LTD. PROUDLY PRESENTS

PRINCIPAL SINGERS(in alphabetical order)

JIMMY COBURN • TONY COBURN • JOSH FERRIGANMARK GRIFFITHS • PETER JOHN JACKSON • TYSON KELLY • TOM TEELEY

FEATURED PLAYERSBRAD BRUNSDON • BEN CULLINGWORTH

BAND MEMBERSSTEVE CORLEY • MURRAY GOULD • RICHARD HAMMOND • THOM KIRKPATRICK

ENSEMBLEJACK BALDWIN • HOLLIE CASSAR • NATALIA CHUA • LUKAS LEE • GRANT MCCONVEY • DOUGLAS MILLS • KATIA

SARTINI • BENJAMIN STRATTON

ORCHESTRADAN BEER • RICHARD BEESLEY • JORDAN BERGMANS • JACK BIRCHWOOD • MAIA COLLETTE JOANNE DAVIES •

CECILIA DE MARIA • JOSEPHINE GALTON • PATRICK HAYES • CIARA ISMAIL RYAN JACOB • ELONA LAURIE • ROB LEWIS • NICK MEAD • GEORGE MILLARD • VALTIE NUNN HENRY SALMON • HARRIET SCOTT • LETTY STOTT •

JACOB SHAW • LUCINDA SKINNER

ASSOCIATE PRODUCER / PRODUCTION PETER EDMONDS

ART DIRECTOR DAN SHIPTON

ASSOCIATE PRODUCER / RIGHTS AMANDA VAN LINDEN

COSTUME DESIGN MICHAEL SHARP

SOUND DESIGN HOWARD LINDEMAN

OPENING MUSIC BENOIT JUTRAS

SET DESIGN STUFISH ARCHITECTURAL DESIGN RAY WINKLER / ALICIA TKACz

MULTI-MEDIA DESIGN LUKE HALLS

LIGHTING DESIGN LUC LAFORTUNE

THE SESSIoNSIt was one of the most amazing nights of my life….

We were so excited to get our tickets for one of the newest, and hottest touring shows, THE SESSIONS - a LIVE re-staging of the Beatles legendary recording sessions at Abbey Road Studios!

The sold-out audience gathered outside the theatre where multiple kiosks and vendors were selling merchandise and collectables. Audience members were taking pictures on a full-size replica of the famed Abbey Road zebra crossing - the black & white lines where the Beatles took their infamous photo for the cover of their last album. We, of course, took a photo of us walking across… everything seemed to indicate this was going to be a magical night!

As we entered the arena and took our seats, we were intrigued by the main staging area, positioned in the middle of the venue - a full-scale replica of Abbey Road Studio 2 - full of studio equipment - instruments, microphones, chairs, sound baffles - eloquently lit with multi-coloured hues and waiting to come to life…

As the house lights started fading down, we heard a musical score begin along with a montage of Beatle ‘moments’ – it wasn’t Beatles music, but it was breathtaking! At the dramatic end of this music, we saw a Tour Guide burst into the studio with a group of “tourists”. He was leading them into the hallowed ground of Studio 2 – showing them where the greatest recordings in history actually happened. He started to play a few notes of “The Long & Winding Road” on the piano, then turned to reveal an original Studer J-37 tape machine from the 1960’s, then reached down and hit ‘PLAY’…

House lights out - the music started with the instantly recognizable musical interlude of “Long & Winding Road”, filling the air with what seemed like an army of singers and musicians taking their positions, entering from the house, in the aisles and walkways, all in slow motion - all joining on stage for what looked like a recording session ready to begin.

Once in position, they all started one of the most celebrated Beatle songs ever written - an ode to LOVE- a re-creation of the worldwide satellite transmission of “All You Need Is Love”.It sounded incredible - like we were listening to The Beatles playing it live - just for US!

Midway through the song, sections of the crowded stage started to pull back - piece by piece - followed by an ensemble appearing, wearing the infamous white lab jackets and choreographed in an enchanting way – the entire stage was being cleared, as if it was a being swept back in time, preparing for a ‘happening’.

By the end of the song, a group of musicians enter with four instruments held high above their heads - the original Beatle instruments; a Hofner 500 bass, a Rickenbacker 325 guitar, a Gretch Duo Jet guitar, and a black oyster pearl Ludwig drum head.... and by the end of this sequence, the only thing left at centre stage was the four instruments - the original instruments that started it all…

The show had begun….

A voice came over the sound system, sounding like a talk-back microphone from the studio control room: “OK Boys, from the top - take 1 - I Saw Her Standing There - ready when you are...”

The four cast members launched into “I Saw Her Standing There” - while projected on large screens, there were the dates, take numbers, studio information and text washing the entire set. In rapid succession, we hear a fantastic ‘Suite’ of the first recordings featuring the basic rhythm track, vocals, harmonica and tambourine.

The very first album - Please, Please Me - 2 tracks - the start of their recording careers...

On each musical change, there were Multi media images everywhere, on the giant scrim surrounding the set - projected throughout in black & white - representing the era, the 60’s - the beginning...

After the single version of ‘Please, Please Me’, we hear the famous Sir George Martin line from the control room: “That’s your first number one hit Boys!”

The images around us then turned to the fans - Beatlemania - the faces of the kids (and adults) that showed the world was about to change. This segment emulated the true story of the fans trying to break into Abbey Road during the recording of ‘She Loves You’.

Throughout the first set of Lennon-McCartney songs, there was so much to look at, we never really focused on the faces of the lead singers - they were in constant silhouette or shadow - they weren’t look-a-likes, but their voices were PERFECT - the music was perfect - it was as if The Beatles were playing live in front of us - with a new, young cast - all amazingly thrilling...

The Control Room VO announces: “Standing by on take 17 - I Want To Hold Your Hand... “

The intro to ‘I Want To Hold Your Hand’ began - the FIRST 4-track recording, and continued with a Suite of songs from ‘With The Beatles’, including ‘All My Loving’ and the first George Harrison composition, ‘Don’t Bother Me’.

In between takes, there were random (and funny) comments between the studio and control room, all based on ACTUAL EVENTS, sounding like it could have been Sir George Martin, or Geoff Emerick - but the instructions and cues were constantly giving us the feeling that a ‘session’ was in progress... and we were witnessing history!

The lighting was stunning, capturing the essence of each song and cue - sometimes showing us a ‘backstage look’ during transitions, and during the songs, an incredible pallet of colours were used to pin-point the action - we always knew where to look - our eyes feasting on projections and lighting - seemingly all choreographed with the stage and prop movements.

“It was one of the most amazIng nIghts of my lIfe - lIke watchIng an actual

Beatles recordIng sessIon In progress...”

As the set changed positions, we heard the unmistakable Fm9 chord which opens ‘A Hard Day’s Night’ - the projections on the scrim duplicated the multi-frame look of the film opening - continuing with a new Suite of songs including; ‘I Should Have Known Better’, ‘And I Love Her’, ‘Can’t Buy Me Love’ and a beautifully staged segment featuring the use of the vocal booths for certain songs.

The singers and musicians faces were never in full spotlight - but always in moody, stunning lighting cues - the performers also seemed choreographed with the lighting cues - the direction they faced, and movements all seemed part of a master plan to give the audience a wonderful experience of sight and sound - I wish John Lennon could have seen this...

The projection surfaces were constantly moved by the Ensemble, and video cameras captured the live musical performances with close-ups on the instruments, vocal microphones, their hands during solos, and the actual musicianship - sometimes on the singers’ faces – together with the projected images of the live video streams, all working beautifully together.

‘Beatles For Sale’ – the next Suite included the first use of ‘feedback’ on ‘I Feel Fine’, and classics like ‘No Reply’, ‘Eight Days A Week’ and the introduction of new instruments.

As the recording session continued, with each segment adding more instruments, it seemed the audience was going on a journey through time - demonstrating the evolution of the recording process - listening to songs in the chronological sequence of recordings - the same songs that affected all our lives.

The ‘Help’ Suite included songs such as; ‘Help’, ‘Ticket To Ride’ - also a nice moment introducing the FIRST outside musician to play with The Beatles, with a flute on ‘You’ve Got To Hide Your Love Away’, and of course, the timeless McCartney song, ‘Yesterday’ which featured the FIRST string octet, appearing wondrously on the set.

The music progressed with a constant flow of new musical instruments arriving - a piano, a clavinet, a flute player, a string section, etc…. The stage was in constant motion - during and between takes, the mime technicians were moving sound baffles, microphones, and instruments to all new positions - seeming like an on-going Technical Ballet - brilliantly choreographed to feature the performers and equipment.

A new beginning for the group was introduced - ‘Rubber Soul’, highlighted by the arrival of yet more musicians and instruments brought on stage by the EMI Techs - a Sitar on ‘Norwegian Wood’, a double-speed piano solo on ‘In My Life’, ‘and hits like ‘Drive My Car’ and ‘We Can Work It Out’.

Funny VO comments were heard between takes like: “The Bird has, er… er… Norwegian Wood take three”

I loved that the show had nothing to do with look-a-likes - all the performers and musicians were young, dressed in the same style of clothes The Beatles wore during the recording sessions - almost as if the younger generation was re-creating the Beatles studio magic. They even encouraged us to sing along when we felt like it - sometimes with lyrics on the screens - on the big choruses, the whole audience was singing along - it was quite fantastic!

‘Revolver’ was next – the ground-breaking album with a Suite of songs including; ‘Eleanor Rigby’ with a string quartet, ‘Taxman’, backwards effects for ‘Tomorrow Never Knows” (I can’t believe they even attempted this song!!), and the beautiful ballad ‘For No One’.

With the changes in instruments and styles, we knew Geoff Emerick was part of this creation - yes, the legendary man himself, oversaw the engineers mix, the same sounds he created with The Beatles and Sir George Martin over 50 years ago. He was hovering by the sound consoles, he watched and made adjustments - the sound was amazing - just like we were hearing these great songs live - as they never were able to be played live in concert.

Act One came to a mind-blowing ending with ‘Yellow Subamarine’ - a re-staging of the zany recording session that became a party while the “Innkeeper” was gone - Sir George was not at this session - but it was a massively fun and uplifting end of the Act!!

Before we came to this show, I kept wondering HOW they are going to do this? The vocals, the overdubs, the effects - but it soon became apparent that I was no longer interested in seeing WHO was singing, but instead, completely swept up in the aural and visual experience with timeless music and melodies.

Act two began with Sgt Pepper’s Lonely Heart Club Band - need I say more….

‘Sgt Pepper’s Lonely Hearts Club Band’ - the greatest rock album ever recorded - a true masterpiece, represented by songs including; McCartney’s ‘Sgt Pepper’, Lennon’s ‘Lucy In The Sky With Diamonds’, Ringo’s classic vocal on ‘With A Little Help From My Friends’, George Harrison’s Indian-inspired ‘Within You, Without You’, the fairgrounds sounds from ‘Being For The Benefit Of Mr. Kite’… and, of course, the orchestra was featured on one of the most celebrated songs in modern pop history, ‘A Day In A Life’.

Sometimes it seemed like the Beatles were in conversation right before a take - a casual conversation or a hilarious John Lennon countoff before recording started. This ‘conversation’ was funny and endearing - with all quotes taken from actual studio transcripts - all based on real quotes or best memory of events.

JL: “Why don’t you join the beginning of the first one to the end of the second one?”GM: “They are in different keys and different tempos”JL: “Well, you could fix it!”

‘Magical Mystery Tour’ - the much-anticipated follow-up to Sgt Pepper - a further journey into drug-induced songs and multiple overdubs on; ‘I Am The Walrus’, the FIRST Recorder used on ‘Fool On The Hill’, ‘ Your Mother Should Know, ‘and a multitude of “MM characters” throughout this album sequence.

This scene closed with ‘Penny Lane’ and ‘Strawberry Fields Forever’ - two of the most complicated and amazing technical achievements in modern recording – each taking almost a month to record each track with multiple versions and overdubs….

As the albums progressed from the early hits, we saw the theme of the projections start with black & white images -

It was the closest thing to hearing the Beatles play live - I couldn’t believe it... It felt like I was a ‘fly-on-the-wall’ - a witness to musical history!

This entire evening was a tribute to the finest band ever - to four individuals who conquered our hearts - real people - an occurrence that will likely never happen again - when the stars and planets line up in a way that could not be repeated, certainly not in this day and age…

They were The Beatles - John, Paul, George and Ringo - four Liverpool lads who came together to make music and the world a better place - this show is a tribute to them.

By the end of the evening, we were completely knackered and surely got our money’s worth, and much, much more!

…Gotta go now - need to book my tickets for next year!

the Mersey Beat look - then approached the more ‘colourful’ albums like Sgt Pepper and Magical Mystery Tour with the lighting and projections turning the stage into a multi-coloured psychodelia, and using the famous Joshua Light Show techniques - perfectly representing the time and era - highlighting an dreamlike, colourful ride…

The White Album segment was wonderfully staged - different than the rest of the show - where we could see 4 SEPARATE recording processes - each representing the individual work of the four Beatles - a fractured time, subtly highlighting the discontent happening within the band at

this time - especially after the death of Brian Epstein. But also some of their best work, featuring songs like; ‘Back In The USSR’, the beautiful simplicity of ‘Blackbird’, ‘Julia, ‘Good Night, and one of Harrison’s finest works, including the classic ‘While My Guitar Gently Weeps’.

Let It Be was stark - almost back-to-the-beginning - and the first time Sir George Martin and Geoff Emerick were not in the control room. This segment was narrated by Sir George, and made note of this being an “unhappy time” for the Boys.

It was fantastic how each album was represented with a ‘Suite’ of songs - not every song from the albums (impossible to do anyway), but a fast-paced mosaic, seemingly catering to the Millennial generation (who don’t have much of an attention span!). However, during none of these segments did I feel cheated - I heard the most important songs and innovations, including intros, verses, middle 8, solos - all specially selected, making the evening FLY!

‘Abbey Road’ was staged like a return to the camaraderie of the old days… performed as a ‘Suite of a Suite’ with classic songs like; ‘Something’, ‘Come Together’, the haunting vocals on ‘Because’, and in the end… ‘The End’…

After the famous ‘Abbey Road’ ending, the giant scrim went up, and for the first we got to see the cast up close - their faces - their instruments - the audience going absolutely mad… They were shouting and screaming as if they refused to leave the arena - then the entire cast ensemble gathered on stage for the Finale - the one and only, ‘Hey Jude’.

I didn’t think there could be anything more possible… The audience just couldn’t get enough…

In summary, as a life-long Beatle fan, I wanted to take my family and kids to a show that TAUGHT them how it was done - long before Pro-Tools and pitch control - a show that featured the timeless songs of The Beatles, and a history lesson at the same time. I’ve seen all the other Beatle tribute shows – but this one was by far the most authentic, detailed, complex representation of these recordings ever attempted - just as if The Beatles were performing their songs live - for the first time EVER.

“we are not tryIng to look lIke the Beatles - But to sound lIke them - eXactly lIke them.”

PLEASE, PLEASE ME - SEPT 1962 - FEB 1963

ACT ONE LEAD VOCALSOPENING - INTRO CAST

WITH/MEET THE BEATLES -FEB - OCT 1963

A HARD DAYS NIGHT - JAN - JUN 1964

BEATLES FOR SALE - AUG - OCT 1964

HELP - FEB - JUN 1965

RUBBER SOUL - JUN - OCT 1965

REVOLVER - APR - JUN 1966

** LONG & WINDING ROAD

* I SAW HER STANDING THERE

* IT WON’T BE LONG

* AND I LOVE HER

* PLEASE, PLEASE ME

* DON’T BOTHER ME

* IF I FELL

* NO REPLY

* NORWEGIAN WOOD

*** EXPERIMENTATION SEGMENT ***

* YOU’RE GONNA LOSE THAT GIRL

* SHE LOVES YOU

* A HARD DAYS NIGHT

* I WANNA HOLD YOUR HAND

* CAN’T BUY ME LOVE

* NOWHERE MAN

* ELEANOR RIGBY

* TICKET TO RIDE

* I FEEL FINE

* IN MY LIFE

* HERE, THERE AND EVERYWHERE* YELLOW SUBMARINE

* YESTERDAY

* FROM ME TO YOU / THANK YOU GIRL

* ALL MY LOVING

* I SHOULD HAVE KNOWN BETTER

* DRIVE MY CAR

* TAXMAN

* HELP

* EIGHT DAYS A WEEK

* WE CAN WORK IT OUT

* FOR NO ONETOMMOROW NEVER KNOWS

* YOU’VE GOT TO HIDE YOUR LOVE AWAY

** ALL YOU NEED IS LOVE

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(STARR)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON/MCCARTNEY)

(HARRISON)

(HARRISON)

(LENNON/MCCARTNEY)

(LENNON/MCCARTNEY)

(LENNON/MCCARTNEY)

(LENNON/MCCARTNEY)

(LENNON/MCCARTNEY)

(LENNON/MCCARTNEY)

(LENNON/MCCARTNEY)

(LENNON)

END ACT ONE

“the closest thIng you’ll ever

get to a Beatles recordIng

sessIon”

ACT TWOSGT. PEPPER’S LONELYHEARTS CLUB BAND - DEC 1966 - APR 1967

MAGICAL MYSTERY TOUR -NOV - DEC 1967

THE WHITE ALBUM -MAY - OCT 1968

LET IT BE -

FINALE / ENCORE / SING-A-LONG -

ABBEY ROAD -FEB - AUG 1969

* SGT. PEPPER LONELY HEARTS CLUB BAND

* WITH A LITTLE HELP FROM MY FRIENDS

* MAGICAL MYSTERY TOUR

* BACK IN THE USSR

* LUCY IN THE SKY WITH DIAMONDS

* FOOL ON THE HILL

* WHILE MY GUITAR GENTLY WEEPS

* WITHIN YOU, WITHOUT YOU

* YOUR MOTHER SHOULD KNOW

* REVOLUTION 1

* BECAUSE

* HEY JUDE

* SHE’S LEAVING HOME

* I AM THE WALRUS

* BLACKBIRD

* COME TOGETHER

* BEING FOR THE BENEFIT OF MR. KITE

* PENNY LANE

* GOOD NIGHT

* SOMETHING

* REPRISE / A DAY IN THE LIFE

* STRAWBERRY FIELDS FOREVER

* HELTER SKELTER

* MEDLEY - GOLDEN SLUMBERS / CARRY THAT WEIGHT / THE END

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(MCCARTNEY)

(STARR)

(STARR)

(HARRISON)

(HARRISON)

(HARRISON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(LENNON)

(ALL)

(LENNON / MCCARTNEY / HARRISON)

END ACT TWO

LEAD VOCALS

“you won’tBelIeveyour ears”

Jimmy CoburnJohn Lennon

Jimmy is a member of The Cavern Club Beatles and founded The Blue Meanies alongside his brother, fellow The Sessions star Tony.

He has performed frequently as John Lennon, including in Let It Be, and is also known for his acoustic performances of songs from John Lennon’s solo years.

Tyson KellyJohn Lennon

Originally from Los Angeles, Tyson has portrayed John Lennon in major productions around the globe, including the Fab Four, Classical Mystery Tour and the acclaimed stage production Let It Be in Auckland.

Tyson - a Beatles fan since his teenage years - also plays in his own band, King Washington.

Tony CoburnPaul McCartney

Liverpool boy Tony is a founding member of The Cavern Club Beatles alongside his brother Jimmy, who also features in The Sessions as John Lennon.

Tony’s previous credits include starring as Paul McCartney in Let it Be on Broadway, and sharing the stage with Sir Paul at the Liverpool Empire.

Tim SandifordMusical Director /

Rhythm Guitar

douglas MillsCaptian / Resident Director

Tap dancer and choreographer Doug Mills is best known for performing for 15 Years in West End show Tap Dogs and performing on TV’S Strictly Come Dancing. He has previously collaborated with The Sessions Director Kim Gavin on The Olympic Games Closing Ceremonies and Take That: The Circus Live.

Natalie ChuaYoko Ono

Natalia Chua trained at the Urdang Academy and her credits include Miss Saigon at The Prince Edward Theatre, Bare at the Union Theatre and Dick Whittington at the Harlow Playhouse. Natalia also appeared as a Hogwarts Student in the Harry Potter films.

Violin 1. Leader Claire Ismall / Violin 2. Valtie Nunn / Violin 3. Joanne davies / Violin 4. Henry Salmon Violin 5. Elona Laurie / Voila 1. Jordan Bergmans / Voila 2. Joesephine Galton / Cello 1.Leader Maia Cliette Cello 2. Rob Lewis / Cello 3. Lucinda Skinner / Dbl. String Bass Harriet Scott / Trumpet 1. Leader Nick Mead Trumpet 2. Jack Birchwood / Trumpet 3. Ryan Jacob / Trombone 1. Patrick Hayes / Woodwind 1. Leader Richard Beesley Woodwind 2. George Millard / Woodwind 3. Jacob Shaw / French Horn 1. dan Beer / French Horn 2. Letty Scott Harp Leader Cecilia de Maria

Jack BaldwinGeorge Martin

Since graduating from LAMDA, Jack Baldwin has taken on such iconic stage roles as Hamlet, Malvolio in The Twelfth Night, Oberon in A Midsummer Night’s Dream and Basil Faulty in the Faulty Towers Dining Experience. Jack has also appeared in such films as The Rochdale Pioneers, and opera, including Tosca.

Hollie CassarPlayer 6

Originally from Malta, Hollie trained at BodyWork Company Dance Studios and the Royal Academy of Music. Her theatre credits include The Ballad of Rudy at the Manchester Royal Exchange, The Rock ‘n’ Roll Panto at the City Varieties Music Hall in Leeds and Crazy for You at the London Palladium.

Lukas LeeGeoff Emerick

Lukas Lee graduated from the Guildford School of Acting in 2015 and since then has played the titular role in Henry IV Parts 1&2 at Waterloo East Theatre and Sir Toby Belch in The Lord Chamberlain’s Men’s touring production of The Twelfth Night.

Grant McCovneyPlayer 7

Grant McConvey trained at the Guildford School of Acting and won the Stiles and Drewe Best New Song 2015 prize. Credits include Gomez Addams in The Addams Family, Bernardo in West Side Story; Polixenes and Florizel in The Winter’s Tale and Apollo in The Oresteia.

Benjamin StrattonMal Evans

Benjamin Stratton trained at LIPA and has gone on to appear as Mark Cohen in Rent at the Greenwich Theatre, Romeo in the RSC’s Romeo and Juliet at The Dell, and in touring productions of The Complete Works of William Shakespeare and Potted Potter.

Katia SartiniPlayer 8

Actress and multi-instrumentalist Katia Sartini trained at SLP College in Leeds and her theatre credits include Helen Shapiro and Chelita Secunda, in the UK and Ireland Tour of 20th Century Boy and Vi Petty in the UK and Ireland tour of Buddy: The Buddy Holly Story.

Murray GouldLead Guitar

Richard HammondBass Guitar

Steve CorleyKeyboards

Thom KirkpatrickKeyboards / EFX

Peter John JacksonPaul McCartney

Peter’s major credits include Let It Be, as Paul McCartney, and That’ll Be The Day, in which his multiple roles included Johnny Cash and David Bowie.

He was previously a professional musician, switching to the theatre after being offered a role in Rockin ‘on Heaven’s Door as Eddie Cochran.

Tom TeeleyGeorge Harrison

Tom started his career portraying George Harrison in Beatlemania at New York’s Winter Garden Theater. He has since appeared in Broadway musicals, Rock and Roll, the First 5000 Years and Rain. Tom has toured the world as multi-instrumentalist and vocalist for such artists as Joe Jackson, Sophie B Hawkins and Marshall Crenshaw.

Josh FerriganGeorge Harrison

Josh auditioned for the role of George Harrison after a chance encounter with The Sessions’ creator Stig Edgren while busking outside the Cavern Club.

Before then Josh trained at Liverpool Institute of Performing Arts (founded by Sir Paul McCartney) and spent eight years playing bass for Liverpool band The Verdict.

Mark GriffithsRingo Starr - vocals

Mark, who is making his debut as Ringo, trained at Bird College before pursuing a career in music. As well as performing in a number of bands, Mark has toured internationally with vocal harmony group The Octaves, works with Rocksteady Music School, and helped set up a charity, ‘Ukuleles for Ukraine’.

Featured PerformerBrad BrunsdonRingo Starr - drums I

Brad Brunsdon is a professional musician and tribute performer, known for his portrayal of Ringo Starr with such renowned acts as Beatles Celebration and Beatle Mania.

Featured PerformerBen Cullingsworth

Ringo Starr - drums IIBen Cullingworth is a musician and performer whose previous performances as Ringo Starr include Let it Be in London’s West End and on tour.

CAST

BANd

ENSEMBLE PLAyERS

oRCHESTRA

CREATIVE TEAM CREdITS

Stig EdgrenCreator / Exec Producer

Stig Edgren is one of the foremost producers and designers of word-class special events and concert attractions – staging events for Pope Francis, Pope Benedict XVI, Pope John Paul II, President Clinton, President Reagan, Nelson Mandela, and the XXIII Olympic closing cere-monies. He has created concert acts for Earth, Wind & Fire, Gloria Estefan, Natalie Cole, de-signed arena shows for superstars ranging from Barry Manilow to Cher, and the groundbreaking spectacular Elvis: the Concert.

Jef HanlonProducer

Music industry legend Jef Hanlon has been an agent, manager and promoter for the past 50 years, working with iconic acts such as B.B King, Bob Hope, Diana Ross, Gladys Knight, Bay City Rollers and Rod Stewart.

Geoff EmerickCreative Consultant

Geoff Emerick is a legendary studio engineer who worked with The Beatles at Abbey Road Studios from their first ever recording session on June 6th 1962, going on to become lead engineer in 1966 for Revolver, and winning a Grammy for his contribution to Sgt Pepper’s Lonely Hearts Club Band.

Kim GavinDirector

One of the UK’s leading creative directors and choreographers, Kim Gavin has produced some of the biggest live events of recent years, including Concert For Diana in 2007, Take That’s Stadium Tour, Circus, the 2012 Summer Olympic and Paralympic closing ceremonies, and the 2015 Rugby World Cup Opening Ceremony.

Luke HallsMulti-Media Design

Luke Halls is an Award-winning international Video Designer whose work crosses a range of disciplines including opera, theatre, dance, film, fashion, TV and worldwide sell-out music tours. He has worked with some of the biggest names in music including U2, Muse, The Rolling Stones, Adele, Take That and Rihanna.

Luc La FortuneLighting Design

Luc LaFortune is one of the world’s leading lighting designers, having won multiple awards throughout a thirty year career. He has created imagery for some of the world’s most revered artists, including Cirque du Soleil, No Doubt, The Eagles, The Gipsy Kings, The Dixie Chicks and Peter Gabriel.

Michael SharpCostume Design

dan ShiptonArt Direction

Howard LindemanSound Design

Ray winklerAlicia Tkacz

Production Design / STUFISH Entertainment Architects

Stufish Entertainment Architects is the recognised leader in entertainment architecture, responsible for some of the most complex stadium rock tours ever staged for clients such as The Rolling Stones, U2, Madonna, One Direction, Cirque du Soleil, the BBC, and the opening and closing ceremonies of the Beijing Olympics 2008.

Associate Producer / Production Peter EdmondsAssociate Producer / Music Rights & Copyrights

Amanda Harcourt

STAFFTour Manager Nancy GhoshStage Manager Lee CleaverStage Manager Ashley NewsomeSound Engineer Howard LindemanMonitor Engineer Seamus FentonAudio Wireless Adam FieldLighting Director Chris SteelCarpenter Andy RussellCarpenter Pablo EdwardsRigger Ian BracewellProduction Coordinator Kelley JohnsonProduction Assistant Lori PhillipsWardrobe Bryony ClaydenStage Tech Dean CroneyStage Tech Jerry EddisonStage Tech Joe Gardiner-LoweShow Coordinator Valerie Geeraerts

PRG Lighting Crew Andy Mitchinson, Jared Wilson, Ryan Harrington, Marcus Illsley

SSE Audio Crew Mike Nichamin, Dominic Thorne, Tim Foster Miller

XL/PRG Video Crew Danny Sheldon, Steven Jones, Rod Williams, Chris Johnson

Truck Drivers Andy Barr, Ian Lewis, Dave Harris, Robert Atkin, John Ward

Bus Drivers Dave Ellsom, Mel Gibson, Jaime Gerard, Tim Turbill, Adrian Davies

PROJECTION DESIGN TEAMAssociate Projection Design Laura PerrettDesigner Paul GardnerJunior Designer Alex UragalloAnimator Anita GillAnimator Susana Yamamoto

ART DEPARTMENTProp Makers B&W CreationsProps Dresser Richard OlivieriProps Buyer Sophie RobinsonArt Dept Asst James Glover

Prop Builders B&W Creations, Will Slatter

Band / Orchestra Contractor Bob KnightOrchestral Consultant / Transcriber Paul Michael

Barkan / Magical Orchestra

Within You, Without You Tracks Brooklyn Raga Massive

Michael Gam, Neel Murgai, Sameer Gupta, Ted Morano, Paul Barkan

Music Consultants Paul Michael Barkan, Tom Teeley

Music Programmer Thom Kirkpatrick

Lighting Programmer Ben Hornshaw

Media Consultant Mark Borkowski

Public Relations Dee McCourt, Gregor Cubie

Booking Agency / United Talent Neil Warnock, Ross Warnock, David (Skully) Sullivan

Legal Advisor – United States Lou Petrich

Sony/ATV New York Marty Bandier, Chairman & CEO,

Peter Brodsky, Executive Vice PresidentNicole Giacco, VP Business & Legal Affairs

George Maloian, Director of Theatrical Development

Sony/ATV London Guy Moot, President of UK & European Creative

William Booth, Deputy Managing DirectorChris Jones, Head of Synch & Licensing

Emma Heywood, Synch & Licensing Executive

Universal Music PublishingLondon Suzanne Carey, Deputy Head of Licensing,

Ruth Webb, Licensing manager Film & TVGermany Marita Schmaienstroer Licensing Grand RightsNetherlands Lianne Vos Synch Co0ordinatorFrance Jenny Stone Licensing Copyright

Warner Chappell Music PublishingGermany Julia Harmann, Licensing Manager

Lisa Schaumann, Licensing ManagerFrance Anna Platner, Copyright & Royalty ManagerNetherlands Jeanette Masri Licensing Co-ordinator

Bicycle Music Los Angeles Jake Wiseley, CEOEvelyn Paglinawan,

Senior Director Licensing & Legal

Geoff Emerick Manager Carol Kaye, Kayos Productions

Radio Spots / Production Bill Young Productions / Steve Bassett

Radio Spot / Music Rick WillsonRadio Spot / Music Tony & Jimmy Coburn / Blue

Meanies

Video Trailer / Producer Olivia EdgrenVideo Trailer / Camera Ben Hoy-SlotVideo Traler / Music Tony & Jimmy Coburn

/ Blue MeaniesVideo Trailer / Editing Rock / Paper /

Scissors - NY

Promo Video / Edit Jack Newman

Casting Director Anne Vosser

Set Construction Brilliant Staging

Roller Scrims Showtex / Raf Peeters

Lighting Equipment PRG – Roy Hunt

Video Equipment PRG / XL – Paul McCauley

Sound Equipment SSE Audio Group

Trucking Redburn Trucking

Buses Phoenix

Tour Buses Phoenix Bus

Studer J37 Machine Harman Systems - Keith Watson

3D Models Chris Sileo

Travel Agency RIMA Travel Nicole McConnell

Dave Brock

Kim Gavin Assistant Heidi ShepardKim Gavin Agent Sally /Sally Rose Associates

Luke Halls Agent Clare Vidal, Hall Management

Bookeeper/Accountant Louise Wheat Pay Made Easy Ltd.

Brackman Chopra LLC Accountants Ed Grossman Johathan Hawkes

Alison Azarang

Insurance Bev Hewes / Robertson Taylor W&P Longreach

Props Adrian / Beat Around The Bush

Peluso Microphones John PelusoHofner Guitars Nick MassRickenbacker Guitars Bjorn GladwellGibson / Epiphone Guitars Juliette AveryFender / Gretsch Guitars Russell NorthStraps Inc. Glenn Boren

Bank of Scotland Matt Lee

Rehearsal Studio SW19 Studios

Production Studio A Backstage Centre / PurfleetProduction Studio B LS Live

Sound EFX Tom Teeley, Thom Kirkpatrick, Tim Sandiford, Paul Barkan

Tour Passes All Access / Carl Elizondo

Itinerary Goodway Printing

Merchandise Maria Conroy, Jeremy Hewitt Global Merchandising Services

Merch & Programme Design Karma Creative

SPECIAL THANKSThe Cavern Club - Liverpool Bill Heckle, Jon Keats

Gary Hovey, Danielle Edgren, Alice Hanlon, David Pack, Jeffrey Foskett, Rick Southern, North Custom Drums, AMEDIA Cymbals

BeatlesStoryLiverpool @BeatlesStory @BeatlesStory

Buy tickets online at beatlesstory.com

The award-winning Beatles Story is the world’s leading attraction purely devoted to the lives and times of The Beatles.

Be transported on an incredible immersive journey and experience the places that helped to make The Beatles the greatest band in the world.

The story of the band that changed the world.

Long & Winding Road; All My Loving; And I Love Her; Can’t Buy Me Love; Yesterday; Drive My Car; We Can Work It Out; Eleanor Rigby; For No One; Sgt Pepper’s Lonely Hearts Club Band; She’s Leaving Home; Magical Mystery Tour; Fool on the Hill; Penny Lane; Back in the USSR; Blackbird; Golden Slumbers; The End; Hey JudeWritten by Paul McCartney and John Lennon and used with the kind permission of Sony/ATV

All You Need is Love; A Hard Day’s Night; I Should Have Known Better; No Reply; Eight Days A Week; I Feel Fine; Help; Ticket to Ride; You’re Gonna Lose That Girl; You’ve Got to Hide Your Love Away; Nowhere Man; Norwegian Wood; In My Life; Tomorrow never Knows; Yellow Submarine; With a Little Help from My Friends; Lucy in the Sky with Diamonds; Being for the Benefit of Mr Kite; Reprise/A Day in the Life; Your Mother Should Know; I Am the Walrus; Strawberry Fields Forever; Julia; Goodnight; Helter Skelter; Because; Come Together; Carry That WeightWritten by John Lennon and Paul McCartney and used with the kind permission of Sony/ATV

Don’t Bother Me; Taxman; Within You; Without You;Written by George Harrison and used with the kind permission of Sony/ATV

Something; While My Guitar Gently WeepsWritten by George Harrison and used with the kind permission of Bicycle Music

I Saw Her Standing ThereWritten by John Lennon and Paul McCartney and used with the kind permission of Sony/ATV and Universal Music Publishing

Please Please MeWritten by John Lennon and Paul McCartney and used with the kind permission of Universal Music Publishing

She Loves YouWritten by John Lennon and Paul McCartney and used with the kind permission of Sony/ATV and Warner Chappell

I Wanna Hold Your HandWritten by John Lennon and Paul McCartney and used with the kind permission of Universal Music Publishing and Sony/ATV

SoNG CREdITSSuPPLIER LoGoS

www.TheSessionsLive.com