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REVIEW: Gus Gowland’s Mayflies, York Theatre Royal, flying until May 13 ****

Not always seeing eye to eye: Nuno Queimado’s May and Emma Thornett’s Fly in one version of Gus Gowland’s Mayflies at York Theatre Royal. Picture: Sam Taylor

OH, the app-hazard nature of modern love under Covid’s black cloud.

You shadow box tenderly, tentatively, expectantly, for two years online after dating app initiations, then finally meet for one fateful night in a seaside hotel, shedding skins as much as clothes, a knockout blow that turns the morning after into the mourning after. The chatter, then the shatter.

All this mirrors gone-in-24-hours life of the mayfly (the insect here making an appearance on the cover of May’s jigsaw, Mayfly On River, Germany).

What a brief breath of life in flight, after up to two years spent twiddling thumbs and knotting scarves in gestation underwater, only to crash and burn on impact.

York Theatre Royal artist-in-residence Gus Gowland’s musical world premiere has followed a similar path of anticipation. Already an award winner for Pieces Of String (Mercury Theatre, Colchester, 2018), he had tantalised York audiences with five-minute showcase contributions to Love Bites in 2021 and Green Shoots in 2022, and now the wait is over.

Be assured, Mayflies will not die after one day (or three if you choose to see all three configurations of Tania Azevedo’s flexible casting). An afterlife is deserved by Gowland’s concept, book and songs alike.

Gowland eschews burdening his putative lovers with defined gender, race, sexual orientation or age, further extending its potential shelf life.

For +Juliet director Azevedo’s premiere, two from three will perform in any show. It could be Nuno Queimado’s May with Emma Thornett’s Fly; Rumi Sutton’s Fly with Queimado’s May or Sutton’s May in a gay coupling with Thornett’s Fly. Clear so far?

Raising a glass: Rumi Sutton’s May and Emma Thornett’s Fly in a second configuration of Mayflies. Picture: Sam Taylor

It is not essential to see all three combinations, but the potential of both Gowland’s book and in particular his songs are better revealed the more pairings you meet, rather than only one match of the day. Both the idealistic Fly’s restless urges in Looking Back and realist May’s pile of relationship debris in Running On Empty will fly, whoever sings them. Queimado’s account of that heartrending ballad is especially affecting.

As much as the mayfly is Gowland’s motif for a love affair’s arc from joy to sorrow, matched by the mayfly hanging lamps’ choreographed movements in TK Hay’s design, equally significant is May’s love of jigsaw puzzles, one of the quirky revelations that builds a picture of a character.

The audience is invited to piece the jigsaw together, not without a picture, but with the extra challenge of Gowland detailing the relationship in both flashbacks and flashforwards.

As with jigsaw pieces, some scenes have jagged edges, others are rounded, and gradually the full picture emerges before the pieces are put back in the box for reassembling in different hands (as the magician’s flourish of a finale portends).

Just as the casting presents differing versions of the coupling, so Gowland highlights how we present differing versions of ourselves depending on the circumstances. Which is the truthful version: the one played out online, at a distance, or in the compression, the intensity, the heat of the moment, in that hotel hothouse?

Does May not want children, as is revealed at the hotel, or want them, as had been indicated in passing conversation online? Preferences on custard creams or shortbread, pizza consumption and more besides provoke doubts on what may have been said and whether it matters whose recollection is right.

Where goofy awkwardness has never blighted them behind the online shield, once May and Fly are together, in that room, wondering what to do next – whether and when to make a move, watch TV, eat a biscuit, order pizza – the sheer ordinariness of it all has the tea cup stain of familiarity that elicits both humour from cringy own goals  and vulnerable deeper emotions in Gowland’s dialogue as he walks the tightrope between warm-hearted romcom and angsty kitchen-sink drama.

The best speech – and the longest – goes to Fly, an epistle to love, to connection, to being a “defining feature in someone else’s story”, that signals the death knell to May and Fly and has you thinking, not for the first time, “Shut up, please shut up, you’re blowing this”, but also recognising the truths within the compulsive behaviour.

The juddering rhythms of the staccato scenes, a fusillade of snapshots that go to the heart, are countered by beautiful, choreographed scene changes where May and Fly entwine, flit flirtatiously or throw a prop from one to the other as if living their best life.

In the heat of the long-awaited moment: Nuno Queimado’s May and Rumi Sutton’s Fly in the third pairing of Mayflies. Picture: Sam Taylor

The songs, closer to Sondheim and Willy Russell than Lloyd Webber, contain wit, authorial wisdom and sometimes withering truths, ranging in content from conversational to confessionally dramatic, from playful, wishful or jousting duets to hopeful or wistful internal monologues.

Gowland doesn’t write OTT chart bangers, but consistently his storytelling songs – intelligent, incisive, funny or poignant – have an impact. Tellingly, Queimado, Sutton and Thornett find full expression in their nuances.

Azevedo’s direction is both musical and lyrical, orchestrating scenes as much as directing them, complemented by musical director’s Joseph Church’s lean, clean arrangements for his piano and Joel Benedict’s guitar.

This intricate but never ornate production is full of work of the highest standard, not only from the performances that can switch from charming to charmless, funny to foot in mouth, thoughtful to thoughtless in both characters, but also in Chris Whybrow’s sound designs and David Howe’s lighting, in turn transforming from warm to chill to match the ever-changing moods.

T K Hay’s breath-taking set design for Nick Payne’s multiverse in Constellations last November at Scarborough’s Stephen Joseph Theatre whetted the appetite for his creativity for Mayflies. The profusion of ever-moving mayfly lamps delights, while he cleverly wraps a standard-fare hotel room inside multi-levelled building blocks, with a staircase leading to a balcony/kitchenette above.

This enhances the contrast between their online ‘connectivity’ in separate spaces – using the Theatre Royal stage to the full – and the sudden sardine-tin claustrophobia of the hotel.

Previously Gowland played with time, setting Pieces Of String simultaneously in the 1940s and present day (just as Alan Ayckbourn did in The Girl Next Door in 2021). Now he joins Jason Robert Brown’s The Last Five Years and University of York alumnus Payne’s Constellations in giving differing perspectives on the path and fragile nature of love, the greater truths emerging from the writer rather than his players on life’s stage. How wonderful if Mayflies could match their success.

What’s more, just as Fly says there is a difference between running and knowing when to leave, so Gowland judges his running time spot on at 90 minutes of longing, loss and love in its all ridiculous yet enriching madness.

Mayflies, York Theatre Royal, tonight, 7.30pm (Emma & Rumi); Thursday, 2pm (Nuno & Emma) and 7.30pm (Rumi & Nuno); Friday, 7.30pm (Emma & Rumi); Saturday, 2.30pm (Nuno & Emma) and 7.30pm (Rumi & Nuno). Box office: 01904 623568 or yorktheatreroyal.co.uk

Mayflies composer, lyricist and writer Gus Gowland, seated, with cast members Emma Thornett, left, Rumi Sutton and Nuno Queimado

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Three actors, two roles, one relationship, add up to Gus Gowland’s musical premiere of Mayflies at York Theatre Royal

Entwined: Rumi Sutton’s May and Emma Thornett’s Fly in a scene from Gus Gowland’s musical Mayflies, in rehearsal at the Central Methodist Church, York. Picture: Sam Taylor

THE world premiere of York Theatre Royal resident artist Gus Gowland’s new musical, Mayflies, opens tomorrow with a cast of Nuno Queimado, Rumi Sutton and Emma Thornett.

Except that you will not see all three of them on stage that night (28/4/2023), nor indeed at any performance in the run until May 13.

To explain, Mayflies tells the story of a romantic relationship between May and Fly, who match up on a dating app and begin a tentative conversation, whereupon their romance grows into something real. Then they meet.

Same story each show, but Gowland uses a rotating cast whereby any performance could feature a configuration of Nuno (May), Emma (Fly) or Rumi (“the super-talented one” because she can play either May or Fly).

“Come on three nights and you will see all three configurations,” advises director Tania Azevedo, a specialist in bringing new musicals to the stage, with credits for the award-winning But I’m a Cheerleader (Turbine Theatre) and as resident director for & Juliet in the West End.

Nuno Queimado’s May and Emma Thornett’s Fly in a touching moment in Mayflies. Picture: Sam Taylor

“Gus has specifically written what to our knowledge is the only musical able to be played by anyone of any age, gender, sexuality or race. May and Fly don’t come from anywhere specific; they have no identity whatsoever, which feels really special because it’s such a joy to watch, whether it’s Nuno and Rumi, Rumi and Emma or Nuno and Emma: we’re making a show that is universal. You get to experience the bravery to fall in love, whether you’re straight, gay, young or old.”

Composer, lyricist and writer Gowland, director Azevedo and musical director Joseph Church ran a full week of auditions, seeing more than 300 actors. “There had to be some decisions made at the beginning,” says Tania. “We could have had just two actors but settled on three, which allows us to really show how flexible the script is.

“Within that, we wanted to select people from different backgrounds and with differing vocal qualities, not just your average musical theatre performers. We also needed playful actors, able to cope with changes, as this show will be as fresh as it can be, with the latest re-write finished only a few weeks ago.

“They need to be playful to discover the juice within it. It will always have their imprint on it, stretching the concept as far as possible.”

Portuguese-born Nuno, who played the alternate Alexander Hamilton in the West End run of Hamilton, says: “Gus hasn’t written specifically drawn characters but doesn’t shy away from very specific themes, but the device he uses to change the configurations is what’s so special. That’s the juice that sets it apart from other shows.

“Then they meet”: Nuno Queimado’s May and Rumi Sutton’s Fly in Mayflies. Picture: Sam Taylor

“What’s great in the rehearsal period is being able to carve out the characters in 3D, finding out what’s different in each of our characterisations.”

To aid that journey, mood boards have been steadily filled with ideas and notes in the rehearsal room at the Central Methodist Church in St Saviouragte.

Tania rejoins: “What’s been really interesting is how generous they’ve been to each other, truly working as an ensemble with a collective understanding of the story while searching for the differing nuances of each pairing, so we’re developing the individuality of each character. Even with the same blocking, each pairing will feel really different.”

Emma, whose credits include War Horse, says: “To get that distinction between the different combinations, Tania has allowed us to develop why my Fly is different from Rumi’s.

“Having two people playing the same character at different performances brings a different dynamic to each scene, which will end up with it feeling like it’s a different show.

Director Tania Azevedo and musical director Joseph Church overseeing a rehearsal for Mayflies. Picture: Sam Taylor

“This is so rare in musical theatre because it usually has a prescribed time and place and specific type of acting, with freedom being somewhat restricted, but here it’s unique for allowing the true actor’s craft to be infused into the songs.”

Nuno says: “Tania, as the director, will go back to what’s important to squeeze as much juice as we can from each scene, whether we have to be busy or relaxed or open to being vulnerable, but always sticking to what the scene needs. Keep asking what each character needs: that way it doesn’t ever let the oven of creativity get cold.”

Another dimension to the show is representing the world of online dating. “What’s fascinating is that for a third of the play they can’t see each other as they’re connecting through online dating, which has had such an impact, especially since the pandemic when it was the only way to connect and find a new partner,” says Tania.

“No longer do people meet in a bar if you’re looking for love now. Chances are they will meet online. It’s interesting to see how the relationships changes when they’re in the same room [at an hotel], reading texts, talking on the phone or voice noting…”

…”And whether they react and how they react or not, in each situation,” says Rumi, who is making her York Theatre Royal debut after appearing in Hex and Heathers The Musical.

Mayflies composer, lyricist and writer Gus Gowland, seated, with York Theatre Royal cast members Emma Thornett, left, Rumi Sutton and Nuno Queimado

“The impact on when they’re in the room together face to face is pretty extreme,” says Tania.

To add another ingredient, Mayflies does not plough the straight furrow from the relationship’s beginning to finale. “It’s not chronological!” says Nuno. “It keeps jumping between online and offline and we keep jumping backwards and forwards too!”

Those worlds have to be represented in the designs of TK Hay, who so thrilled audiences with his innovative geometric carapace of one and a half miles of fibre-optic cable lighting for the multiverse story world of University of York alumnus Nick Payne’s Constellation at the Stephen Joseph Theatre, Scarborough, last autumn.

“The main thing I told him is that it’s a musical with only two people but we need to make it exciting on a big, big stage,” says Tania. “People have an expectation of how opera will look and we have to find a way to present things in a new style.”

Gus Gowland’s Mayflies runs at York Theatre Royal from tomorrow to May 13, 7.30pm; 2pm, May 4 and 11; 2.30pm, May 6 and 13. In a special deal, you can see all three casting configurations for the discounted price of £15. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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Gus Gowland’s romantic musical Mayflies finds myriad ways to tell the same story in world premiere at York Theatre Royal

Mayflies lyricist, composer and writer Gus Gowland, seated with cast members Emma Thornett, left, Rumi Sutton and Nuno Queimado

DO not confuse York Theatre Royal resident artist Gus Gowland’s musical premiere, Mayflies, with Peter Mackie Burns’s 2022 television drama of the same name.

“That series was based on an Andrew O’Hagan’s novel that came out in 2017, but my title is taken from an insect that’s been around since before humanity!” says Gus, whose musical tracks the romantic relationship of May and Fly from first flourish to final goodbye.

“When I started this musical, I didn’t know that the TV series would be coming out when it did, but I did then read the synopsis – and it’s very different from mine! I don’t know what I’d have done if I’d been asked to change the title as the whole point was matching the characteristics of the mayfly,” says Gus.

“It is true that predominantly mayflies live for only 24 hours but they have a gestation period that can last for two years, and that felt like a good metaphor for meeting online, then meeting in person for one night, and then the morning after.

“What happens in Mayflies is that after swiping right, left, up and down across the dating apps, May and Fly begin a tentative conversation. Over time, their romance grows into something real, something special. Then they meet!”

Watching a documentary on riverbanks triggered the musical. “I love rivers for some reason,” says composer, lyricist, songwriter and playwright Gus, who moved to York in 2019 after his partner was appointed chief executive officer of Rural Arts in Thirsk.

“Anyway, there was a section on mayflies and that’s what piqued my interest. That incubation period, which I didn’t know about before then, struck me as really interesting when we only know about the mayfly’s fleeting life, but nothing about that earlier period. I watched it last summer, so the musical has been incredibly quick in arriving.

“It would be nice if I could invest Mayflies with a longer life than a mayfly has, and it’s been brilliant for me that York Theatre Royal has had faith in me to stage this premiere as it’s so important to support new work.”

Running at the Theatre Royal from April 28 to May 13 under the direction of Tania Azevedo, the world premiere of Mayflies will feature alternating configurations of three actors performing the two roles in each performance: Nuno Queimado playing May, Emma Thornett, Fly, and Rumi Sutton either May or Fly.

Another production could have a different gender balance, but however it plays, each pairing is designed to give a different perspective on the relationships within this contemporary love story.

“I was really excited by the challenge of writing something that could be played by pretty much anyone, regardless of age, race, gender, sexuality,” says Gus. 

“As an audience, we bring so much of ourselves and our understanding of the world to the things we see, so I wanted to explore what happens when we see the exact same love story told by different people – how would the dynamics change? Which moments would hit harder in each telling?

Mayflies designer T K Hay, left, musical director Joseph Church, cast members Nuno Queimado, Emma Thornett and Rumi Sutton, director Tania Azevedo and composer Gus Gowland at York Theatre Royal. Picture: Charlie Kirkpatrick

“I know how much an actor brings to a role too and so I wanted to create people that the actors cast would be able to really imbue with their own sense of identity. We’ve seen some rotating casts before, but I really wanted to write the flexibility of casting into the material, rather than just have it as a production idea layered on top.”

Gus continues: “It’s a real challenge to avoid signifiers of characteristics, like age and gender, but I’ve adored finding ways to create rounded specific characters without those to lean back on. One way I’ve done that is to write the parts in different time signatures, which makes them musically very distinct.

“I’m over the moon with the extraordinary cast of actors we have for this first ever production of Mayflies and am so excited to see what they each bring to the characters.”

Gus, who lectures on the post-graduate musical theatre course at Leeds Conservatoire, has a two-year residency at York Theatre Royal, where his songs have been heard already in showcases for professional York talent.

For 2021’s Love Bites, he wrote a song for diarist Anne Lister (alias Gentleman Jack), performed by Dora Rubinstein, and for 2022’s Green Shoots, he used James Herriot quotes for I’ll Go T’Other, a song about the vet and his relationship with North Yorkshire, performed by Joe Douglass.

Settled into the city – he and his partner have bought a house here – Gus is aware of York’s love of musicals, whether staged by York companies or brought to the city on tour. “Mayflies’ Theatre Royal run is sandwiched between Strictly Ballroom and Heathers at the Grand Opera House: there is so much musical theatre staged here, so for me to have the opportunity to start a new musical’s life here is wonderful.

“So many people want to make their life is musical theatre, and it’s good for them to see that they don’t always have to go to London to be involved. There are theatres making musical theatre elsewhere.”

Brought up on watching Disney hits and classical musicals such as Kiss Me Kate, Gus had a love of musical theatre from the age of five, becoming obsessed with it, he says, whether Les Miserables or hearing the voices of Ruthie Henshall, Lea Salonga and Michael Ball.

“I just think it’s the best way to tell a story, though I know it’s certainly more complicated to get musical shows on because there are definitely more moving parts. They take more time to put on, which is the main challenge,” he says.

As with Gus’s Pieces Of String, winner of the 2018 Stage Debut Award for Best Composer or Lyricist and the UK Theatre Award for Best Musical Production for its Mercury Theatre, Colchester premiere, Mayflies has a book, lyrics and music by Gowland, a self-taught musician who composes on the piano.

“What’s rare is that both my main-house shows have been completely original, coming out of my brain and heart, rather than being an adaptation, where I’m more likely to be collaborative,” he says.

Gus had trained to be a classical actor at the Royal Conservatoire of Scotland. “I didn’t do many musicals there, but I did write two songs for a new show called Spoon River that we did as our third-year show based on a book of poems from the late 1800s, where every poem told a person’s life story,” he recalls.

Mayflies composer Gus Gowland and director Tania Azevedo

“I did quite a lot of concert singing but I didn’t look after my voice, which I would have needed to do for musical theatre.”

Gus duly decided to focus on musical theatre writing after focusing initially on acting, going on to study for an MA in musical theatre writing at Goldsmiths, University of London, and latterly a PhD in musical theatre, specifically looking at gay representation in the artform, using Pieces Of String as part of his studies.

As for his style of musicals, Gus says: “Being an actor, I’m familiar with text and though I love sung-through musicals, like Rent or Les Miserables, I consider myself more of a dramatist or storyteller. I like songs to be ‘real moments’ and I like them to be moments of transition in the story, with ten songs in all in Mayflies.”

He divides Mayflies into three stages, matching the life arc of the mayfly: Nymph online, Dun for the night together in a hotel room and Spinner for the morning after, but be warned, the story’s path is not chronological.

“We jump from one to another at a moment’s notice, with a lighting change or a sound effect. What’s interesting is people being different versions of themselves at different times, when the safety net of separate spaces is taken away in moving from online to in-person,” says Gus.

“We are contrary creatures, so we’ll say things that are the opposite of what we said before; sometimes that’s intentional, sometimes it’s because you’ve forgotten what you said, but for the other person it might have been memorable.

“In Pieces Of String I had two time frames, and now what I get to do in Mayflies is show whether someone said something or not and whether they meant it or not, and by being really free in the casting, over gender, age and race, I let audiences play with their own assumptions, because we assume things when we see people of a certain age or sexuality.

“The dynamics between each pairing can be totally different in its compact with a song taking on a different meaning, depending on who is singing it. Using different time registers for each character, which I’ve never done before, it’s interesting to see how different it makes them sound too. It’s all part of what I want to do, to really push myself as a writer.”

Gus is picking up Pieces Of String once more this year with a view to its further development. “I started writing it in 2011 as part of my MA and then developed it over many years before premiering it at Colchester in 2018 after the Mercury Theatre came to one of the workshops and decided to take it on.

“Now it’s being optioned by Global Music, who produced SIX The Musical, and by Alchemation in America, so I’ve done a new draft, making changes from the premiere. It could have happened sooner but for finishing my PhD and the pandemic, but we’ve now done a reading of it at the Vaudeville Theatre [in London] in January.”

How long is Pieces Of String’s future? Wait and see!

York Theatre Royal presents Gus Gowland’s Mayflies, April 28 to May 13, 7.30pm, plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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Meet the three who will become two for each performance of Gus Gowland’s musical Mayflies at York Theatre Royal

Mayflies cast members Emma Thornett, left, Rumi Sutton and Nuno Queimado with composer, writer and lyricist Gus Gowland

THREE into two will go when York Theatre Royal stages the world premiere of resident artist Gus Gowland’s musical Mayflies from April 28 to May 13.

Three actors, Nuno Queimado (May), Rumi Sutton (May/Fly) and Emma Thornett (Fly), will alternate the roles of May and Fly, with each pairing offering a different perspective on the relationships within this contemporary love story.

Not to be confused with Peter Mackie Burns’s 2022 television drama of the same name based on Andrew O’Hagan’s novel, Gowland’s Mayflies tracks the romantic relationship of May and Fly from first flourish to final goodbye.

After swiping right, left, up and down across the dating apps, they match, duly beginning a tentative conversation. Over time, their romance grows into something real, something special. Then they meet!

Award-winning composer, lyricist, songwriter and playwright Gowland’s musical explores the different versions of themselves that people become during relationships and how – in the blink of an eye – it can all come crashing down.

“I was really excited by the challenge of writing something that could be played by pretty much anyone, regardless of age, race, gender, sexuality,” says Gus. 

Nuno Queimado at a research & development session for Mayflies

“As an audience, we bring so much of ourselves and our understanding of the world to the things we see, so I wanted to explore what happens when we see the exact same love story told by different people – how would the dynamics change? Which moments would hit harder in each telling?

“I know how much an actor brings to a role too and so I wanted to create people that the actors cast would be able to really imbue with their own sense of identity. We’ve seen some rotating casts before, but I really wanted to write the flexibility of casting into the material, rather than just have it as a production idea layered on top.”

Gus adds:  “It’s a real challenge to avoid signifiers of characteristics, like age and gender, but I’ve adored finding ways to create rounded specific characters without those to lean back on. One way I’ve done that is to write the parts in different time signatures, which makes them musically very distinct.

“I’m over the moon with the extraordinary cast of actors we have for this first ever production of Mayflies, and am so excited to see what they each bring to the characters.”

Portuguese-born Nuno Queimado played the alternate Alexander Hamilton in the London West End production of Hamilton and has starred in Jesus Christ Superstar too. Rumi Sutton’s credits include Hex and Heathers; Emma Thornett has appeared in War Horse and Bedknobs And Broomsticks.

Directing this trio in rehearsals from the first week of April will be Tania Azevedo, who specialises in developing new work. Resident director on & Juliet in the West End, earlier she received best director nominations in the Off-West End Awards and Broadway World Awards for her work on Turbine Theatre’s world premiere of But I’m A Cheerleader, based on the cult LGBTQ+ film. The show won best Off-West End production at the What’s On Stage Awards.

Emma Thornett: Playing Fly in Mayflies

“When I first read Mayflies, one of the aspects of Gus’s work that immediately grabbed me was the flexibility with which May and Fly have been written,” says Tania. “It allows them to be played by any actor, regardless of age, gender or any other identifiers. This has led to a rich and thought-provoking casting process.

“It truly became about pairing actors and learning about their shared humour, approach to vulnerable conversations and chemistry with one another. Finding three actors who bring very different things to the table, and who have the craft to tackle this idea of ‘multiple configurations’, has been a joyous process and a unique approach to musical-theatre casting. We’re looking forward to making this piece with this incredible cast.”

Songs by Gowland, who lives in York, have been heard already on the Theatre Royal stage in showcases for professional York talent. For 2021’s Love Bites, he wrote a song for diarist Anne Lister (alias Gentleman Jack), performed by Dora Rubinstein, and for 2022’s Green Shoots, he used James Herriot quotes for I’ll Go T’Other, a song about the vet and his relationship with North Yorkshire, performed by Joe Douglass.

Before moving from London to York, Gowland enjoyed success with his first full-length musical Pieces Of String at the Mercury Theatre, Colchester, named The Stage’s Best Regional Musical of the Year in 2018 and nominated for the UK Theatre Best Musical Production award. He won The Stage Debut Award for Best Composer/Lyricist and was nominated for the inaugural Writers’ Guild of Great Britain Award for Best Musical Theatre Bookwriting.

Gowland has been commissioned previously by Theatre Royal Stratford East and has developed shows with the Royal Conservatoire of Scotland and Leeds Conservatoire.

In 2021, with Craig Mather, he wrote and released an EP of pop songs focusing on mental health, In Motion. His musical short Subway was produced by MPTheatricals that year.

Rumi Sutton: Playing May/Fly in Mayflies

His short musical Sick! was performed at LOST Theatre, London, and his short play Clocks & Teapots was performed at RADA Studios and the London Transport Museum.

Gowland was commissioned by Olivier Award-winning theatre collective Duckie to write songs for Copyright Christmas (Barbican, London). He co-wrote and directed Barren and Love Love Love, which toured to Canada, and wrote and performed the one-man musical Tell Me On A Thursday at the Camden Fringe.

Joining Azevedo in the production team will be designer TK Hay, whose hi-tech creativity was last seen on a North Yorkshire stage in Nick Payne’s intricate Constellations at the Stephen Joseph Theatre, Scarborough, last November. Past credits include Making Of A Monster for Wales Millennium Centre and The Apology for New Earth Theatre. Musical direction, arrangement and orchestration will be by Joseph Church.

York Theatre Royal presents Gus Gowland’s Mayflies, April 28 to May 13, 7.30pm, plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk. For a video introduction to Mayflies, visit: https://www.youtube.com/watch?v=kXJ962JF2Rc&t=23s

Did you know?

IN 2014, Gus Gowland was on the UK Jury for the Eurovision Song Contest.

Gus Gowland and director Tania Azevedo at a research & development session for Mayflies