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Investor Information

Read Moneyweek: Investing In Theatre or listen to a podcast on  Investing In Theatre

The best place to find investor information on this show is in our brochure, which you can download hereThere is also an invitation to invest and investors’ contract. Please contact us if you would like to see these. Due to FSA regulation, we cannot publish them on the web. You need to be a sophisticated investor to invest in this project. The following is an expression of our opinion only and for information purposes It is not a solicitation.



This story, in our professional judgement, has the potential to be a huge hit in London, on tour and globally. We also believe this can go on to become a hit film on the scale of Oliver! But you should only invest in a film or theatre venture if you believe in the material. So put us to the test:

o Read the script.

o Listen to the CD.

And draw your own conclusions.


The track record of this team is outstanding. Their CVs follow, but briefly:

o Terence Frisby (Author/Producer) has worked for 50 years as a playwright, actor, director and producer. His most famous play, There’s A Girl in My Soup, was a worldwide smash hit.

o Gordon Clyde (Composer/Music Director) has been a lifelong composer, performer and lyricist on stage, screen and radio.

o John Altman (Composer) has won too many awards to list here as an arranger and composer for film and television. Just read his CV.

o Richard Stilgoe (Composer) has been either a lyricist or composer in some of the most successful musicals in history – Cats, The Phantom Of The Opera and Starlight Express.

o Peter Wilkins (Executive Producer/General Manager) has managed over 270 high-quality productions in the West End, on Broadway and elsewhere.

o Jeremy James Taylor (Associate Director/Producer) has vast experience in managing casts with children. He founded the the National Youth Music Theatre and was its Artistic Director for almost thirty years.


For a production of this size, the capitalization is low, even with its substantial contingency and capital reserve package of nearly 30% to protect the show against unforeseen circumstances. The weekly running costs are also attractively low; the production breaks even at under 40% of theatre capacity, lower than most musicals.

This is an original piece, so there are no payments to past producers or other previous rights holders. In fact, the reverse applies: future shows (tours, repertory, amateur, abroad and, especially, schools), and spin-offs like film, CD and other ancillary rights will generate substantial additional revenue for the original investors, you. The royalties associated with these revenue streams, if they arise, will be divided according to the 60/40 split between investor and producer.


Musicals are the heart of the boom in the West End. They remain big business in London and a magnet for the theatre-going public. What’s more, musicals with children have a very successful record. Some examples are: Oliver!, The Sound of Music, Annie, Billy Elliot, Mary Poppins, Chitty Chitty Bang Bang and Bugsy Malone. All have been hit films as well.

There are currently many revivals and tribute shows in the West End. We believe there is a genuine appetite, a craving even, for some original material.


World War Two and, in particular, the evacuation, has a big hold on our imagination. Over three million children were evacuated from British cities. It was the largest movement of people in British history: a national tearing-apart of families, which resulted in many new ones. Almost everyone seems to have at least one family member to whom this happened.

The show is redolent with the flavour of Cornwall, where it is set, and will charm lovers of the West Country. We believe it will appeal to visiting Americans, whose wartime GIs play a key role in Act II, as they arrive prior to D-Day, bringing their music with them.

‘Kisses’ will be an excellent first musical for parents to take children to and introduce them to the joys of musical theat.