Sights & Sounds

We held a Rehearsed Reading of the 1st part of the play on 29th November 2018.

Tim McArthur will be directing the play.

Training: Mountview (Diploma in Musical Theatre).

Directing credits include: Into the Woods,(Cockpit Theatre), Metropolis, Wonderful Town, A Little Night Music, Into the Woods, Days of Hope, She Loves Me, Follies. (Ye Olde Rose and Crown Theatre); NewsRevue (Edinburgh 2013, Canal Café Theatre, London 2013 and 2016), Sunny Side of The Street, Bewitched Bothered and Bewildered, Classic Moments, Hidden Treasures, Coloured Lights and Jack The Ripper (Jermyn Street Theatre); Sweeney Todd and Chess (University of Cumbria, Carlisle); Rubbed, Goosed, Fanny, Jack Sissy That Stalk, Charming Dick and Prince Bendover in Boots (RVT); Beans and Cream (Canal Café Theatre); Hot Lips Cold War (London Theatre Workshop) ,Maurice, My Beautiful Laundrette, Dangerous, When Harry met Barry, Orton, Rise Like A Phoenix, Boyes Play, Cleveland Street, The Blink Series and three seasons of the hit Bathhouse (Above The Stag Theatre, where Tim was Associate Artistic Director from 2009 – 2015).

Future Directing credits include: The Milkman’s on His Way (Old Courtroom Theatre, Brighton), a new musical with Tony Hatch and Slippered.

Acting credits include: In Gay Company (RADA); Bathhouse and Silence of The Lambs (Above The Stag Theatre); Assassins (Pleasance Theatre); Blair on Broadway (Arts Theatre); Forever Plaid (UK Tour); South Pacific (Aberystwyth Arts Centre) Joseph and the Amazing Technicolor Dreamcoat (Chelmsford Civic Theatre and Middlesbrough Theatre); Godspell (Millfield Arts Centre); As You Like it, Aladdin and Dick Whittington (Mercury Theatre, Colchester); Another Country (Greenfields); Twelfth Night (Broadway Theatre, Catford); You’re Gonna Love Tomorrow (Greenwich Playhouse) and The Golden Key (Greenwich Theatre); Fred Astaire (London Palladium); Dame in Aladdin, Sleeping Beauty, Dick Whittington and Cinderella (Courtyard Theatre, Hereford); Snow White with Linda Robson (Beck Theatre, Hayes) Aladdin (Chelmsford Civic Theatre) Charming Dick (Cockpit Theatre) Sleeping Beauty with Honey G and Jack and The Beanstalk with Michelle Collins (White Rock Theatre, Hastings)

Cabaret credits include: Tim’s debut his show Mountains at Feinstein’s 54 Below in (New York) and a season at The Pride Arts Centre in Chicago  Tim Sings Stephen Sondheim’s Divas (Ye Olde Rose and Crown Theatre, Frankenstein’s and Above The Arts, Pride arts Centre – Chicago, Tada Theatre – NYC); Mountains (St James Theatre, Kenneth Moore Theatre, Ilford, Jermyn Street Theatre and Above The Arts); Tim McArthur and Chums (London Hippodrome); A New Direction (Theatre Lounge, Kuala Lumpur); New York Ding Dong (Don’t Tell Mama, NYC); Over the Rainbow (Upstairs at The Gatehouse, New End Theatre and Jermyn Street Theatre). Tim has supported Helen Lederer (UK Tour); Graham Norton (Hilton); Julian Clary (Savoy Theatre) and Bobby Davro (Bridlington Spa); Elton John’s Christmas Party. For the past 2 years Tim has been the host for the monthly Sondheim Society Cabaret Night (Phoenix Artist Club) and most recently was one of the headline singers in Sondheim Unplugged at London’s Hippodrome.

Television credits include: EastEnders and When Will I Be Famous? (BBC); Ginger Beer and The Richard Blackwood Show (Channel 4).

Radio credits include: A Chorus Line, Sweet Charity, Fiddler on The Roof, Sweet Charity (BBC Radio 2).

Presenting credits include: Host and creator of The Curtain Up Show (Resonance 104.4Fm); In The Green Room (Encore Radio); Sunday show (Jemm 3); West End Wilma Awards (2014, 2015, 2016 and 2017); West End Eurovision Red Carpet (2013 and 2014); The Scene, Gaydar Radio, Five Live and Tim McArthur interviews on Theatre Radio.

Recording credits include: Fred Astaire; Bathhouse; Dangerous Cabaret and Tim’s debut album Don’t Be Anything Less.

Sister Mary McArthur credits include: Sister Mary’s Playtime (Frankenstein’s, Edinburgh Fringe 2017 and 2018; Sister Mary’s Big Show (Cockpit Theatre); On Ya Knees (Jermyn Street Theatre); Celebrity Nun (Gilded Balloon, Edinburgh); Sister Mary In SA (New Space Theatre, Cape Town), Sister Mary in NYC (Don’t Tell Mama, NYC) and Spank and Spanktacular (Underbelly and Pleasance, Edinburgh Fringe 2017)

Writing credits include: Tim’s debut play, Control (directed by Guy Retallack, Hen and Chickens Theatre and Bridge House Theatre). Tim has written a sitcom that has been optioned by Free At Last TV.

Twitter: @Tim_McArthur

Website: www.timmcarthur.com

In “Not for your hands”, David wrote:

“In The Milkman’s On His Way I tried to deal very directly with a teenager’s growing awareness that he’s homosexual, his gradual acceptance of this, and the life, warts and all, that it leads him to. Ewan emerges from the closet much more happily than Tim in “In the Tent”: he’s unencumbered by the restraints of religion. I wanted it to be a novel for young adults, so it went to Margaret Dobson. She was enthusiastic; we signed a contract and she gave me an advance — then she reluctantly changed her mind as other people in the firm protested. ‘You simply can’t,’ they told her. There were significant differences between the version that she saw and the book as Gay Men’s Press finally published it; it contained no explicit sex. When GMP took it (after refusing it initially on the grounds that they had no means of distributing it), I realised its audience would be adult gay men, not teenagers, so I described Ewan and Leslie wanking together, and wrote the now infamous page on which Ewan is fucked by Paul. It is this page rather than anything else in the book that has provoked so much hostility, years after it was published, from our legislators on the lunatic right — Dame Jill, David Wilshire, Baroness Cox, Peter Bruinvels, Dame Elaine et al—and which sent a government minion to Gay’s the Word to buy a copy.

The publicity in 1987 and 1988 about The Milkman was very unpleasant, even though that publicity vastly increased its selling power. I don’t like the blatant lies in the newspapers, or the same lies repeated, unchallenged, on radio and television — that it is, for example, the story of a fourteen-year-old boy who is seduced by his teacher, that five-year-olds in the classrooms of Haringey are forced to read it, and so on. Nor did I much relish the Minister for the Arts saying I had done a great deal to undermine the standards of family life. It’s as if I had written a pornographic book, whereas my intentions, and I’m sure the effect of them, were moral: I had in mind a muddled, anxious teenage reader trying to come to terms with the fact that he’s gay, and I hoped my book would help him towards a happier life than my own.

But in 1982 when The Milkman came out the moral climate was obviously very different. The reviewers praised it; a better novel on this particular subject, they said, was not to be found. No one objected. Sales were immediately good, and have consistently remained high: an average of two thousand copies a year, but more than that during the Clause 28 controversy. Total sales so far are about twenty-five thousand. I’m puzzled: who on earth is buying it, and why? Though gay men read it, it isn’t a novel for adults, and teenagers don’t spend their money on it. It certainly isn’t a children’s book, and I have little sympathy for those few libraries who put it in their children’s section – as if they deliberately wanted to encourage the wrath of the fascists. Many sales, I think, have been to libraries for their adult section. I was delighted with the chief librarian I met who, having heard of the fuss, decided to read it: there were only two copies in his local authority area, so he immediately ordered twelve more…

…I’ve received many letters from people who’ve read The Milkman; almost invariably those letters were from readers of my age or older, and they all said the same thing — how much they wished gay life as I described it could have existed when they were young. I’m glad they enjoyed the book, but it’s the teenager, if there is one, for whom The Milkman gave hope and courage to be himself that I’d really like to hear from….”

After a 25 year career in IT, Kevin decided to stop working full time and set up his own business delivering IT and Business Consultancy as well as offering Social Media expertise to smaller theatre and arts organisations. He has written one long play and three shorts. Anthony Meindl’s Actors Workshop choose one of his short plays, “The Gig Economy” for their showcase, “Invisible Light”, which ran in July 2018 at the Tristan Bates Theatre. He is currently working on adapting “The Milkman’s on his way” as well as a play about Benjamin Britten and his relationship with David Hemmings during rehearsals for Britten’s opera, “The Turn of the Screw”.