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LATE NIGHT SERIES Series kicks off with
The International Hit Musical Revue
Naked Boys Singing!

 Originally Conceived by
Robert Shrock

at the Garden Theatre

★★★★★ Witty, performed with dash and style, and the tonic one needs these dismal days. The athletic choreography devised by their director is stunning, and they can all sing. Camp, but clever, it contains nothing that would cause Aunt Edna to blush, and deserves to run and run.

★★★★ a lot of good clean fun. There is plenty of talent on display and the six guys perform splendidly
London Living Large

★★★★ It’s  great fun and I left the theatre with a smile on my face.

Written by

Stephen Bates, Marie Cain, Perry Hart, Shelly Markham, Jim Morgan, David Pevsner, Rayme Sciaroni, Mark Savage, Ben Schaechter, Robert Schrock, Trance Thompson, Bruce Vilanch and Mark Winkler

“Tonight good old Shakespeare’s considered a bore
Tonight something new and unique is in store”

The title says it all in the international smash hit musical comedy Naked Boys Singing!

This hilarious musical revue features 15 original songs, a bevy of gorgeous and talented men, and no clothes – a winning combination if ever there was one!  From the sassy opening number “Gratuitous Nudity” to the screamingly funny “Bliss of a Bris,” audiences and critics the world over have hailed Naked Boys Singing! a sure-fire crowd-pleaser.

Originating at the Celebration Theatre in Los Angeles, this campy musical comedy opened Off-Broadway in 1999 and ran for over twelve years.

Shortly after the original Off-Broadway closed, the smash hit Provincetown adaption of Naked Boys Singing! transferred to the Off Broadway stage where it is still enjoying a healthy run today.

“Talk about a show with balls!” – Time Out

“Naughty and funny” – Sydney Morning Herald

“A cheery musical revue with clean scrubbed songbirds in their birthday suits” – The New York Times

Director/choreographer: Carole Todd

Assistant director: William Spencer

Musical director: Aaron Clingham

Lighting: Richard Lambert

Produced by Peter Bull for LAMBCO Productions.

Photo Credit: NatLPho


Liam Asplen

Boy 1 | Liam Asplen

Training: University of Chichester (BA Hons Musical Theatre).
Theatre credits while training: White Christmas; Summerisle!; 9 to 5 and Lucky Stiff .
Theatre credits: Fall of Eagles (Edinburgh Fringe Festival); Peter Pan (Live Business for Brittany Ferries); Jack & the Blingstalk (Harold Pinter Theatre).

Nick Brittain

Boy 2 | Nick Brittain

Training: STAC and the London School of Musical Theatre
Theatre Credits: Cat in the Hat (Turbine Theatre), Charles in ‘Me and My Girl’ (Frinton Summer Season), Alex in ‘The Crumple Zone (The Kings Head), Boy in ‘Cat in the Hat’ (Edinburgh Pleasance), Phil in ‘Skin Deep’ (Edinburgh Gilded Balloon), Skin Deep UK Tour, Dance Captain and PC Ping in Aladdin (Lowestoft, PHA), Tom in ‘The Hired Man’ (The Union Theatre), Monsieur Gaston in the UK premier of ‘Hotel for Criminals’ (Wimbledon Studio).

Nick also performs as a guest entertainer with ‘The Jersey Knights’ and with ‘West End Misfits’ at The Other Palace. Nick is an Actor and Photographer, and is thrilled to be working with the Garden Theatre to create another of their post-lockdown productions.

Daniel Ghezzi

Boy 3 | Daniel Ghezzi

Training: Ithaca College (BFA in Acting).
Theatre credits: Her Way (John Thaw Studio); Mary Shelley (Tristan Bates Theatre); One Giant Leap (Jack Studio Theatre); A Little Bit of Life (Bread & Roses Theatre) and The Producers (Trinity Theatre).

Kane Hoad

Boy 4 | Kane Hoad

Training: West Kent College.
Theatre credits include: The Snowman (Peacock Theatre & UK Tour); Don’t Kick the Bucket – Cardboard Citizens (Hackney Council); Singer/Dancer/Assistant Cruise Director (Regent Seven Seas Cruises); Singer/Dancer (Oceania Cruise Line); Vegas the Show (Norwegian Cruise Lines); 50’s & 60’s Doo-Wop (UK Tour); Paris Je T’aime (Nouvelle Eve); Madagascar Live (DreamWorks); Queen’s Jubilee Concert (Walt Disney Co – Hyde Park); Choreographer/Director, Top Rockers (Rainbow Productions); Irish Rhythms (Mallorca, Spain); Mickey’s Winter on Ice (Disneyland Paris); Jungle Book (Disneyland Paris); Associate Producer / Stage Manager Happily Ever Poofter (Edinburgh Fringe).
TV credits: Brighton (Feature Film); Sex Drugs & Murder (Channel 4); Featured Dancer in Kliq – (Music video).

Daniel Noah

Boy 5 | Daniel Noah

Training: The Urdang Academy, Sylvia Young’s Theatre School (Head Boy).
Theatre credits: Leon – Imagine This (Union Theatre London); Prince Rupert/Boy in Turban – The Banquet of Anthony and Cleopatra (Louvre- Abu Dhabi) ; Mowgli – The Jungle Book (Madinat Theatre, Dubai) ; Ensemble/Dance Captain – Jack and the Beanstalk & Peter Pan (Derby Arena) ; French Franc – Beauty and the Beast (Princes Theatre); Muddles – Snow White and the Seven Dwarfs & Wishee Washee – Aladdin (Middle East City Tours.
TV/Film & Other: Dancer – Paloma Faith (BRITS 2018) ; Furgus- Web of Belonging (ITV Film Seris) ; Joey- Mike High (BBC) ; Sammy- Spooks (BBC) ; Student in Harry Potter and the Deathly Hallows pt.2 ; Eurovision backing Vocalist (RAK Studios) ; Various Language Tapes
Twitter: @_DanielNoah

Jensen Tudtud

Boy 6 | Jensen Tudtud

Training: Guildford School of Acting.
Theatre credits while training: Wonderful Town; Dear World and Closer.
Theatre credits: Royal Opera House production of The Return of Ulysses (Roundhouse); A Chorus Line (Bridewell Theatre); Not Until We Are Lost (Live at LICA); and Korczack (Rose Theatre).
Concert credits include: Featured vocalist for TED Holiday Villages .


Director and Choreographer | Carole Todd

As Director/Choreographer in over 30 West End Theatres, Carole’s work includes: Dancing in the Streets; Elvis the Musical; Dreamboats and Petticoats; Cilla the Musical; Jesus Christ Superstar; Lily Savage’s Snow White; Wild Oats (National) and La Cenerentola (Royal Opera House).

Worldwide includes: Mikado (Brisbane, Sydney and LA); Elvis (Vancouver and Sydney); countless trade shows from Iceland to the Bahamas, and Resident Director for Starlight Express in Japan and Australia. Recently Carole has directed Bugsy Malone, Cats and Oliver.

Previous direction includes: the hit comedy Girls Night Out and Peter Terson’s Strippers.


Musical Director | Aaron Clingham

Aaron has received seven Off West End Award Nominations for Best Musical Director.

Favourite credits include: Grindr The Opera; Pinocchio; [title of show]; Fanny and Stella; Bathhouse The Musical!; Metropolis; The Kissing Dance; The Apple Tree (Broadway World Nomination for Musical Director) and Wonderful Town (Ye Olde Rose and Crown Theatre); Into the Woods (Cockpit Theatre); It’s a Bird…It’s A Plane…It’s Superman (Leicester Square Theatre); My Land’s Shore (Theatr Soar); The Rippers Five (Theatre Technis); Sondheim by Sondheim (Camden Roundhouse); Cream (Canal Cafe Theatre) and Charming Dick (RVT).

Orchestration credits include: Romance Romance; Grindr The Opera; Metropolis; Into The Woods and My Land’s Shore.

Cabaret includes: Mountains A Musical Journey (The Other Palace); Don’t Ask the Lady! (The Crazy Coqs); Sondheim Divas (Above The Arts); Tim McArthur and Friends (Hippodrome Casino) and The Stephen Sondheim Society Presents (Phoenix Artists Club).


Lighting Designer | Richard Lambert

Theatre credits include: PIPPIN and Fanny & Stella (Garden Theatre Eagle London); TICKLE the Musical; Margot, Dame, the Most Famous Ballerina in the World; Undetectable (Best Lighting Design, Off West End Nomination); The Crumple Zone (King’s Head Theatre); Skin Deep (Ed Fest and UK Tour); Marry Me A Little; Muscles the Musical; Alvaro’s Balcony; Discotivity; Stand Tall; Vincent River; The Hot Mikado; Get Aladdin; A Class Act; Next Thing You Know; Nunsense; Bakewell Bakeoff; Meet Me in St. Louis; No Way to Treat a Lady; The Man Inside; Damn Yankees (Best Lighting Design, Off West End Nomination); She Loves Me; In the Dead of Night; The Clockmaker’s Daughter; Sincerely Yours; Personals; Romance Romance and Devilish! The Musical (Landor Theatre).

Other credits: Disney on Ice (7 continents, Tokyo Budokan, New Orleans Super Dome, Toronto Sky Dome, NYC Radio City Music Hall); Royal Wedding Dress Exhibition (Kensington Palace); #Hashtag Lightie (Arcola Theatre); Cirque Enchantment (UK Tour); Jazz Dance Company UK Tour (6th year) and Do you Have a Secret Crush (Sleeping with Straight Men)? (LOST Theatre).


Assistant Director | William Spencer

William trained at Bird College and was a Student Ambassador to the McOnie Company.

Within the last year he has been two time Offie nominated for Best Choreographer for his work on [Title of Show] and Boy Toy The Ballet. Other choreographic and directorial credits include: Black Magic Woman; Queereteria TV; Diary of a W*nky Actor and the cabaret show Cut Before Curtain Up.

As an assistant choreographer to Carole Todd his credits include: Musical of Musicals (The Musical); Mother Goose Cracks One Out and Cynthia’s Girls.

Performance credits include: Grindr the Opera (Original London Cast); Spamalot; R&H’s Cinderella and Saucy Jack and the Space Vixens.

He is delighted to be reunited with Carole and Aaron on this production, whom he thanks deeply for their friendship and mentoring, and the King’s Head Theatre team for being so welcoming.



Peter Bull has produced over 100 Off West End plays, musicals and pantomimes. Highlights include the 25th Anniversary Revival of Jonathan Harvey’s Beautiful Thing, Pets Shop Boys’ musical Closer to Heaven and Silence! The Musical.

In addition, he has directed in London, New York, Chicago and Milwaukee. He recently produced the original cast recording of his award winning production of Grindr The Opera, to be released to coincide with the show’s Off Broadway opening this summer. Peter brings with him a wealth of experience and specialised knowledge of LGBTQ+ theatre.

The History of Naked Boys Singing!

Robert Schrock was producing Artistic Director of the Celebration Theatre, Los Angeles, prominent gay theatre company when he conceived Naked Boys Singing! in 1997. The theatre was struggling at the time and desperately in need of a hit. Naked Boys Singing! married the Celebration’s two most popular draws — nudity and music — and did the trick! Produced for $12,000, the show ran for a year and a half, building the kind of crossover audience, with women and straight men, that Schrock envisioned. He had grown weary of shows targeted at gay audiences that “used nudity without really addressing it”. He invited songwriters to contribute numbers on the subject, selecting 15 from more than 50 submitted. Much of the material is humorous; some is poignant, bordering on dark. The result is a show with tonal variety, wit and moments of depth that manages to transcend its focus on the male anatomy even as it keeps its attention fixed there.

“When you lower people’s expectations with a title like ours, it works to your advantage,” Schrock says. “The comment I hear most often from people is that the show was not what they expected”.

Naked Boys Singing! transferred to Off Broadway in 1999 where it is still playing. There have been over 50 productions worldwide, not always without controversy. The 2005 Milwaukee production (which I worked on) was shut down by the vice squad citing “lack of license and public nuisance”. The producers couldn’t believe their luck – the story got international press coverage and they sued the City, winning a substantial payout before reopening the production for an extended run!

That production was the fourth to be shut down by local police forces, following on from ones in Provincetown, San Juan and Atlanta. Despite these hiccups, Naked Boys Singing! continues to bring joy to audiences around the world.

I couldn’t resist revisiting this old friend which is as fresh and relevant as it was when it first opened over twenty years ago.

I hope you enjoy the show!

Peter Bull, Producer


A note from LAMBCO Productions

In these days of powerful media and mass market advertising, it’s all too easy to feel guilty for not eating the right foods, not going to the gym, not having the right look, not having the right haircut or wearing the latest fashions. We often allow ourselves to feel inadequate, which can result in superficial facades such as clothing, allowing us to project a well-considered but false image to those around us. Many people could never consider allowing themselves to be seen naked.

Once the clothes come off, we are exposed in ways that go way deeper than the skin’s surface. A group of naked people share both a vulnerability and a similarity in having imperfections, but they tend to be kinder to each other, less critical, and there can be a deeper connection. Being as nature intended, rather than hiding ourselves from view, is not a sexual overture. The world would be a much kinder place if society was more accepting of nakedness.

I’d like to thank you for coming to see Naked Boys Singing! and we all hope you enjoy the fun and connection of this show!

Richard Lambert

LAMBCO Productions