An Introduction to Twenty Twenty Seven from Heath Woodward.
As kids my brother Glenn and I loved playing games based on time travel. I was always the one with a time machine and he would be the evil villain from the past who would eventually kill me just in time for mum to call us for lunch.
The idea that time travel is possible has always fascinated us. Some theories are just crazy and make great comic strip type movies, but others go beyond time travel machines and futuristic devices and make us stop and think for a moment about the timeline we live by and if it is actually something we can have a small amount of control over. Such theories have resulted in many late night discussions with friends that often last until early morning. I’m sure you know the kind of conversation I mean that occurs after dinner and a few bottles of wine.
Personally I love movies like Somewhere in Time, Source Code, The Jacket, and The Butterfly Effect. To me these are not just a few hours of entertainment, they have given me food for thought and an element of wonder about their writers and the people behind the theories. These movies and situations in my own life have inspired me to write Twenty Twenty Seven.
In the beginning we were wondering how a complicated subject like time travel would work in a musical. Maybe it would come across as too many ideas struggling to hold a story together, and could it be easily explained in the song lyrics without it all getting too complicated?
I believe we should write about what interests us and about the subjects we really love. Twenty Twenty Seven has many elements that I am passionate about. It’s a show with great story telling, music, dance, mystery, but above all Twenty Twenty Seven is the ultimate love story about a relationship that could never really work.
The show has taken a long time to get together and I would like to thank our fantastic cast of talented actors, actresses, dancers, backing singers, stagehands, session musicians, and everyone who has helped to bring Twenty Twenty Seven to the stage.
A special thanks to Glenn who not only directed the first two productions but contributed greatly in the early development of the script.