I have always loved musical theatre — the buzz, the anticipation, the moment when a show finally comes to life after you’ve lived with its soundtrack for so long.

Growing up, I struggled with mental health, identity, and rejection — experiences shared by many people, but often lived quietly. George began as a way to explore those feelings honestly, and to create a story that could hold both darkness and hope.

The idea started with a spark — a single image — and from that moment, the writing began. George was born.

The script went through many drafts, rewrites, and late nights. Scenes were reshaped, flawed characters and arcs evolved, and songs were written, cut, merged, then rewritten as the story found its true form. Of the many songs originally written, only those that genuinely served the narrative remain in the final draft. (There have been a lot)

As the musical grew, so did the need to refine it. Length was trimmed, scenes combined, and emotional beats sharpened — not to lose depth, but to make the story clearer, stronger, and more honest. Every change was made to give a true story for each of the characters and that journey they take.

It has many complex elements, hidden motifs, sights and sounds that work on a subconscious level that will make audiences see extra things, each time they experience the show. It's not just  about what the characters say or sing; it's what the audience sees and feels. Even the music has an identity.  It's a strong story written as a tapestry. The dialogue and songs are the main pattern, but the colour, texture, and hidden knots of the motifs are what will make it so rich and emotionally resonant. The audience will feel the story as much as they see it.

While I do not write traditional musical notation, music has always been central to my life. I DJ, I live in music, and I know instinctively what emotional tone a moment needs to carry. To explore this, I used music tools during the early demo stage — as a sketching and exploration tool — allowing me to experiment with genre, tempo, mood, and structure. Many songs went through dozens of iterations before the right emotional shape emerged.

These demos are not finished scores. They are placeholders — working drafts intended to communicate tone and intent. As the show moves into workshop and production stages, the music will be fully scored, orchestrated, and refined in collaboration with musicians, composers, and producers.

What is complete — and entirely original — is the story, script, lyrics, and dramatic structure of George. The heart of the show has always been human, personal, and carefully crafted.

Below are a few glimpses into that process — handwritten script pages and early music drafts — it's not going to be the final polished performance. It's a window on  how the musical has been built: slowly, deliberately, and with loving care.

Creating a musical is not something done overnight. It takes time, patience, and belief. My hope is that one day, George gives someone else that same buzz — the feeling of walking into a theatre and recognising a piece of themselves on stage.