Alex Loveless

Composer/Lyricist, Librettist & Lecturer in Musical Theatre




Twitter: @alexlmusicals



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fivebluestars.gif (1397 bytes)  "...Dracula was alluring, seductive and compelling. The music was pitch perfect and the songs were addictive. A few of the songs reminded me of Les Miserables and The Phantom of the Opera. A truly impressive selection of new music that you will remember long after leaving the show.

A university production worthy of a West End stage. I would love to see this show again, it would definitely become one of my favourites..."

- Hayley Thorpe in London Theatre 1

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Tess of the D’Urbervilles (book, music & lyrics)

Stepping Out Theatre

New Wimbledon Theatre Studio, September 2014

Sponsored by the Arts Council England. Showcased in July 2012 at the Union Theatre, Southwark as part of Musicals In Progress (Mercury Musical Developments Theatre Lab).




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…a strong trio of leading performances... The Loveless brothers …have brought great sincerity to their storytelling …surging power ballads …very well delivered …the three leads provide a compelling centre to the show...



…musically stunning …haunting songs and strong direction …a beautiful musical





A wonderful evening of storytelling. This beautiful new musical… has a perfect blend of a new score, great book, talented cast and winning direction



…superbly conceived and realised …there is so much to admire in this production… the fusion of the Victorian novel and musical theatre is remarkable



Clever direction …the cast is no less than superb… a charming score… A welcome addition to the roster of new British book musicals



…a wonderful musical evening



…an exciting and accessible production. The musical score with its notable numbers will leave you humming …a glorious afternoon.



…wonderfully fresh and dynamic …a masterpiece, not only of musical intensity but also of outstanding stagecraft …a beautiful new musical…



…astonishingly good …stunning …thoroughly enjoyable



…sheer enchantment from start to finish… songs that could easily become standards…



…this is the best new musical to hit the Off-West End stage in years …divine work



…a magnificent performance



…this fine musical …a first rate cast… worth seeking out without delay.



…atmospheric and melodic …a bold and well told story…


…really great new British musical writing… the score is rich, vibrant, and original…



…a phenomenal ensemble performance …this is something incredibly special…


Past Productions

2014 Bel-Ami (book, music & lyrics)
London College of Music, University of West London

Watermans Theatre, Brentford (previews) & Charing Cross Theatre, West End
2010 The Remains of the Day (book, music & lyrics)
Simon James Collier in association with Fallen Angel Theatre and Ben David Productions
Union Theatre, Southwark
Sponsored by the Arts Council England and the National Lottery
Adapted in collaboration with Kazuo Ishiguro Evening Standard Critics’ Choice & Time Out’s Best Theatre This Month
Featured on the Today programme (BBC Radio 4)
2008     Dracula (book, music & lyrics)
The White Bear Theatre and Fallen Angel Theatre
White Bear Theatre, Kennington


2013 Script Accelerator (book, music & lyrics) Park Theatre
2012 Musicals In Progress (book, music & lyrics) Union Theatre
2007 My Beautiful Laundrette (book, music & lyrics)
Duchess Theatre, West End
1998 Sensation (book, music & lyrics)
Theatre Royal, Drury Lane


2006 My Beautiful Laundrette (book, music & lyrics)
Royal Academy of Music
2005 Behind Closed Doors (music & lyrics)
Royal Academy of Music

For Youth Theatre

1994, 1996, 2001 To Death & Glory (book, music & lyrics)
ACT Youth Theatre, Furness Youth Theatre
Forum 28, Barrow in Furness & Coronation Hall, Ulverston


2000            Howard Goodall Award for Composition, London College of Music
1998   Most Promising Newcomer, Vivian Ellis Prize


Membership of Groups

Professional Writer Associate of Mercury Musical Developments:


Reader for Mercury Musicals Development

Lecturer for BA Musical Theatre, London College of Music


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‘Creating a new musical is always an ambitious project and this world premiere, based on the 1885 novel by French author Guy de Maupasssant, is a zeitgeisty take on the media establishment even as today's tabloid journalists are lining up in the dock for their part in the phone hacking scandal.

Performed by students at London College of Music, University of West London, the production displays a wealth of young talent who sing the house down thanks to superb music and lyrics by Alex Loveless, who seems to use an unusual mishmash of 80s synth and modern pop as his reference points.

…catchy music …the fabulous cast finish in style. The final verdict: those who love their musicals will delight in such an inventive adaptation…’

What’s On Stage – Bel-Ami


‘Guy de Maupassant’s uncannily prescient novel Bel Ami receives 21st century spin-doctoring courtesy of Alex Loveless’ vibrant, electro-pop musical.

Loveless’ edgy, pumping music… definitely delivers. At their best, the musical numbers are biting, satirical commentaries on modern life – rarely do the words ‘Sunni’, ‘Shia’ and ‘Al Qaeda’ make it into musical theatre – and the most ambitious numbers manage to concentrate and develop the plot, turning songs into entire mini-scenes. ‘Love/Hate’, for example, probably my favourite segment of the night, segues neatly from the death and funeral of Dury’s boss Forester to a wedding between Dury and Forester’s widow, riffing on the theme of a ‘Dies Irae’.

‘No Going Back’, a quintet for female voices, is also nicely realised, as is the hilarious ‘Too Much Money’, which gives Brett Jay-Davis a delightful spell in the spotlight. The lyrics… are witty and contemporary (“trial by media… trial by Wikipedia…”), and the book is peppered with delicious Dorothy Parker-esque bon mots.

Alongside director Chris Loveless, Anthony Whiteman keeps the action ticking along with his vogue-ing choreography – the ‘Phone Tap’ dance routine is inspired! – and MD George Carter’s five-piece band, augmented with Andy Smith’s programmed synth backing, deliver a real punch.

I was surprised by an edgy night of new music that, in my notes, I judged as lying somewhere between Chess, American Psycho and Evita. …a thrilling, bold and wickedly amoral night out that showcases some of the next wave of musical theatre talent.’

Musical Theatre Review – Bel-Ami


‘Centring on the intertwined worlds of journalism and politics, Guy de Maupassant’s novel, Bel Ami, told of corruption, greed, immorality and hypocrisy at the highest level of public life. The original setting was France in the 1880s, but crossing

the Channel and leaping forward to the 21st Century, it is remarkable how little of the story has needed to be changed and, with the Leveson inquiry and phone-hacking trials still hitting the headlines, it could hardly be more topical.

The score by Alex Loveless is lively and varied, incorporating contemporary pop, a little rap and traditional musical theatre styles. He knows how to mix things up too, as when the show gets a little heavy in the second act, he diverts from the main narrative and throws in Too Much Money, showing MPs frolicking in their Caribbean playground. It is unusual in musicals for a single person to take on all three tasks – book, lyrics and score – and Loveless needs to be congratulated for this…

Chris Loveless’ direction and Anthony Whiteman’s choreography are fluid and imaginative, performed on an uncluttered stage with minimal props. Most heartening is that their production shows a clear understanding of what is uniquely possible in the art form of musical theatre. As examples: trial by media is explained in a gem of a routine with two rival groups facing each other – one (phone) tap dancing, the other performing a “liberal shuffle”; earlier a sombre funeral merges into a joyful wedding during a single song, the characters’ emotions seen to be equally shallow at each; and the corrosive effects of unethical journalism are demonstrated with the chorus waving their red tops as they sing Read All About it, creating visual images that endorse the cynicism of the lyrics.

Bel Ami is not the sort of of story from which we expect a happy outcome, but this production could well lead to several of them.’

The Public Reviews – Bel-Ami


‘Alex Loveless’ original musical adaptation of French author Guy de Maupassant’s novel The History of a Scoundrel from 1903 is fresh, significant and thoroughly entertaining. The musical has taken themes from the French novel but displays them by using contemporary British political society before the invasion of Iraq as a new setting.

Johnny Fitzharris as George Dury is seamless and whilst Dury is arguably a villain in the musical; using manipulation and seducing numerous women; he is not one-dimensional. What makes this character so interesting is that the audience can see Dury’s unwavering belief that he is inherently entitled to status and success and so the means he must go to make others fear him are just unfortunate collateral damages.

Similarly, this is mirrored in the female characters that initially appear wholly superficial and selfish but eventually are presented as chess pieces in the society in which they exist. What also works extremely well with such a young, vibrant cast is the modern score which features pop, rap, R&B, epic electric guitar solos and some superb lyrics which tie the story together. Some musical highlights include ‘No Going Back’ sung by the female leads, ‘Don’t Question Me’; a powerful solo from Fitzharris and ‘Too Much Money’; a lively and satirical ensemble number in the second act.

…this show really does have it all; comedy, pathos, some slick tapping and shuffling and exciting, fast paced scenes. Political points are cleverly woven in without being laborious and this makes the show both slick and topical. As well as this, the pinpointing of the artificiality of love as the punishment for these ambitious characters is very powerful. These factors combine to form a very impressive contemporary political musical, which has an underlying morality and a heart and soul.’

Bargain Theatreland – Bel-Ami


‘Johnny Fitzharris plays the charismatic lead…with strong vocals and a distinct stage presence. He has an animal lust for women, particularly women married to men in power. He falls for the wife of the newspaper owner and callously celebrates her husband’s death. A nice touch is that the funeral scene seamlessly merges into their shot-gun wedding. This offers an insight into the callous attitudes and motivations behind marriage within this world.

The show is interspersed with a range of musical styles including dance, rock and RnB. The dance routines are well-choreographed by Anthony Whiteman and the recurring songs are catchy and rousing.

This is a contemporary take on power, greed and the media’s relentless appetite for carnage at any cost. I’d definitely get down to Charing Cross Theatre… for this interesting, lively and very well acted musical.’

On In London – Bel-Ami


‘The world premiere of Guy de Maupassant’s novel Bel Ami couldn’t have come at a more topical time. Delving into the murky world of journalism and politics Bel Ami churns up a story of corruption, greed, immorality and hypocrisy at the highest echelons of society. Originally set in the 1880s it is rather worrying how easily this story befits its 21st Century guise with headline ink still drying on reports from the Leveson inquiry and subsequent trials.

The lead role of George Dury was played spectacularly by Johnny Fitzharris who embodied the role incredibly well. Belting out tunes such as ‘Don’t Question Me’ with such a formidable force that it left you in no doubt as to his capabilities as a performer. The ensemble were fantastic and did well to set the scene creating brilliant moments to watch, such as the commuters journey and ‘Too Much Money,’ showing MPs frolicking in their Caribbean playground.

London College of Music should be congratulated for this endeavour… it is a brave undertaking to achieve what they have and the cast certainly gave it their all.’

London Theatre 1 – Bel-Ami


Reviews of Bel-Ami the Musical by members of

‘It was worth every minute - this is a superlative new musical with a great score and excellent lyrics, dynamic choreography and fine lead performances.’ fivebluestars.gif (1397 bytes)

‘Absolutely loved this. The set pieces, choreography and music are amazing. Would love to see it again! A great musical.’ fivebluestars.gif (1397 bytes)

‘Awesome! Very engaging, amusing and an altogether riveting performance with great vocals and dance.’fivebluestars.gif (1397 bytes)

‘A great show full of life, enthusiasm and pizazz! Excellent choreography and music. Very relevant to today's world with sleazy journalists, money-makers and members of parliament. It was certainly thought-provoking in a very entertaining way. The music was varied and very uplifting. I would certainly recommend a visit to this production for an entertaining and fun evening.’ fivebluestars.gif (1397 bytes)

‘What energy and professionalism by the cast of this musical on their opening night. The music was great and the singing by the cast was excellent. Surely some stars in the making.’ fivebluestars.gif (1397 bytes)


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Evening Standard Critics’ Choice - The Remains of the Day

fourbluestars.gif (1347 bytes) ‘A cursory glance at The Remains of the Day, a novel of subtlety and nuance, would suggest it is an unlikely candidate to be turned into a musical, a genre that often over-emphasises the obvious. Kazuo Ishiguro’s masterful study of quintessential English reserve in the first half of the last century, turned into a magnificent Merchant Ivory film starring Anthony Hopkins and Emma Thompson, doesn’t exactly beg to have songs inserted. Yet from such seemingly unpromising source material Alex Loveless has crafted a sophisticated piece of musical theatre.

A strong sense of magisterial Darlington Hall, home of a Nazi-sympathising lord and place of work for butler Mr Stevens (Stephen Rashbrook) and housekeeper Miss Kenton (Lucy Bradshaw) is skilfully evoked in the small playing space, and director Chris Loveless captures the milieu perfectly via maids whispering in corners. The central thrust of the narrative is the years-long non-romance between the central characters, due to the obsessively decorous Stevens putting “service” before any vestige of a personal life.

Rashbrook gives a marvellously restrained performance that hints at the unexplored depths of Stevens’s soul and he and Bradshaw, plus a top-notch ensemble, make easy work of the songs, many of which have a solemn and hymn-like feel. It’s not all gloom, though, with the frothy music hall number The End of the Pier to lighten the mood. A canny West End producer could do far worse than to tweak this fine show for a transfer.’

Evening Standard – The Remains of the Day



Time Out’s Best Theatre This Month (September 2010) – The Remains of the Day

‘…a well-acted and sensitive reworking of Kazuo Ishiguro's elegant Booker-winner. Alex Loveless writes a nice tune…’

Time Out – The Remains of the Day



‘It’s somewhat surprising that writer and composer Alex Loveless decided to turn Kazuo Ishiguro’s The Remains of the Day into a musical. What’s even more surprising is that, by and large, his radical transformation of this story works… the songs are almost always well-integrated, intelligently written, and subtly performed.’

What’s On Stage – The Remains of the Day



‘Fine ballads… An engaging libretto.’

The Stage – The Remains of the Day


‘The adaptation flows sustaining the mood of the times with music that is melodic in its songs yet lively enough for the dancing… It is all woven together in fluid strokes. It is a gem…a jewel… that shines its light and lingers on. Export to the West End, Lincoln Center, BAM, Kennedy Center, etc.’

Blanche Marvin's London Theatreviews – The Remains of the Day


‘Poignant in the extreme… deeply moving. The entire book, music and lyrics is credited to the young (and extremely gifted) composer Alex Loveless.’

Musical Stages – The Remains of the Day


‘It was difficult, at first, to accept the idea of Kazuo Ishiguro's wonderful book as a musical. The Merchant Ivory film was as close to the book as I imagined it was possible to get with Anthony Hopkins making the role of the quintessential butler, Stevens, very much his own among a brilliant cast. Yet the key theme of declining British hegemony, as played out in Darlington Hall at key moments just before the Second World War in 1935, looking back through the eyes of Stevens (Stephen Rashbrook), from around the time of the Suez Crisis in the 1950s, is rendered perfectly on stage in this musical production.

The complexities of the political machinations of 'gentlemen amateurs' like Lord Darlington (Alan Vicary), who seeks to forge European alliances with the Nazis, is, yes I know it's hard to believe, sung in thrilling ensembles such as 'The French' in Act I and 'Democracy' in Act II. The American challenger Mr Lewis/Mr Farraday (Reuben Kaye) becomes Stevens' master at Darlington Hall, just as the Americans take the lead as world superpower from the British after the Suez Crisis, and sings 'Divide and Rule' to the gathered European politicians, taking on the tactics which allowed Britain to remain world leader for so long.

A combination of dramatic dialogue, singing, and dancing brought the characters to life with an emotional subtlety that bewitched the audience in the Union Theatre.

When Stevens follows Lord Darlington's directive to dismiss the two Jewish servants in the household, Miss Kenton's argument on their behalf and their leave-taking in 'Close Your Eyes' is really moving, and beautifully sung by Gemma Salter and Katia Sartini as Sarah and Ruth.

The music, composed by Alex Loveless, was divine and worthy of attendance by itself.

I didn't expect a work of such understated quality to be rendered well in a musical but it was a true success. An all singing, all dancing Remains of the Day seemed a questionable enterprise, but I enjoyed every moment of it and left excitedly discussing new angles of a book and film I had thought it would be impossible to improve on. However, new wine in old bottles can sometimes be a very good thing.’

Extra! Extra! – The Remains of the Day


fourbluestars.gif (1347 bytes)  ‘One might be forgiven for hesitating to see a musical version of the celebrated novel The Remains of the Day but this production, like a well-kept house, handles each and every aspect skilfully and is deserving of praise. The historical grounding (though largely fictional) is well grounded and the interesting time is handled unpretentiously by Loveless's script and lyrics. The Remains of the day tugs at the heartstrings with such strength that one wishes this was staged in a larger space, with more people able to experience it.’

Remotegoat – The Remains of the Day


‘…it is good to welcome a musical version of “The Remains of the Day”, perhaps because it doesn’t ruin one’s recollections of the book or the film. Adding the songs in the way that Alex Loveless has done helps the story along mainly in a through-composed way that explains both the thoughts and emotions of the characters involved. The lyrics in “The Remains of the Day” are not banal but are still conversational in the way that Stephen Sondheim writes in, say, “Company”, “Assassins” or “Sweeney Todd”. The songs, a mixture of lively music and more contemplative ballads, set the scene well and provide a suitable atmosphere for the narrative. Scored for woodwind and strings, it has a delightfully plangent quality. It is in essence a charming piece…It is not often that new musicals are instantly successful. “The Remains of the Day” seems to be an exception that works from first word to last.’

Classical Source - The Remains of the Day


‘Alex Loveless has concocted a recipe of delicious songs… For example, the starkly entitled number, The French, immediately conjures up the required notion of stiff, upper-lipped Englishness, which is preceded beautifully by the gorgeous, string-drenched melody The Remains of the Day. The lyrics of the song, sung by Stevens towards the close of the play, finally expose the haunting undercurrent that pervades throughout, even during rare moments of levity. Equally, one could not fail to be impressed by Miss Kenton’s enchanting delivery of The Way That Once We Were. Needless to say, a transfer to the majestic West End stage could only do a service to this already distinguished production.’

Irish World – The Remains of the Day


‘Loveless, who is making a fine name for himself on the fringe circuit, has used the novel as a springboard for a multitude of his own ideas, and they're great ideas… Though the ensemble scenes in this musical are well thought-out, Loveless has created a musical that celebrates the individuality of each character, as proved by the memorable scenes between Bradshaw and Rashbrook.’

Spoonfed - The Remains of the Day


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‘Easy-on-the-ear songs… Alex Loveless’ music and lyrics… faithfully convey the spirit of Bram Stoker’s novel and deftly build up the drama, which makes for highly-enjoyable studio theatre entertainment.’

The Stage – Dracula


fourbluestars.gif (1347 bytes) ‘A musical version of Dracula could have gone horribly wrong, but The Fallen Angel Theatre Company have managed to pull off an entertaining evening, in this well produced version of the gothic classic. A night of bloody good fun.’

What’s On Stage - Dracula


‘The music is atmospheric and delightfully melodic. Alex Loveless has the knack of writing tunes that sound at the same time both fresh and familiar. In ‘I Am Great Atilla’ there is a fine number in which Leigh Jones’s strong, fine-voiced Dracula recounts his descent from the conquering Hun and ‘A Kiss Can Last Forever’ is a lyrical love duet when Dracula is ensnaring Annabel King’s Mina. [The production] doesn’t indulge in overblown histrionics or aim at spectacular effects but gets on with the story and flows rapidly from scene to scene.’

British Theatre Guide – Dracula


‘It is this attention to the human aspect that makes this version [of Dracula] by far the most successful that I have seen to date. The ‘epic’ style he has adopted works beautifully… What is also effective is the cinematic style of underscoring the dialogue, coupled with a number of memorable songs… at last someone writes a tune you can remember the following morning... Alex Loveless’s Dracula is an intelligent and memorable interpretation of the Stoker novel, a feat that has eluded many of those who have tried before him. One hopes that this new musical will capture the attention of those in a position to develop the piece as it is one of few new works that truly does have potential to go further.’

Musical Stages Magazine – Dracula


‘It works, and it works mainly because of the quality of the songs… Alex Loveless’ lyrics combine good rhyme with light irony… Creating an air of menace/chill are the ensemble pieces. “The Seduction” – a number twice reprised – binds the musical together. This is an alternative to the West End, perhaps not so lavish but certainly not lacking in quality.’

UK Theatre Net – Dracula


fourbluestars.gif (1347 bytes) ‘Isn't a musical of Dracula a slightly odd idea? Aren't vampires supposed to be cold, aloof and silent - not enthusiastically belting out a show stopping good tune as though they are in an Undead Xfactor? But this play is worth a second look (and hearing). The musical breathes new life to the 1897 melodrama, and is a brave and vigorous adaptation of the horror classic. If singing vampires are your thing, see them here.’

Remotegoat – Dracula


‘The Loveless Brothers, Alex (composer) and Chris (director), created a remarkably effective “sung-through” version of the story, managing to avoid falling into laughable melodrama. The musical followed the “epic” style of the novel – with its diary and letter form – and the result was an intelligent, gripping and fluid show with a twelve strong cast and musical accompaniment from an electric keyboard occasionally accompanied by cast members on cello, oboe and guitar. The music came in for especial praise, and it was generally felt this could be a show with a future.’

Over The Footlights - Dracula


‘Wonderful original music… Let’s have more!’

NODA (National Operatic & Dramatic Association) Magazine – To Death & Glory


‘Closing in on Andrew Lloyd Webber… a cracking story line… The score is quite marvellous with some good chorus numbers… and some songs that can stand up on their own… The words are so good… there are some thrilling moments of drama in this piece.’

North West Evening Mail – To Death & Glory

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