Big Broad is a creatively-led theatre production company with a strong diversity agenda, producing original stage plays and musicals. The company was originally set up in 2005 and became the lead producers for Bad Girls The Musical, first at West Yorkshire Playhouse in 2006 and subsequently in the West End at the Garrick Theatre in 2007.
Douglas McJannet joined Big Broad as Producer in Spring 2013 to launch several new projects, the first of which was Maureen Chadwick's play The Speed Twins, produced at Riverside Studios in September 2013.
A new musical, The Realness, in a co-production with The Big House, was premiered at Hackney Downs Studios in Autumn 2014.
September 2015 saw the premiere of another new musical, Crush, in a co-production with the Belgrade Theatre, Coventry, followed by a short tour to Brighton and Richmond.
Next up is new musical comedy noir, Footballers' Wives, workshopped in November 2019.
REVIEWS:
The Realness - Hackney Downs Studios
★★★★★ "Unmissable. Edgy, poignant, complex, and full of hope. In short, it's real."
Anna Malzy, Everything Theatre
"brimming with robust talent and passion"
Daisy Bowie-Sell, Time Out
"A stimulating, vibrant show... hard to resist"
Howard Loxton, British Theatre Guide
"catchy songs, defined characters, humour and, most importantly of all, honesty"
Rebecca Gordon, Musical Theatre Review
The Speed Twins - Riverside Studios
"Killingly funny – I haven’t laughed this much in the theatre for ages. This wonderfully humane show boasts one of the sharpest scripts."
★★★★★ Greg Jameson, Entertainment Focus
"A mesmerising and remarkable achievement. Dark, thought provoking and very very funny."
★★★★ Remotegoat
"A Fond and droll exploration of identity and love."
Daisy Bowie-Sell, Time Out
Bad Girls The Musical - WYP & West End
"There is real artfulness in Kath Gotts' music and lyrics and Maureen Chadwick and Ann McManus' book. A big popular brassy show that pushes all the right buttons."
Lyn Gardner, The Guardian
"Kath Gotts who has written both music and lyrics strikes me as the brightest new prospect for British musical theatre in years"
Charles Spencer, The Daily Telegraph
"The dialogue crackles and snaps convincingly with lush vulgarity, innuendo and violence."
Nicholas de Jongh, London Evening Standard
