Tomorrow, Maybe is an immersive original British musical set in a commuters’ coffee shop. It focuses on snapshots of the people we cross paths with every day: from a Sicilian woman who fails to connect with the world around her, to a homeless man and his powerful tale of hope, the show questions how much we can really know about those around us.


Written by:

Amies & Clements

Produced by:

ACJ Productions

The Tomorrow, Maybe Timeline, so far...

  • Jul 14

    Stickprod meet Amies & Clements

    Kev from Stickman Productions in Southampton meets up with Amies & Clements and asks them to create a show for Stickprod to perform.

  • Oct 14

    First workshops

    very early workshops of some of the songs that would be going into Tomorrow, Maybe.

  • Jan 15

    Casting and Second Workshops

    A cast of some of the best performers in the South is put together and the workshops and rehearsals crank up.

  • May 15

    World Première of the original production of Tomorrow, Maybe, Asante Coffee Shop in Romsey

    2 Week production in Asante in Romsey. Run is completely sold out, and £2000 is donated from the profits to charity.

  • Jan 16

    Tomorrow, Maybe wins big!

    Tomorrow, Maybe picks up 3 awards, including Production of the Year at the Daily Echo Curtain Call Awards.

  • Feb 16

    New production written

    Amies and Clements complete re-writes of the show based on feedback from previous production.

  • Feb 16

    New production created

    Stickman Productions call back the cast and commence rehearsals and workshopping.

  • Apr 16

    Second production of Tomorrow, Maybe, Asante Coffee Shop in Romsey

    3 Week production in Asante in Romsey. Run is completely sold out before starting, and £2595 is donated from the profits to charity.

  • May 16

    The Aardvarks take over!

    Newly formed London based production company Aardvarks Can't Jump, take over production duties, and prepare the show for Edinburgh

  • Jul 16

    Edinburgh Festival Fringe Previews

    Aardvarks Can't Jump productions present the previews of the Edinburgh Festival Fringe production of Tomorrow, Maybe by Amies & Clements in London.

  • Aug 16

    Edinburgh Festival Fringe Production

    Aardvarks Can't Jump productions present Tomorrow, Maybe by Amies & Clements in it professional début at the Edinburgh Festival Fringe.

  • Aug 16

    Tomorrow, Maybe wins again

    Aardvarks Can't Jump productions receive the Three Weeks Editors Award for the production.
    They said: "this was an extraordinary piece; modern, engaging and accessible, with outstanding music and fabulous delivery."

  • Aug 16

    CliMar Productions and Bridge House Theatre SE20

    ACJP start working with CliMar Productions and The Bridge House Theatre SE20 to further develop the show.

  • Sep 16

    London Transfer

    Aardvarks Can't Jump Productions, CliMar Productions and The Bridge House Theatre SE20 present Tomorrow, Maybe at the Bridge House Theatre In Penge, South London.

  • Jan 17

    Extending the show

    Amies & Clements complete rewrites and compose new songs to bring the show back out to a full length 2 act production.

  • Now


    Multiple workshops are run in London and at the Guildford School of Acting to further develop and polish the show.




Here are some reviews of the show so far.

5 Star Review for Edinburgh Fringe preview shows in London, Aardvarks Can't Jump Productions
This week I was lucky enough to be invited down to the Omnibus Clapham for the preview of Tomorrow, Maybe ahead of its opening at Edinburgh Fringe next month.
So what has Tomorrow, Maybe got to offer? Written and Composed by Stephanie Jayne Amies, with additional music and arrangements by Teddy Clements, the show is an immersive experience which takes place in a commuters coffee shop – and true to site-specific theatre, the Producer Jamie Hemingway has ensured that the locations for the production are suited to the requests of the music and lyrics. The Clapham Omnibus leant itself nicely to the vibe of Mariana’s coffee shop, home of the lead character Rosa.
The show itself is different to that of many other musicals on the scene at the moment. Although the characters are endearing, you are drawn to fall in love with the overall concept of the show – which is required to really appreciate the skill in the writing of this piece. The main host of characters may only play the stage for a matter of minutes, and much credit to the actors who deem various outfits and, though recognisable in face, create individuality and uniqueness in every character they play.
Rosa, played by Sylvia Medina, is our main string holding all the stories of the commuters together that are revealed to the audience as they pass through her coffee shop during the course of the day. There are a couple of other returning characters throughout such as the excitable actress-cum- waitress played brilliantly by bright eyed Natalie Thorn (who also presented very strong character adoption throughout in her various roles), and the Nurse played by Rebecca Bailey who emanated and called for empathy from the audience by portraying a role of emotion that many can relate to. I must admit, I think there is a little more development for the role of Rosa just to ensure she keeps the audience’s interest throughout as she does shoulder the entire show – these customers are people she sees every day – eye contact and the little intricacies of the benefit of having that relationship could really enhance the role for Medina.
As I mentioned though, this isn’t particularly a show you have the time to fall in love with individual characters, instead you attach yourself to the concept. The idea that around you every day are people living their own lives, some steeped in sorrow, some with little victories, and others just rife with awkward moments, and that for one brief moment of the day, all your lives are connected by the one act of choosing this particular coffee shop.
Amies lyrics are so connected to the present and her characters are incredibly relatable to the extent that you are left wanting more from every person, and the score is a beautiful triumph with clever intricacies and anecdotes that keep you active as an audience member and even laughing at times.
Director Kevin Jones does a tremendous job at keeping the dialogue active. This is a show where you are expected to listen and delve into the lives of characters over very short times, however with this incredibly talented cast and the choices of both them and Jones, you are never left wondering what is happening. A particular favourite convention applied throughout the production is how Jones uses the characters in that present moment to suddenly become representations of people from another characters past story, such as the commuters retelling the love story of Rosa’s parents falling for each other, or the group of estate agents and baby-mum’s becoming the rivalling partners in a relationship. Very simple. Very effective. Very well done.
Though this is a particularly strong cast, there are a few stand out performances that I have to note to keep an eye out for if you are due to catch the show at Edinburgh (or beyond!) this year. Max Panks as the homeless busker (amongst many other roles) has an amazing solo song on his guitar which I will title ‘Little Boat’. His tone and general demeanour were captivating and although this was my favourite role of his, he is definitely a confident member of the cast in all his roles. Likewise, Matthew Boyd was incredibly gripping in his role as the soldier and has a great presence on stage in every character he turned to, and when paired with Natalie Thorn, their comedic story of falling for the familiar faced commuter was a funny little treat.
I can’t finish the review without giving mention to every cast member, however, as this show is as fantastic as it is due to the foundation of its amazingly talented cast. Liberty Buckland demonstrates a flawless ability to adapt role after role whilst having a voice that ranged from delicately placed notes to stronger tones without a single out of place, and Robert Woodward gives the audience a pleasant comic relief but still with a great adaptability and vocal range that tackles unexpected changes throughout.
Tomorrow, Maybe is a show packed with harmonies that leave your mouth agape, laughs that tickle you for the rest of the night, and truth that make this show relatable to everyone in some way. The show has had a great journey to date, and there is definitely more to come from this cast, crew, and creative team so make sure you are one of the people with a ticket for a show that I can promise will be much sought after throughout the Edinburgh Fringe this summer. Get your ticket today, definitely!
5 Star Rating


London Theatre 1
Original Production May 2015, Romsey Hampshire. Stickman Productions
As a “work in progress” this new musical by locally-based pair Stephanie Jayne Amies and Teddy Clements has a lot going for it. Twenty-two original songs chronicling the lives of customers in a commuters’ coffee-shop were performed by an exceptionally talented cast of nine, each one playing a variety of parts. The self-declared intention that the piece be “immersive” proved successful, with actors often seated among the audience, almost unnoticed until they sang. The songs themselves varied greatly in subject-matter, from the shy love-struck couple to the “interesting” contents of a sales-woman’s suitcase. Each vignette was delivered with impeccable solos and harmonies, matched by Sam Dando’s keyboard accompaniment. Such is the quality of the acting, lyrics and music that directors Kevin Jones and Rebecca Bailey, along with the writers, deserve that this show be performed in major venues for years to come. Love Rent? You’ll love this too.


Southern Daily Echo

Daily Echo Curtain Call Awards 2015

Winner: Best Newcomer, Best Opera or Musical and Production of the Year Nominated: Best Director of a Musical or Opera, Rebecca Bailey and Kevin Jones, Best Musical Director, Teddy Clements and Sam Dando.

New Production April 2016, Romsey Hampshire. Stickman Productions in association with Aardvarks Can't Jump Productions
Never was a song lyric "something extraordinary" so apt to describe this award winning production written by Amies and Clements. Revamped a little from last years original, it concerns the rotational visits of various customers and staff to Italian ex-pat Rosa's coffee shop (a naturally pure and effortlessly empathetic performance from Mary Rose Finden) via sung stories of love and loss, battle of the sexes and regret tinged with hope. Flawless direction enhanced a beautiful score of both funny and haunting songs with contemporary lyrics encompassing all aspects of modern life from tv remote hogging, childbirth, commuter travelling, loneliness, stalking, loss and gain in all it's forms. An ensemble piece, the singing was pure joy to listen to, especially as the frequent 9 part harmonies came from around your seat enveloping you in it's precision and grace: characterisation so precise and focussed you forgot there were only 9 performers regularly on stage. Immaculate musical theatre heaven.


Southern Daily Echo

Tomorrow, Maybe has a strong reputation to uphold. Originally conceived in 2014 by song-writing duo Stephanie Jayne Amies and Teddy Clements for Stickman Productions, it was performed last year in Asante Coffee Shop to critical acclaim. It is here it returns tweaked and awaiting an already sold-out three week run. The show is a site-specific song cycle that follows Rosa, the owner of a coffee shop that has recently returned from the UK and watches as everyday life passes her by. It’s nice to see Mary-Rose Finden’s Rosa given a more established storyline, effectively setting the tone and anchoring the show around her life choices. The rest of the characters are multi-roled by eight performers and this is where the real strength of the show lies. Musical Directors Teddy Clements and Sam Dando had a daunting task teaching complex harmonies but have more than succeeded. When the full cast are performing as one such as in Separate Lives and Leaving Home, the mixture of voices is nothing short of stunning. Some individual lines are sometimes drowned out by the volume, such as in Commuters’ Lament, but this is forgivable given the quality of talent on display. The cast are universally strong but special mention has to be made to Eliza Joy. She shows herself to be an incredibly versatile performer able to command the audience’s attention, whether being playful in songs such as He’ll Never Know or in her more grounded moments. Daniel Ferrett, a new addition to the cast, also shines in tunes like Lightning Strike Me Down and All There, and Laura Bunyan’s performance of Facing the Rain is incredibly moving. Song cycles can sometimes lack drive and this can occasionally slow the pace of the show down, but Amies & Clements have managed to vary the tones of the songs to keep the audience’s attention, whether it is in the touching, guitar-driven Little Wooden Boat or the hilarious One Way Ticket to Mars/Venus. The two clearly have a great ear for a melody, although sometimes suffer from an over-abundance of syllables, such as in Not For Me. Directors Kevin Jones and Rebecca Bailey have taken an ordinary coffee shop and turned it into a theatrical event that effectively captures the hustle and bustle of a busy London coffee shop and filled it with suitably weird and wonderful people. Their imaginative use of limited space has allowed the show to become a strong showcase for all involved. It rightly deserves the appreciation it has received and as it continues to develop is most certainly worth looking out for in the future!


Curtainup South


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