Taylor Jay Productions announces London revival of Ryan Scott
Oliver’s 35mm: A Musical Exhibition at Phoenix Arts Club
Phoenix Arts Club, 1 Phoenix Street, London WC2H 8BU
Monday 7th July – Tuesday 8th July 2025

Following their Offie-nominated hit production of [title of show] at Southwark Playhouse,
Taylor Jay Productions returns to the Phoenix Arts Club with a bold new staging of 35mm:
A Musical Exhibition by Richard Rodgers Award-winner Ryan Scott Oliver.

A theatrical song cycle like no other, 35mm weaves together music and photography in a
genre-bending exploration of love, obsession, ambition, and art. Each song is inspired by a
striking photograph by Broadway photographer Matthew Murphy, brought to life through
an electrifying blend of rock, pop, and contemporary musical theatre.

Directed by Dean Johnson (Bare, BKLYN the Musical, Once) with musical direction by Ben
Ward ([title of show], UNHEARD), this two-night-only London revival promises a powerful,
immersive experience where “every snapshot tells a story.” Social Media and Marketing is
by Samuel Seventeen Social and the production is General Managed by Taylor Jay.
Full casting to be announced.

DEM PRODUCTIONS PRESENT THE BARN THEATRE PRODUCTION,
IN ASSOCIATION WITH BARN THEATRE, SIMON FRIEND ENTERTAINMENT, AND BOB&CO

A ROLE TO DIE FOR

LONDON TRANSFER ANNOUNCED FOR BARN THEATRE’S CRITICALLY ACCLAIMED NEW COMEDY
ABOUT CASTING THE WORLD’s MOST ICONIC SPY

WRITTEN BY JORDON WALLER
DIRECTED BY OLIVIER AWARD WINNER DEREK BOND

MARYLEBONE THEATRE
SATURDAY 26 JULY 2025 – SATURDAY 30 AUGUST 2025
TICKETS AVAILABLE HERE

A London transfer has been announced for the critically acclaimed new comedy, A Role To Die For, written by Jordan Waller and directed by Olivier Award winner Derek Bond, following its world premiere earlier this year at Cirencester’s Barn Theatre.

A Role To Die For will transfer to the Marylebone Theatre, playing from Saturday 26 July until Saturday 30 August, with a national press performance on Thursday 31 July.

 She’s not just casting a role. she’s gambling with a legacy.

It’s the eve of the biggest casting reveal in Hollywood: Deborah is about to announce the next face of the world’s most legendary spy franchise. The tux is pressed, the martinis are chilled… until the rumours start flying. Her perfect pick? Caught in a scandal that would make even their on-screen alter ago look tame.

With a ticking clock and a legacy on the line, Deborah must make an impossible choice: stick to the sleek, suited formula the world knows, or dare to let the next generation redefine a global icon.

A razor-sharp, laugh-out-loud comedy about identity, legacy, and the explosive battle between tradition and progress, A Role to Die For will leave you shaken, stirred, and seriously entertained.

A Role to Die is written by Jordan Waller, andwill be directed by Olivier Award winner Derek Bond, withdesign from Cory Shipp.

Full casting and creatives to be announced.

Writer Jordan Waller said, “After a brilliant run at the Barn Theatre this year, I couldn’t be happier that the show is coming to the Marylebone Theatre with our genius director — Bond, Derek Bond.”

A Role To Die For is produced by DEM Productions, in association with Barn Theatre, Simon Friend Entertainment, and Bob & Co.

Critical acclaim for A Role To Die For at Barn Theatre

The show is a tonic, and deserves an audience beyond Cirencester as we all drum our fingers waiting for the real deal.

Dominic Cavendish, Telegraph
****

 This wickedly-funny world premiere is a real crowd-pleaser.

Wilts and Glos Standard
*****

 A Role To Die For certainly left us shaken with laughter and stirred by the thoughts.

West End Best Friend
****

GO LIVE THEATRE ANNOUNCES 

FIRST RELAXED PERFORMANCE OF

Go Live Theatre today announces a new partnership with Kevin McCollum, David Furnish, Jamie Wilson and Nederlander Theatres to stage the first ever relaxed performance of The Devil Wears Prada, a new musical taking place at the Dominion Theatre on Saturday 7 June 2025 at 1:30pm. With up to 2,000 audience members expected, this will be Go Live Theatre’s largest Relaxed Performances to date.

Through this collaboration, Go Live Theatre will deliver an inclusive and welcoming experience for children, young people and families with learning difficulties, special educational needs and/or disabilities.

The performance will be carefully adapted to support neurodivergent audience members, including those on the autism spectrum and individuals with sensory or communication needs. As with all Go Live Relaxed Performances, there will be subtle changes to the sound and lighting and specially trained front-of-house staff will be on hand throughout the afternoon to help anyone who requires assistance.

Sita McIntosh, Chief Executive of Go Live Theatre, said today: “We are incredibly grateful to Kevin McCollum, David Furnish, Jamie Wilson, Nederlander Theatres and The Garek Trust for their help in making this relaxed performance of The Devil Wears Prada possible. At Go Live Theatre we believe that theatre is for everyone and enabling children and families, who struggle to attend mainstream shows, to enjoy what so many of us take for granted is a vital thread of our work. Having attended many relaxed performances I can testify to the sheer joy and excitement in the auditorium, it’s very special.”

Thanks to the incredible generosity of The Garek Trust, tickets are available at significantly subsidised prices making it possible for families who may not otherwise have access to theatre to attend.

Go Live Theatre has a long-standing commitment to accessibility. Since its inception as Mousetrap Theatre Projects in 1997, the charity has enabled more than 250,000 children and young people to experience live theatre, a number that continues to grow every year.

Go Live works with children and young people from disadvantaged and/or vulnerable backgrounds, as well as those with Special Educational Needs and Disabilities (SEND), for whom a trip to the theatre might otherwise be out of reach, whether due to economic, physical or social barriers.

The organisation presented the very first relaxed performance of a West End show back in 2012 with Shrek the Musical and since then have been able to offer a multitude of shows including Sister Act, Wicked, Matthew Bourne’s Nutcracker!, 101 Dalmatians, The Play That Goes Wrong, and Mamma Mia! 

TICKET INFORMATION:

For more information about this Relaxed Performance and to book tickets, please visit: www.golivetheatre.org.uk. 

Darlington Hippodrome until Saturday 26th April (2 performances on the 26th)

Reviewed by Andrew Bramfitt

A 5* star (or should that be 5 SKULL) show.

A Rock ‘n’ Roll Revelation: Steve Steinman’s “Eternal Love” Electrifies Darlington Hippodrome!

Steve Steinman has done it again! The visionary behind a long line of record-breaking shows has unleashed his latest masterpiece, “Eternal Love,” upon the stage of Darlington Hippodrome, and the result is nothing short of sensational. This isn’t just a musical; it’s a full-throttle rock experience that will leave you breathless.

“Eternal Love” marks a bold new chapter in Steinman’s Vampires Rock saga. Written and composed by the maestro himself, the show boasts an original score (including tracks from twice number one album) that is both epic and exhilarating. From the moment the curtain rises, you’re transported to a dark, fantastical world filled with vampires, passion, and heart-pounding rock anthems. Fans of previous versions of Vampires Rock will instantly recognise Steve’s inimitable style; raw power, tons of charisma and no small amount of allure.

The story follows the love-struck Vampire Baron as he searches for eternal love, with the narrative woven together seamlessly by Steinman’s powerful original music interspersed with some pretty zany comedy and no end of special effects.. The songs are not just interludes; they drive the story forward, amplifying the emotion and energy of every scene.

What truly sets “Eternal Love” apart from other ‘jukebox musicals’ is its unique blend of musical theatre and rock concert. The performances are electrifying, with the cast delivering each song with raw passion and incredible vocal prowess. The band is tight, the choreography is sexy and dynamic, the costumes would grace any Hammer Horror movie and the set design is both visually stunning and immersive atmospheric. Specific shout out to Darlington’s own Luke Thomson in his 1st production as Lighting Designer – previously Luke was a stagehand at the Civic/Hippodrome and is now a ‘leading light’ in the new wave of show designers – congrats to ‘one of our own’ Luke.

Steve himself is, as always, a charismatic force of nature. He commands the stage with his signature blend of dark humour, rock star swagger, and theatrical flair. The supporting cast shines just as brightly, each bringing their own unique energy and talent to the production. John Evans as the baron’s sidekick Bosley, is as always, the Bobby Ball to Steve’s Tommy Cannon, but now he’s got more songs to sing and he’s truly amazing. The Rock and Roll numbers and his opening song The Phoenix Rises is pure Iron Maiden-esque storytelling at it’s finest and John gets to showcase his brilliant voice. Tanyth Roberts as Medusa is another daring to topple Steve from his top dog position – her duet with the Baron on “There’s Something of the Night About You” as a definite homage to Paradise by the Dashboard Light, packed full with sexual tension and the fury of a woman scorned.

“Eternal Love” is more than just a show; it’s an experience. It’s a celebration of rock music, a thrilling journey into a world of gothic romance, and a testament to Steve’s unparalleled creative vision. If you’re looking for a night of unforgettable entertainment, look no further. This is a must-see for rock fans and theatre lovers alike. And while you’re there, grab the soundtrack album too, packed full of brilliant, new rock songs.

Darlington Hippodrome is the perfect venue for this rock spectacle, providing an intimate yet grand setting for Steinman and his talented cast. “Eternal Love” is a triumph, and it’s clear that Steve Steinman’s creative fire is burning brighter than ever. Don’t miss this opportunity to witness theatrical history in the making!

Curve Theatre, Leicester – until 10 May 2025

Reviewed by Leanne W

4****

The launching of the UK stage production of the cult classic Muriel’s Wedding coincides with the 30th anniversary of the film’s release. The Musical has previously played in Sydney, Australia in 2017 with a tour of the country in 2018, but this production at Curve Theatre, Leicester is the UK premier.

The story follows Muriel (Megan Ellis, who has been perfectly cast as the lead), who dreams of getting married but lives a dead-end life in Porpoise Spit, with a dead-end family and a nasty group of so-called friends. She hooks up with old school pal Rhonda (Annabel Marlow) moves to Sydney and finds herself in an exciting new life; with club nights, a job and the affections of Brice (Ethan Pascal Peters). The performance is interspersed with some ABBA classics – and delightfully appearing in the roles as the afore mentioned group are Bronte Alice-Tadman as Frida (and Dierdre), Jasmine Hackett as Agnetha, Aaron Tsindos as Benny and Jamie Doncaster as Björn. There is a delightful amount of multi-rolling from the entire cast throughout the performance.

Taking an opportunity to get married, Muriel agrees to take payment to marry Olympic swimming hopeful and Russian national Alexander Schkuratov, played by Stephen Madsen reprising his role from the World Premier in Sydney, thus gaining him Australian citizenship. Their meeting at the swimming pool is great fun, with a full suite of highlights – set (Poolside), costume, musical number (Mr and Mrs Schkuratov) and comedic moments.

The music is fun, there are some fabulous comedic moments and some superb casting. Costumes are vibrant and fun. I enjoyed several aspects of the set, including the clever use of AV screens to create various scenes, phone screens, neon signs and the use of the revolving stage. I enjoyed seeing my fellow audience join the wedding, however from my seat I missed much of the wedding due to the backs of the pews being so tall. The wedding shop scenes, where Muriel indulges herself as would-be bride, were delightful with the mannequins beautifully choregraphed. There were some moments in this updated version, which struck me as a little odd, the large old 80’s style phone in the scene where Muriel eventually calls home and Rhonda’s mum in a shell suit (her previous outfits not suggesting a preference for the style of the era).

Several of the Production Team had been involved in the previous Australia production. Directed by Simon Phillip with choreography by Andrew Hallsworth. The remaining creative team is comprised of music supervisor, orchestrator and arranger Isaac Hayward, set designer Matthew Kinley, costume designs from Gabriela Tylesova, lighting designer Natasha Chivers, video designer Andrzej Goulding, and sound is crafted Adam Fisher.

The production itself is great, a feel-good show with some unique moments and catchy musical numbers. What is missing though, which would see the audience leave a desperate to return, would be a proper finale and encore. I was anticipating that I would be up on my feet having a dance to Dancing Queen and other ABBA classics heard in the show – ABBA were there after all! But no, the show ends, the cast bow and we all went home, left wanting that little bit more.

I really enjoyed the show, I hope it tours so more can enjoy a joyful evening out with highs, lows, joy laughter and some sad moments – and a reminder that life is for living. It’s not the most creative musical but it is good fun and sometimes that’s more important.

The Crazy Coqs, Piccadilly Circus, London W1 – 23 April 2025

Reviewed by Phil Brown

3***

One of the immense pleasures of a reviewing gig is the opportunity to enjoy fresh experiences and expand one’s horizons.  Music theatre veteran, Lorna Dallas (originally from Carrier Mills, Illinois, but an honorary Brit) certainly delivers on both counts.  

She has been a star of hit musicals both sides of the pond since the 1970s and has a truly extensive and distinguished career as a singer and actress (also recipient of the 2020 New York Bistro Award for ‘Consummate Cabaret Artist’), but this deeply personal and intimate performance at the delightful Crazy Coqs was my first taste of one of her one-woman shows live in cabaret.  

Her latest show – the well crafted Snapshots – developed in conjunction with director Barry Kleinbort and first performed in 2024, is an exercise in unabashed nostalgia.  It essentially browses Lorna’s career ‘photo album’, to cherry pick significant musical moments and memories in an extraordinarily varied and hard working career.  In doing so, she revives long forgotten classics alongside the odd obscure number from the past as well as premiering material from a new musical, Travels in Vermeer. These snapshots are linked with some fascinating anecdotes of a self confessed ‘demented diva’ ever ready to perform and who apparently never said no to such opportunities.  Overall, it has the feeling of a career summation, possibly a fond farewell, but judging by her evident work ethic, I suspect not.

The marriage of two superb instruments – Lorna’s expressive soprano voice, undiminished by age, and music director Simon Beck’s immaculate piano creates a cabaret evening of the highest class over the course of around 21 songs, and 75 minutes.  (Some songs are combined into medley form).

Whilst long time musical theatre obsessives could be familiar with the majority of the material, It has to be said that Lorna’s nostalgia may only chime with a (declining) audience of a certain age, being mostly decades old (one song being over a century), even though a couple had appeared in UK pop charts back in the 60s.  As she said after singing the one new song (Stillness) – “OK Simon, back to the dead guys…” 

Lorna opens with the exquisitely wistful Always Something There to Remind Me (Bacharach/David) a massive hit for Sandy Shaw in the 60s) and a well chosen introduction to the Snapshots theme.  Her wide ranging set list covers the crême de la crême of British and American songsmiths from Bacharach to Sondheim.  Particular highlights for me are the reflective Snapshots/Walking Among My Yesterdays medley, the yearning Song on the Sand (Gene Barry), the funky Blues in the Night (Arlen/Mercer), and the sorrowful The Last Time I Saw Paris (Hammerstein/Kern).   However, despite the touching and amusing lead-in, it’s difficult not to picture Tommy Steele whenever I hear Flash, Bang Wallop (Heneker).

Other highlights are the between songs introductions, explanations and amusing personal reminiscences, such as her extraordinary time in Kismet at the Shaftesbury Theatre playing to packed houses until 10.30pm, then dashing across town to the Savoy for the 11pm cabaret, incentivised by Wimbledon centre court tickets.  And at the same time, she was also flying to Cologne every morning to record Stranger in Paradise in German before returning for the two evening shows.  Wow!  I also loved the clever adaptation of Cole Porter’s Let’s Fly Away – “Let’s fly away and find a land that’s warm and tropic, where Donald Trump is not the topic…” 

Overall, after a long and celebrated life in showbiz, Lorna Dallas clearly still loves being on stage, entertaining people, and retains an enthusiastic support base.  There is so much to admire  – her energy, warmth, artistry and professionalism are all inspirational.  She makes a wonderful role model for aspiring performers across the arts.  The show itself is high quality, heartfelt entertainment, but perhaps the material is now a touch too old for modern audiences.

Hampstead Theatre Downstairs, London – until 17th May 2025

Reviewed by Celia Armand Smith

4****

The stage is piled high with newspapers, records, toys and games, and lots of cardboard boxes in Chloë Lawrence-Taylor’s new play, Personal Values. Bea and Veda are sisters who haven’t spoken since their father’s funeral (Bea keyed something bad on the side of Veda’s car) and emotions are running high. Bea is being swallowed by the contents of her house, and Veda is being swallowed by health and life concerns. As their relationships with the house and each other are pushed to breaking point, Lucy Morrison’s production examines grief, our connection to objects and memories, and the trauma passed between generations.

On a rainy day, Veda (Holly Atkins) stops by unexpectedly to check on her sister Bea (Rosie Cavaliero) who lives the secret life of a hoarder behind an immaculately painted front door. The sisters manoeuvre through their childhoods and memories, some good, some painful, and the objects that have been left behind. There is something uncanny about Veda, and Naomi Dawson’s crowded set coupled with Holly Ellis’ flickering lighting design indicate that something is not quite right. Max Pappenheim’s soundtrack interrupted by some jazzy keyboard demo music rumbles along in the background.

At 60 minutes long, a lot of ground is covered, and Atkins and Cavaliero keep the plot ticking along at pace as they cover life, death, and the imminent crumbling of the worlds they have created for themselves. Personal Values offers a funny and tragic inside look at a world often hidden away, showing all of the chaos that families bring with them, and how grief affects us all in different ways.

RESTAURANT PARTNERSHIP TO CONTINUE WHETTING THE APPETITE OF THEATRE GOERS

Following a successful 18-month collaboration, the Grand Opera House York and Ate O’Clock and Social8 Lounge Restaurant have extended their partnership, offering more mouthwatering savings and experiences for York theatre goers.
 
Ate O’Clock will continue as the Grand Opera House York’s official restaurant partner, where over the last 12 months, customers have been able to save 10% off their bill when dining. For a bit of fun, customers were treated to themed cocktails to mark the arrival of iconic shows such as the Rocky Horror with the ‘Let’s do the time warp’ cocktail, not forgetting the delicious Ate O Clock, Only Fools and Horses pie and mash special. During panto season some lucky families were given kids eat free vouchers. More fun, drinks, dishes and money saving offers will be served up over the next 12 months.
 
Laura McMillan, Grand Opera House York Theatre Director says, “I look forward to another year of collaborating with Ate O Clock, providing more memorable experiences for York’s theatre goers, combining delicious food and cocktails with the best live entertainment”.

Emily Crampton, Ate O’Clock and Social8 Lounge Restaurant Manager says, “We have absolutely loved partnering with the Grand Opera House York, so it was the easiest yes when Laura asked us if we wanted to continue. Hospitality is all about giving guests an experience they won’t forget and being able to offer discounted pre-show meals & after-show drinks means we get to be part of providing the ultimate evening out”.
 
Grand Opera House York ticket holders can continue to enjoy pre-show dining, saving 10% on their final bill when booking a table at the Ate O’Clock Restaurant between the hours of 1.30pm and 5.30pm.

 Now is the time to start planning your big night out – with a packed programme of shows, from the whip-crackin’ musical classic Calamity Jane to the Olivier, Tony and Grammy award winning Dear Evan Hansen and the side-splitting comedy Friends! the Musical Parody, there’s something for everyone. 

Sign up online to receive the latest Grand Opera House York updates by visiting [www.atgtickets.com/york]www.atgtickets.com/york. You can also sign up to receive the latest updates from Ate O’Clock by visiting [www.ateoclock.co.uk]www.ateoclock.co.uk

BLUEY’S BIG PLAY BACK BY POPULAR DEMAND

IN UK AND IRELAND LIVE THEATRE TOUR

BLUEY BROUGHT TO REAL LIFE IN SMASH-HIT LIVE SHOW

23 April 2025 – Following a hugely successful UK tour, Bluey, Bingo, Mum and Dad are back by popular demand in the Olivier Award nominated live stage show Bluey’s Big Play.

The tour opens on 25 October and will continue to visit 32 venues across the UK and Ireland until August 2026. It will also play the Southbank Centre’s Royal Festival Hall for the festive season from 18 December – 11 January.

Featuring brilliantly created puppets, this theatrical adaptation of the Emmy® award-winning children’s television series is packed with music, laughter, and fun for the whole family. The critically acclaimed stage show has captivated audiences of all ages, with the much-loved Heeler family delighting fans with an unforgettable live theatrical experience.

“’Expect full chair dancing and shrieks of joy’” Broadway World ★★★★★

“Puppy puppets’ sweet show sets tails wagging” The Guardian

Since premiering in Australia, Bluey’s Big Play has toured globally across the UK, Ireland, Canada, the US, Europe Singapore and the UAE and has been seen by millions of fans worldwide.

Natasha Spence, Events Director, Live Entertainment at BBC Studios, said “The play’s last tour was met with overwhelming enthusiasm from audiences across the UK and Ireland. We can’t wait for more fans and families to experience the joy of seeing Bluey’s Big Play live on stage in a few months.”

Ben Hatton, Senior Vice President, Arts & Entertainment at Cuffe and Taylor added “We were thrilled with the incredible reception Bluey’s Big Play received in our previous tour, the response from our audiences was nothing short of magical. So we couldn’t be more excited to bring Bluey back to the UK again later this year”

Bluey’s Big Play features original voices from the TV sensation, including the instantly recognisable voices of Dave McCormack and Melanie Zanetti as Dad and Mum. While the larger-than-life puppets are commanded by a talented cast to be announced. It is produced by Andrew Kay and Cuffe & Taylor with Windmill Theatre Co for BBC Studios.

When Dad feels like a little bit of afternoon time out, Bluey and Bingo have other plans! Join them as they pull out all of the games and cleverness at their disposal to get Dad off that bean bag. With an original story by Bluey creator Joe Brumm, and new music by Bluey composer, Joff Bush. This is Bluey, For Real Life.

Pre-sale tickets will go on sale on Tuesday 13 May for Bluey Fan Club members with general on sale across the tour on Friday 16 May. For full information visit blueylive.com

·       EXECUTIVE PRODUCERS MICHAEL MCFADDEN AND KATY LIPSON HEAD NEW FULL-SERVICE THEATRICAL PRODUCTION COMPANY, TRW PRODUCTION.

·       A DIVERSE SLATE OF PROJECTS ARE IN DEVELOPMENT INCLUDING ADAPTATIONS OF THE ROM-COM MUSIC AND LYRICS AND THE 2012 FILM JOYFUL NOISE.

·       ALL PROJECTS DEVELOPED BY TRW PRODUCTION WILL BE REPRESENTED BY THEATRICAL RIGHTS WORLDWIDE, FACILITATING A LONG AND LUCRATIVE LIFE FOR THESE NEW TITLES IN FIRST CLASS, INTERNATIONAL, REGIONAL AND EDUCATIONAL MARKETS.

·       A NEW MENTORSHIP PROGRAM CALLED THE COLLECTIVE WILL DEVELOP NEW, ORIGINAL MUSICALS BY UP-AND-COMING COMPOSERS AND LYRICISTS.

TRW Production, a new development, investment, and producing entity headed by Executive Producers Michael McFadden and Katy Lipson, has been announced today.

With a wealth of business acumen and theatrical production experience spanning four decades, Executive Producers Michael McFadden and Katy Lipson head the company’s New York and London offices. Brought together by their unique vision and fierce ambition, both have achieved international success through their individual producing organizations, Phoenix Entertainment and Aria Entertainment. With robust knowledge of US and UK markets, the duo eagerly looks forward to this new chapter of creation and collaboration. In tandem with Steve Spiegel, owner and CEO of licensing house Theatrical Rights Worldwide, TRW Production will develop a wide range of theatrical properties that will have immense appeal to the first-class international, regional, and educational markets.

Empowering the talent of established A-listers and emerging artists alike, TRW Production will embrace storytelling as the most powerful catalyst to generate new ideas by bringing musicals, plays, and theatrical experiences from page to stage.. Among TRW Production’s stage adaptations of films currently in development is Music & Lyrics, the tuneful 2007 rom-com originally starring Hugh Grant and Drew Barrymore, which will be adapted by original writer and director Marc Lawrence. Also in development isthe beloved 2012 Dolly Parton and Queen Latifah film Joyful Noise. This stage adaptation by screenwriter Todd Graff will feature an original, gospel-inspired score, alongside hits by pop heavyweights Michael Jackson, Stevie Wonder, and Usher. The original songs written for the film by Dolly Parton will also be featured. In addition to films, the company will partner with innovative dramatists to explore the music catalogues of iconic recording artists, beginning with the rock and roll legend, Chuck Berry. His story and sweeping catalogue of songs will be brought to the stage by prolific playwright Will Power.

Driven by its commitment to up-and-coming writers, TRW Production launched The Collective, a mentorship program for the development of new musicals.  Each month, a select group of emerging composers and lyricists meet to present material. In this collaborative environment, writers receive invaluable feedback from their peers along with support, advice, and resources from the team at TRW as they develop their original ideas and pave a path towards production.

For further information visit www.trwproduction.com