Told through an innovative new genre - “Audio Musical” - (think full-scale West End musical in radio drama episodes!) HATCHED! is a story of female empowerment, liberation and equality.
HATCHED! has been recorded by a West End cast and is being streamed for free to help make musical theatre and female empowerment accessible to all.
Set on a mythical island, where all the characters are birds, we follow Fallon and her friends as they set out to change the rules and demand equal rights for female birds - in particular, the right to fly. It references the fight of the suffragettes as well as more contemporary intersectional feminists.
The audio musical is written by Lydia Shaw and Edward Court and features a cast including The cast includes Debbie McGee (Strictly Come Dancing, The Debbie McGee Show) as Patty, Norma Atallah (In The Heights, Follies) as Motherbird, Matt Slack (Eastenders, Blood Brothers) as DJ Dave, Aoife Clesham (Fiver) as Saphy, Gracie Lai (The Comedy About A Bank Robbery) as Marnie, Lydia Shaw (Camelot) as Fallon, Nicholas McLean (Wicked, Avenue Q) as Sammy, Sophia Lewis (Glasgow Girls) as Narrator & Flick, Edward Court (The Phantom of the Opera) as Merapin, James Hume (Les Miserables) as Chief Watchbird, Sarah Barron (The Comedy of Errors) as Penny, Thomas Hewitt (Dr Dolittle) as Lord Zandajay, and James Stirling (The Three Musketeers) as Flint & The Guard.
We sat down with Lydia Shaw to learn more.
What can you tell me about Hatched!?
HATCHED! is a new audio musical about female empowerment, liberation and equality. It’s set on the mythical island of Rakka where we follow Fallon as she fights for equal rights for the female birds (in particular, the right to fly). HATCHED! is a fusion of musicals, audiobook & radio drama, and is being released on Spotify & other podcast sites for free to help make musical theatre & female empowerment accessible to all. We’ve been working on the show for 4 years now so we’re really excited it’s finally being released.
Where did the idea and inspiration for Hatched come from?
About 5 years ago we were discussing the news story that an all-female flight crew had landed a plane in a country where they weren’t even allowed to drive. After a lot more research into the inequality faced by women all around the world, we wanted to be part of the solution - telling a story that could help women feel seen and help others to empathise with the frustration and injustice of the female experience. But we wanted to do it in a fun and engaging way, a way that would inspire change and spread hope for a better world.
Was it always developed to be an audio musical?
We actually started writing it as an audiobook with songs, but then quickly realised it needed the dialogue and character voices to really make the songs and story fuse together in such a seamless way. But yes we always developed it to be audio - we felt it was a really good way to remove barriers and make the arts accessible to anyone, anywhere in the world.
What does female empowerment look like to you and how does Hatched! fit in to that?
Well, firstly it has to be intersectional (to paraphrase Maya Angelou - no one can be free until we’re all free). I think sadly it’s gonna take a long time to get equality for all, so I think for me it’s about asking each day “how can I make the world a little bit better, fairer and more loving?” The people before us fought for the rights we have now, so we have to do the same for those who come next. It’s something I live by and very much at the heart of the show.
Was it always developed to be an audio musical?
We actually started writing it as an audiobook with songs, but then quickly realised it needed the dialogue and character voices to really make the songs and story fuse together in such a seamless way. But yes we always developed it to be audio - we felt it was a really good way to remove barriers and make the arts accessible to anyone, anywhere in the world.
What does female empowerment look like to you and how does Hatched! fit in to that?
Well, firstly it has to be intersectional (to paraphrase Maya Angelou - no one can be free until we’re all free). I think sadly it’s gonna take a long time to get equality for all, so I think for me it’s about asking each day “how can I make the world a little bit better, fairer and more loving?” The people before us fought for the rights we have now, so we have to do the same for those who come next. It’s something I live by and very much at the heart of the show.
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| Lydia Shaw and Edward Court. |
What challenges have you faced writing a piece for audio medium?
This genre of fusing fully-dramatised dialogue, with song and narration hasn’t really been explored on this scale before, so experimenting with the genre was the first challenge (although it was actually a really fascinating process that required us to maximise our creative problem solving…so it was a joyful challenge). And then there’s the logistical decisions of - how often do you need the narrator/other characters to name who’s talking, how much do you describe and how much do you leave to sound effects. It has really pushed us to be innovative and original which, as artists, you kind of want.
This genre of fusing fully-dramatised dialogue, with song and narration hasn’t really been explored on this scale before, so experimenting with the genre was the first challenge (although it was actually a really fascinating process that required us to maximise our creative problem solving…so it was a joyful challenge). And then there’s the logistical decisions of - how often do you need the narrator/other characters to name who’s talking, how much do you describe and how much do you leave to sound effects. It has really pushed us to be innovative and original which, as artists, you kind of want.
How does having it in episodes change how you wrote the piece?
We originally wrote it as a whole show that runs straight through (though there is an undeniable Act 1/Act 2 structure!), then decided, as an audio piece, it would be easier for listeners to digest in chunks - particularly younger audiences. So, we’ve punctuated episodes with underscore, and made sure the songs are sufficiently spread so there are musical numbers in every episode. If anything, it actually allowed us to include more music - there's 31 songs in the show which you’d never get away with in a stage show so it’s given us that freedom as well!
We originally wrote it as a whole show that runs straight through (though there is an undeniable Act 1/Act 2 structure!), then decided, as an audio piece, it would be easier for listeners to digest in chunks - particularly younger audiences. So, we’ve punctuated episodes with underscore, and made sure the songs are sufficiently spread so there are musical numbers in every episode. If anything, it actually allowed us to include more music - there's 31 songs in the show which you’d never get away with in a stage show so it’s given us that freedom as well!
Are there plans to brings Hatched to the stage in the future?
Definitely! We actually finished writing the audio version in 2021, so whilst the audio show has been recorded & produced, the show has already been re-written for stage so we are very hopeful that we’ll be able to work with a producer to bring these characters, songs and places to stage soon.
Definitely! We actually finished writing the audio version in 2021, so whilst the audio show has been recorded & produced, the show has already been re-written for stage so we are very hopeful that we’ll be able to work with a producer to bring these characters, songs and places to stage soon.
Where did your arts career begin?
I studied at Royal Holloway before going to London School of Musical Theatre in 2014, and for the last 9 years I’ve been performing in musicals, plays, pantos, actor muso shows - all sorts. As a writer, Ed & I wrote a musical (Arthur’s Quest) which sold out and got 5 stars at the Edinburgh Fringe back in 2013.
I studied at Royal Holloway before going to London School of Musical Theatre in 2014, and for the last 9 years I’ve been performing in musicals, plays, pantos, actor muso shows - all sorts. As a writer, Ed & I wrote a musical (Arthur’s Quest) which sold out and got 5 stars at the Edinburgh Fringe back in 2013.
Were there any people or performances that had a big impact on you?
When I was 3, I watched The Sound of Music and I was so obsessed with it that I insisted on going to my nursery school fancy dress day as Maria von Trapp - yes in full nun garb with a cardboard guitar! So definitely Julie Andrews!
When I was 3, I watched The Sound of Music and I was so obsessed with it that I insisted on going to my nursery school fancy dress day as Maria von Trapp - yes in full nun garb with a cardboard guitar! So definitely Julie Andrews!
What keeps you inspired?
Honestly - learning! I figure if I’m learning and growing, I can never get bored or stagnant, and I’ll always be progressing. Also making time for my brain to wander and come up with ideas is important for me - walks, runs, baths, etc! And lastly I think it’s re-connecting to the “why” of the piece - so with HATCHED! It’s remembering the goal is to help females of all ages to feel like they can do anything, and to remove the barriers to theatre.
Honestly - learning! I figure if I’m learning and growing, I can never get bored or stagnant, and I’ll always be progressing. Also making time for my brain to wander and come up with ideas is important for me - walks, runs, baths, etc! And lastly I think it’s re-connecting to the “why” of the piece - so with HATCHED! It’s remembering the goal is to help females of all ages to feel like they can do anything, and to remove the barriers to theatre.
If you were stranded on a desert island but could take 3 musical theatre soundtracks with you, what would you take and why?
Ooh good question, I would take In The Heights because I was just OBSESSED with it as a teenager, and it’s so dynamic. I’d take Kiss Me Kate - I love the wit, the jazzy score and the energy & character behind the songs. And I’d also take Sunday In The Park With George (the Jenna Russell version) - I swear every time I listen to that soundtrack I find something new in it - the music in that show is an absolute masterpiece.
Ooh good question, I would take In The Heights because I was just OBSESSED with it as a teenager, and it’s so dynamic. I’d take Kiss Me Kate - I love the wit, the jazzy score and the energy & character behind the songs. And I’d also take Sunday In The Park With George (the Jenna Russell version) - I swear every time I listen to that soundtrack I find something new in it - the music in that show is an absolute masterpiece.
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| Lydia Shaw and Edward Court |
What do you want a listener to take away from listening to Hatched?
I’d like for females of all ages to feel seen, valued and uplifted and for allies to feel inspired to join the fight for equality. I hope it serves as a reminder that we are standing on the shoulders of everyone who came before us, and I hope that people come away feeling excited about the world we could build and fired up to go out and make it a little bit better for everyone who comes next.
Where can people listen to Hatched?
You can listen on all major podcast sites including Apple Podcasts and Spotify (bit.ly/hatchedmusical). Or for more links visit www.hatchedmusical.co.uk.
You can listen on all major podcast sites including Apple Podcasts and Spotify (bit.ly/hatchedmusical). Or for more links visit www.hatchedmusical.co.uk.
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