It's 1960 and hip-swingin’ teen idol Conrad Birdie has been drafted into the army. But don’t worry, girls! His manager Albert has cooked up a plan to send him off with a swell new song and one last kiss from a lucky teenage fan...on The Ed Sullivan Show!

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With music by Charles Strouse and lyrics by Lee Adams, based upon a book by Michael Stewart.

Originally titled Let's Go Steady, Bye Bye Birdie is set in 1958, and is often referred to as the start of the 'contemporary musical theatre movement' and marks the end of the Legit Musical era. The play book was also influenced by Elvis Presley's conscription into the Army in 1957.

 

The production includes hit songs including ' A Lotta Livin' to Do', 'Spanish Rose' 'The Telephone Hour' and the famous 'Put on a Happy Face'.

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This production earned Anthony a Off West End Award nomination for his work.

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Anthony was Off West End Award nominated as Best Choreographer for his work on this production.

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"BLISTERING CHOREOGRAPHY” 

– British Theatre

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“Tight choreography that boasts big ambitions but feels fully realised”  

– London Theatre

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“As a company, they’re given expert choreography from Anthony Whiteman, and it’s the dancing – that really brings this show to life and elevates it ” 

– Musical Theatre Review

 

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“It’s not often you come away from a production in raptures about the choreography but Anthony Whiteman’s movement was a class above and exceeds much of what is found on the West End. There were lots of opportunities for extended choreography – for example Shriner Ballet had about five minutes of continuous dancing. He resisted the urge to go for Grease style jiving and jitterbugging (although there was a bit of that). Instead, it was a highly complex mix of jazz, modern, tap and ballet that was brilliantly performed by the cast; the variety and poise of the movement even reminded me of West Side Story at times” 

– British Theatre

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“Whiteman’s choreography lifted a scene to the next level" 

– British Theatre

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“…Anthony Whiteman’s exceptional choreography…numbers such as “The Telephone Hour” and “Lots of Living To Do” were delivered energetically with intricate and period specific choreography, raising the iconic numbers to a new and exciting level”  

– London Theatre

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"LIVELY AND

VERY ANIMATED"

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