Freddie Tapner is a theatre and music entrepreneur, executive, producer, conductor and musical supervisor specialising in musical theatre and orchestral concerts. He is CEO & Artistic Director of the London Musical Theatre Orchestra and a guest conductor at Volksoper, Vienna.
Freddie started his career in entertainment in 2014 after gaining a first class degree in Engineering from Pembroke College, Cambridge, and quickly found success as a musical director, working on projects with composer Howard Goodall and actor/writer Nick Mohammed. In July 2015 he founded the London Musical Theatre Orchestra, a charitable organisation dedicated to performing musical theatre in concert form.
As a conductor, Freddie has worked across London and internationally, with notable performances including Love Never Dies (Theatre Royal Drury Lane), Anatevka (Fiddler on the Roof) (Volksoper, Vienna), Chess (Theatre Royal Drury Lane), A Christmas Carol (Dominion Theatre), The Best of the West End (Royal Albert Hall), Lucie Jones Live at the Adelphi (Adelphi Theatre), Jingle Bell Favourites (Dubai Opera House), Camelot (London Palladium) and Candide (Cadogan Hall).
He has produced and executive produced shows and concerts in some of London’s biggest theatres, including the London Palladium, the Dominion Theatre, the Lyceum Theatre and Theatre Royal Drury Lane. Most recently, he co-produced staged concerts with Darren Bell of Evita and Love Never Dies at Theatre Royal Drury Lane, the latter of which led Andrew Lloyd Webber to say at the curtain call “I’m astounded… no composer could ask for more”.
His work branched into television in 2022 where he was the Musical Supervisor and Music Producer for the 60-minute comedy Prince Andrew: The Musical for Hat Trick Productions/Channel 4, producing seven original songs in collaboration with Kieran Hodgson. Other recordings/broadcasts include Lucie Jones Live at the Adelphi (Live Album), Girlfriends (Live Album) and The Best of the West End (BBC Radio 2).
Smart Entertainment was founded by Peter Huntley in 2017 following a decade working with some of the UK’s leading producers including Sonia Friedman Productions, Jamie Hendry Productions, the Really Useful Theatre Group and Shakespeare’s Globe. Peter was associate producer of Bend It Like Beckham at the Phoenix and general manager of The Wind in the Willows on tour and at the London Palladium. He was executive producer of the filmed version of The Wind in the Willows.
Productions include: Rehab The Musical (Neon194 and Playground); Nutcracker (Tuff Nutt Jazz Club); Feykom Tarab? A Night with Miami (The Arena, Kuwait); You & AI (in development); The Most Precious of Goods (Marylebone); Glory Ride (Charing Cross and The Other Palace); At Last, It’s Summer (London Palladium); Grenfell: System Failure (Playground, Tabernacle and Marylebone); Cinderella (Oxford Playhouse); Peaky Blinders: The Rise (Vanguard, London); Making a Murderer The Musical (Edinburgh); Mog, Playtime, The Wellspring (also tour), An Improbable Musical, Our Lady of Kibeho (Olivier Award-nominee) and The Selfish Giant (Royal and Derngate, Northampton); Grenfell: Value Engineering Scenes from the Inquiry (Tabernacle and Birmingham Rep); Doctor Who: Time Fracture and The Great Gatsby (Immersive | LDN); Amélie (Criterion); A Christmas Carol (Dominion and Lyceum); A Night at the Musicals (Royal & Derngate); and The Gift and Black Men Walking (UK Tour).
Alice is an experienced arts administrator, and alongside working for LMTO she currently works for the Imogen Cooper Music Trust. As well as working on Sitzes, she works with LMTO as an Orchestra Manager and as a Project Manager on their Upbeat schools programme. Previous roles have included working for Nevill Holt Opera, Askonas Holt, English Touring Opera and at the Royal Opera House.
Alice trained as a singer at the University of York and has loved musical theatre since discovering The Sound of Music and Mary Poppins when she was little. Her favourite musicals now include Legally Blonde, Come From Away and Little Women. Outside of work she loves tea, knitting and baking, and her favourite time of day is bedtime.
Frances is thrilled to have joined the LMTO team as Learning and Development Producer, combining her passions for musical theatre and education work. Trained as a French horn player, Frances has enjoyed exploring the boundaries of the music profession both through her playing and her producing experience. Creative learning and participatory music-making form a pivotal part of her career. In 2018, Frances co-founded the music education group, Hold the Drama, where she is the producer and horn player. She is also project manager for Thinking Music, an initiative which builds sustainable music ecosystems that enriches the lives of children, especially in rural areas.
As a horn player, Frances has performed with a wide variety of ensembles, including as a regular dep for The Lion King in the West End, with the Heritage Orchestra and on Pete Tong’s Ibiza Classics tours. Having been an LMTO Dev herself, Frances looks forward to continuing the development of this programme, the professional development workshops, and the schools programme LMTO Upbeat, supporting young musicians from the beginning of their musical journey, through to entering the professional world.
Aislin is thrilled to be LMTO’s Production Assistant. Having trained in commercial songwriting and in musical theatre performance at ICMP London and Arts Ed respectively, she also has sharp data and analytical skills gained working in the Higher Education sector.
On a daily basis Aislin can be found managing and upgrading LMTO’s databases, patching mic cables, creating social media content and marketing materials, drinking an alarming amount of tea and generally making sure the LMTO team has everything they need to make musical magic.
Aislin is also a singer songwriter. Her music has amassed millions of streams worldwide and graced several top Spotify playlists including New Music Friday UK, New Pop Revolution and The Most Beautiful Songs in the World. Find her work on any streaming platform by searching ‘Aislin Evans’.
Simon is the Principal Orchestrator for LMTO, regularly leading a group of handpicked arrangers to create new symphonic orchestrations of entire shows. He started orchestrating whilst musical director of the Cambridge University Pops Orchestra, rapidly became obsessed, and has never looked back since.
In 2015 Simon assisted the orchestrators, Howard Goodall and Kuljit Bhamra, on the West End production of Bend it Like Beckham. He regularly works with John Wilson as an arranger, copyist and editor. His reconstruction of In Our United State was performed by the John Wilson Orchestra at the 2016 BBC Proms. He is also the principal arranger of the Orion Symphony Orchestra, having produced arrangements for their sold-out shows in the Royal Festival Hall, Cadogan Hall, and other venues.
Selected original orchestrations include Noisy Notes, a new children’s song by Rick Wakeman, performed at the Royal Festival Hall with the Orion Orchestra conducted by Sue Perkins; Oh Whistle and I’ll Come to You My Lad and Beowulf, two new operas by Louis Mander, commissioned by Tête à Tête Opera Festival and Cantata Dramatica respectively; The Last Post, a musical by Henry Jenkinson; The Emperor’s New Clothes, the Cambridge Footlights pantomime with music by Ryan Rodrigues; and over fifty songs from stage, pop albums and TV arranged for symphony orchestra, performed by the Orion Orchestra and the Cambridge University Pops Orchestra to consistent five-star reviews.
As Senior Orchestrator for LMTO, Declan leads the Developing Orchestrators programme, supervising a team of arrangers to create new large orchestral versions of favourite musicals. He specialises in the editing, reconstruction and expansion of musical theatre works, and regularly leads and contributes to the orchestrations for many of LMTO’s projects.
Selected credits include:
As lead orchestrator: Lucie Jones – Live at the Adelphi (Adelphi Theatre); Best of the West End 2020 – Stage and Screen (Royal Albert Hall); Chess, Kinky Boots & Treason at West End Live 2022 (Trafalgar Square)
As orchestrator, for LMTO: Scala Radio Christmas Live (Palladium), A Night at the Musicals (Royal & Derngate), Ben Forster – Me, Myself & Musicals (Theatre Royal Haymarket). For the London Gay Men’s Chorus: Sondheim Songtime (Cadogan Hall), Hitsville (Troxy)
Music preparation and additional orchestration: Chess (Theatre Royal Drury Lane), Camelot (London Palladium), Mack and Mabel (Hackney Empire)
Declan is also medically qualified, and is a trainee anaesthetist working in the Central London School of Anaesthesia.
Since graduating from the Royal College of Music as a Clarinetist in 1991, Paul has become one of the busiest woodwind players on the West End circuit and can now usually be found performing the Clarinet chair at London’s Apollo Theatre on Wicked, a post he has held since the show began in 2006.
He is a committed educator and is a teacher of multi-instrumental skills at Birmingham Conservatoire of Music.
Paul’s work outside of the musical theatre genre includes Scottish Opera, Royal Liverpool Philharmonic Orchestra, Welsh National Opera, Chameleon Arts Orchestra, CHROMA and the occasional late-night cabaret at Madame Jo Jo’s, but it is the theatre where he is most at home.
During his West End career, he has performed on Billy Elliot, Guys and Dolls, Les Misérables, The Producers, Mary Poppins, Ghost, Top Hat, Miss Saigon and many more.
TV and studio work include LWT Parkinson and BBC Open University and orchestral work include Scottish Opera, Royal Liverpool Philharmonic, Northern Ballet and Welsh National Opera.
As a composer, several works are published by Spartan Press. For any other information, please visit his website Paul Saunders.
Paul is a UK endorsee for Legere Reeds.