<i>Over The Threshold</i> logo

Over The Threshold is a 75 minute long musical about four characters whose lives are turned upside down in one fateful evening. Opposites attract - but then they're stuck with each other. When a relationship goes stale can a little flirting bring back the spark? Infidelity might drive a couple apart but then so might monogamy.

THE BEGINNING...
Over The Threshold was conceived by Christopher Hamilton in 2003 and has captured the imagination and respect of a host of talented performers ever since.

After writing the first draft in an internet cafe in Mazatlan, Mexico, Christopher used his wealth of contacts from his cabaret and performance career and persuaded them to help him promote his musical to a wider audience. Attracting the likes of Tony Award Winner Frances Ruffelle (Les MisÚrables, Starlight Express), Dianne Pilkington (Wicked, Cats, Taboo), Katie Rowley Jones (Wicked, Sister Act) and Shimi Goodman (Bombay Dreams, Chicago, Evita), Christopher recorded a demo of the music and submitted it to the Perfect Pitch Showcase for New Musicals in 2006.

Over The Threshold was immediately selected and presented to an industry and public audience at Upstairs at the Gatehouse in Highgate, London, starring Anita Louise Combe (Chicago, Saturday Night Fever), Arvid Larsen (Jesus Christ Superstar), Gordon Fraser and Sharon Clancy (Mamma Mia, Rent) and directed by Nick Afka. Following this presentation, Christopher undertook several rewrites of the piece and continued to try out the music in various locations across the world including Montclair State University, New Jersey, US, where it was described as, "an evening of magic", Don't Tell Mama, New York, US, the Whatsonstage.com Theatregoers' Choice Awards Concert at the Lyric Theatre, Shaftesbury Avenue and the Edinburgh Fringe Festival 2008 as part of Perfect Pitch - In Concert. It was the overwhelming interest in the piece from that final outing that proved the catalyst for taking the production to the next level and presenting it, in full, in Edinburgh 2009 where it was critically acclaimed receiving six 5 star reviews. It played to sell out audiences and was nominated in the MTM: UK Awards in the following three categories - Best New Lyrics, Best New Music and Best New Musical. It beat off strong competition to win the award for Best New Music. It transferred to Jermyn Street Theatre in London and was nominated in the BroadwayWorld UK Awards 2010 in the category Best Fringe or Regional Musical.

In October 2010 Over The Threshold was produced by the Vienna Theatre Project and played to sell out audiences at the Theater Drachengasse in Vienna.

REVIEWS...
http://www.broadwaybaby.com/listing.php?id=4164
http://www.edinburghguide.com/festival/2009/edinburghfringe/overthethreshold
http://ed.thestage.co.uk/reviews/379
http://www.edinburgh247.com/fringe-festival/default.asp?listingID=9
http://hairline.org.uk/2009/08/11/over-the-threshold

***** 5 STARS All the festivals review posted on 19th August by Katie Gadsby.
"Over the Threshold is one of the most professional productions I have seen at this year's festival, which looking at the proficient west end cast and their collaborative CV - I should think so too. It has received a number of awards since its birth 5 years ago and it is easy to see why.

The concept is simple, four lives, two couples living in limbo until their lives collide, lies are exposed, temptation moves in and reality hits home. This may seem like a pretty textbook narrative, but never underestimate simplicity done well.

The relationship between the characters is both hilarious and touching, occasionally at the same time. The dynamics of the piece change constantly as lives and wires get crossed. Placing the couples as next door neighbours creates most amusing scenes and scenarios which act as a mask to some genuinely sobering issues.

Christopher Hamilton's score already sounds like an established classic, and the songs are used to extend the story rather than to reiterate, as many weaker musicals have a tendency to.

In fact the show was so professional that the modest setting of the George 2 space seemed positively intrusive to the production. With the infamously disastrous' Bloodbath' taking up the main stage, it seems a complete miscarriage of justice to what is destined to be a future smasheroo!"