"There's sadness, but there's joy" - Jethro’s Journey Bringing Benjamin Button to Life with Music, Magic, and Transparency
After captivating audiences in its first two runs, Jethro’s musical adaptation of The Curious Case of Benjamin Button is now set to take on the West End. On a barmy August Bank Holiday, I sat down with Jethro to chat about the origins of the production, the challenges of a West End transfer, and what makes Benjamin Button stand out as a uniquely profound piece of theatre.
Old and New Beginnings
“I wanted to make a musical for a while,” Jethro begins. “I was doing plays with songs that were taking existing folk songs and weaving those into plays. Then I worked with composers to create bespoke songs for these plays and realised something. I really wanted to make a musical. And I was thinking, if I were to make a musical, what would the setting be, and how would that world be?”
The idea really began to take shape when Jethro set his sights a little closer to home “I thought, oh, a Cornish harbour side… because I'm from North Cornwall. I thought it would be nice to do something set there. So had that setting, and that world of North Cornwall, but I didn’t have a story to set in it.”
With his producer hat on, Jethro began to research which stories were headed for the public domain, any link to an existing IP proving invaluable when it comes to selling a show. “I came across a number of stories, and one of them was The Curious Case of Benjamin Button. And I thought actually, that would make a great musical.”
F. Scott Fitzgerald’s character ageing backwards felt inherently dramatic and full of potential for live storytelling, but Jethro didn’t initially make the connection between the original Baltimore-based story and his Cornish musical. “A little while later I realised, well, hang on, that story would fit that setting perfectly, Fitzgerald’s concept is very fairytale and in the setting of a Cornish folklore world it just seemed natural and like a really good fit.”
It was at this point Compton sought out a composer and after a rocky R&D period was recommended Darren Clark. “I got in touch with [Darren], and I sent him a lyric from what was going to become the 'I Want' song. And he set it, messed around with it, sent it back, and I thought it was great. It was exactly what I wanted it to be.” Darren equally tested out the potential partnership through this interaction, shifting some of Jethro’s lyrics around to understand the scope for collaboration - Jethro realised that it “all made sense musically, why he did it and it was better.” Their partnership developed quickly and eight months on from meeting the show was in front of an audience.
A Man of Many Hats
Jethro’s name appears across nearly every aspect of the production. He’s the producer, director, and writer, and even has designed the tiered set - the blueprints of which are exhibited on his office wall. I asked him how he manages all these responsibilities. “I find it quite an easy thing because that's how I've always worked. And actually, every time we do the production, I hand over more and more.”
For the 2019 run, Jethro was also the lighting designer, physically built the set and acted as production manager whereas now the team has expanded to allow him to focus on his remaining responsibilities. For him, it’s less about control and more about efficiency and a clear vision. “I think people can look at that as, is this a vanity project? Is this ego? For me, it’s just, I know what I want and how I want it to be.”
Adapting for the West End
The transition from Off-West End to West End is an exciting one, but it also presents a significant challenge, the stakes have only grown. “During previews last year, the show was too long, and we spent previews trying to cut it down. The problem with the show is that, because it’s so logistically complex if you cut one chorus of a song, you suddenly find that no one is in the right place for the next bit of music.”
Jethro explained how they had to look critically at every aspect of the show, refining transitions and reworking scenes. “We’ve cut about ten moments of underscore from last year, which meant ten moments where we needed music to come in to help us transition from one scene to another. We’ve cut those moments by basically just working a bit harder, a bit smarter.”
The logistics of having a cast of actor-musicians adds another layer of complexity. “It appears very smooth and simple, but it is insanely detailed and complex,” Jethro says. “The result I'm aiming for is something that looks simple and smooth, to make it appear that it's like the duck on the water—floating serene while kicking its feet underwater.” He shows me some of his directing material, featuring diagrams of the space and little icons representing the actors with arrows and notes about where they need to be for each moment - this man is prepped.
We also discussed translating the set for the Ambassador’s Theatre and managing the rake that comes with the space. Jethro explains that he had to balance creating a steep enough rake to guarantee the best sight lines for audiences whilst recognising that each degree he adds will increase the amount of physio required by the company as they navigate the stage eight times a week - a significant factor that I had never considered.
The Cost of Benjamin
Putting on a production, especially one heading to the West End, involves an immense financial commitment and Jethro has been an advocate for transparency when it comes to the costs involved. “I just don’t like playing games,” he says. “If we've got nothing to hide, let’s not hide it. Let’s just be open about it.”
For the 2023 run at Southwark Playhouse, Jethro decided to include a budget breakdown in the programme so audiences could understand exactly where their ticket money goes. “I think people see ticket prices and sometimes wonder why they’re so high. But they don’t realise the sheer scale of what it takes to put on a show like this—set construction, costumes, paying the cast and crew, the lighting, the sound, the logistics. It’s an enormous operation.”
He adds that transparency has helped audiences feel more connected to the production. “People have responded positively to it. I think when you show people what goes into making a show, they appreciate it more. It demystifies the process and shows that we’re not just trying to make a profit—we’re trying to create something that’s artistically meaningful and financially viable. Several subsequent shows at Southwark Playhouse also included a budget breakdown and Benjamin’s West End run will too.
Looking Ahead
I asked Jethro what he hopes audiences take away from this production, “The whole message of the show is that it doesn’t matter how old you are, it doesn’t matter how many years you’ve lived or how many years you're going to live. Just make the most of it. You can be very old at the end of your life but still feel full of youth, just as you can be young and feel old. I always had this sense, even in my early 20s, that I was in the final chapter of my life. Now, looking back, it's strange to realise how young I actually was, even though I felt so old at the time.”
“I think audiences come out feeling uplifted, heartbroken but uplifted. There's sadness, but there's joy, and it's something to be celebrated and not taken for granted.”
With rehearsals in full swing, Jethro and co are currently preparing for Benjamin to Live his Little Life in a production that is guaranteed to move and entertain. The Curious Case of Benjamin Button is set to open in the West End at this Ambassadors Theatre this October, with a cast recording possibly following soon… With its heartfelt music, its intimate Cornish setting, and its magical story, this is a show that invites you to pause, reflect, and feel the wonder of a life lived in reverse. Not to be missed.
The Curious Case of Benjamin Button begins previews on 10th October and is currently booking until 15th February at The Ambassador's Theatre, London.
Rehearsal Photography - Marc Brenner
2023 Production Photography - Juan Coolio
