Songwriter and musical theatre composer and lyricist Drew Gasparini (The Karate Kid The Musical) has developed brand new musical We Aren’t Kids Anymore, in association with Norwich Theatre.
Following his autobiographical concept album of the same name in 2020, Drew Gasparini is now bringing the music to life in a brand new musical, to be workshopped in Norwich.
In We Aren’t Kids Anymore: A New Kind of Musical – a reflection of us all, audiences will be taken on a poignant and heartwarming journey that explores the profound essence of never truly feeling like one has grown up, and the complexities of humanness, self-discovery, and the courage it takes to make life-altering choices.
Drew Gasparini is best known for writing songs for season 2 of Smash, as well as the scores for the Broadway musicals The Karate Kid The Musical, and Skittles Commercial: The Broadway Musical, and It’s Kind of a Funny Story.
The workshop cast will include Roshani Abbey (Hamilton, Victoria Palace, West End; & Juliet, The Shaftesbury Theatre, West End; Gypsy, The Royal Exchange Theatre), Johnnie Fiori (Hercules, Disney Animated Feature; Hairspray, The Shaftesbury Theatre, West End; Ma Rainey’s Black Bottom, The Royal Exchange Theatre), Chelsea Halfpenny (Emmerdale, ITV; Grantchester, ITV; Waitress, UK & Ireland Tour; 9 to 5 The Musical, UK Tour), Josh St. Clair (City of Angles, Donmar Warehouse; Frozen, Original London West End Cast; A Funny Thing Happened on the Way to the Forum, Paris Lido), and Archee Aitch Wylie (Portia Coughlan, Almeida Theatre; The Odyssey, Royal National Theatre Studios; Babies, Original Concept Album).
The creative team includes Richard Fitch (Director), Chris Cuming (Movement and Choreography), Lauren Hopkinson (Musical Supervision), and Sarah-Jane Price (Casting).
Drew Gasparini said in a statement: “I wrote We Aren’t Kids Anymore: A New Kind of Musical – a reflection of us all without recognising its significance or its relatability. It felt like a small thing, just for me, to reflect on my own life like musical diary entries. I didn’t realise it would be so universal in so many ways that very few of us, as humans, talk about. Little moments can create big impacts, and that’s what this piece showcases universally. What I love (as an audience member) but dread (as the writer) is just how deep into the emotional crevasse we go, with joyous or rock bottom, there is an all-connecting human element. My collaborators Richard Fitch and Chris Cuming have been massively influential on the truly unique approach we are taking in telling this story. I’ve never written a musical that broke so many rules before. And I love that about this piece.”








