Why INDIGO Could Redefine Musical Theatre

Set to open at Curve’s Studio Theatre in Leicester from 26 June to 19 July 2025, INDIGO has already sparked interest among both industry insiders and casual fans. With music and lyrics by Scott Evan Davis and a book by Kait Kerrigan, this show is poised to tackle contemporary family bonds in ways not often seen on stage. While musicals frequently focus on romance, coming-of-age stories, or historical epics, INDIGO offers something different: a layered portrait of three generations of women striving to reach one another across the divides of memory, perception, and time.

Conceived by Jay Kuo, Lorenzo Thione, and Scott Evan Davis, the show first appeared in 2023 at The Human Race Theatre Company in Ohio. Thematically, it places Alzheimer’s, autism, and synaesthesia front and centre. You might be wondering how such distinct experiences can fit neatly into one cohesive narrative. The creative team suggests that, at its core, INDIGO is about empathy—about what it means to truly see and hear someone else when their internal reality may not mirror our own. That’s a universal concern in any relationship, though it becomes profoundly magnified when dealing with cognitive and sensory differences. And let’s be frank: it’s rare for musicals to zero in on the complexities of neurodiversity, let alone in a production set to pop-laced show tunes and heartfelt ballads.

Why Curve’s Studio Theatre is the Perfect Launchpad

Whenever a new musical arrives, the choice of venue can make or break that all-important first impression. In this case, Curve’s Studio Theatre in Leicester provides an intriguing backdrop. Freshly refurbished, the studio has a track record of introducing innovative plays to local and regional audiences. According to the theatre’s chief executive Chris Staffordand artistic director Nikolai Foster, the Studio Theatre has recently launched successful productions like THE MOUNTAINTOP by Katori Hall and MY BEAUTIFUL LAUNDRETTE by Hanif Kureishi, as well as new musicals such as Freya Catrin Smith and Jack Williams’ RIDE: A NEW MUSICAL and Lourds Lane’s SUPERYOU.

This history of nurturing fresh voices suggests that Curve’s Studio is not just another stage for hire. Instead, it’s a creative laboratory that balances intimacy with scale. When you consider that the main theatre seats 970 people, the smaller studio feels like the heart of experimentation—an environment in which directors can afford to take bold risks and develop more nuanced, character-driven pieces. Catie Davis, the director of INDIGO, remarked that Curve’s Studio Theatre is an ideal place to continue the show’s journey, emphasising its ability to support a production that’s “powerful, original” and resonates with modern families. On a purely practical level, a venue with a “tremendous technical team,” as Stafford and Foster put it, is crucial for musicals that require intricate lighting, soundscapes, and possibly interactive stage design.

Real-World Resonance

You might wonder how many people in the UK could connect with a story touching on Alzheimer’s, autism, and synaesthesia. Recent statistics from Alzheimer’s Society indicate there are currently around 900,000 people living with dementia in the UK, and that number is projected to climb. Meanwhile, the National Autistic Society estimates over 700,000 autistic adults and children in the country, and synaesthesia—though less documented—affects a small but fascinating percentage of the population. These figures alone suggest INDIGO isn’t just about niche experiences; it’s shining a spotlight on social and medical realities that impact millions of families globally.

This convergence of real-world data and musical theatre might just be the recipe for a groundbreaking hit. Think of how shows like NEXT TO NORMAL tackled mental health struggles through contemporary rock tunes, earning critical acclaim and a Pulitzer Prize in the process. Audiences are increasingly drawn to musicals that echo the challenges in their own lives, and with sophisticated writing from Kait Kerrigan—who has penned works lauded for their emotional authenticity—INDIGO may well join the ranks of poignant theatre that refuses to shy away from tough topics.

Musical Supervision By Brad Haak

We often fixate on composers and lyricists when discussing a new musical, but rarely do we talk about the musical supervisors and orchestrators—those behind-the-scenes magicians who ensure songs reach our ears in all their lush or minimalist glory. For INDIGO, Brad Haak holds those reins, shaping the sonic environment in which these stories unfold. Haak’s past collaborations and orchestrations have been praised for maintaining a beautiful balance between underscoring and vocal performance. If the creative team’s vision is to capture the sensory world of characters grappling with synaesthesia and autism, then Haak’s orchestrations might well be the secret ingredient that deepens our immersion in their reality.

A possible surprise for theatre aficionados is how the music may shift tonalities or subtly manipulate instrumentation to mirror what a character with synaesthesia might be experiencing. Is a particular day “blue” for them? Does an emotional outburst trigger a cascade of staccato strings, or perhaps the tinkling of piano keys in a minor key that abruptly shifts to a major chord? No official track listing has been released, but I’m already imagining how scenes might evoke the swirling, vibrant confusion of overlapping senses. It’s precisely this sort of creative possibility that sets musicals apart from straight plays; the score can articulate internal worlds in a way dialogue alone can’t.

An Australian Perspective

While the show is debuting in the UK, it’s worth noting that Australia has a keen appetite for new musicals that challenge conventions. Productions like MURIEL’S WEDDING THE MUSICAL and COME FROM AWAY have demonstrated that local and international audiences alike crave stories that combine originality with cultural resonance. With our own thriving network of regional theatres, it’s easy to envision a future in which a well-received production like INDIGO could make its way to Australian shores.

Given the universal nature of the themes—especially the profound impact of family ties and the realities of caring for someone with a cognitive or sensory condition—there’s every chance that Australian audiences would embrace INDIGO just as wholeheartedly as those in Leicester. Over the last decade, we’ve seen Aussie theatre organisations focus more on inclusivity, with “relaxed performances” tailored to individuals with autism or sensory sensitivities becoming more common. Thus, the notion of a musical that actively incorporates neurodiversity into its story seems like a natural fit for our own theatre scene as well.

When Three Generations Take the Stage

Musicals often revolve around a central protagonist with a clear objective, supported by secondary characters who revolve around that person’s journey. INDIGO, however, places three generations of women at the heart of the narrative, each with her own struggles and desires. This approach is unusual because it disperses focus among multiple heroines who must collectively grapple with how to communicate and remain united. Perhaps a granddaughter’s synaesthesia is misunderstood by her mother, who is simultaneously trying to help her own mother cope with the onset of Alzheimer’s. The layered family dynamic promises a multifaceted narrative that can shift from deeply personal introspection in one scene to comedic misunderstandings the next. Tensions, after all, are often highest around those you love most.

This triple perspective is part of what has me so excited. We may be stepping into uncharted musical-theatre territory, where the arcs of three women operate in tandem, creating emotional counterpoints that echo the very concept of harmony. If the music capitalises on that idea—maybe through overlapping melodies, repeated motifs in sibling keys or cunning variations on a signature tune—INDIGO might create an immersive tapestry of sound that illuminates how families function (and occasionally malfunction).

As theatre devotees, we’re constantly on the lookout for productions that challenge convention without sacrificing the magic of a well-told story. INDIGO appears poised to hit that sweet spot, offering an intimate look at the ways families knit themselves together through shared experiences, no matter how daunting. More than that, it holds up a mirror to issues often quietly endured but rarely sung about in mainstream musicals, asking us to listen more carefully, to see more fully, and to love more expansively.

In the hush before the first note sounds, theatre can make us believe that anything is possible. INDIGO steps onto that stage, armed with a story that speaks to millions of families worldwide, a creative team that knows how to spin heartfelt melodies, and a venue ready to spotlight innovation. If that doesn’t rouse your curiosity—and perhaps prompt a new lullaby of your own—I’m not sure what will. Whether you’re in Leicester next June or simply cheering from afar, keep an ear out for INDIGO. Its music might just linger in your memory, long after the final curtain has fallen.