The production is directed by Dominic Dromgoole, formerly the Artistic Director of Shakespeare's Globe. Dromgoole applies his experience with classical staging to this intimate narrative, focusing on the relationship between a single individual and the vast history surrounding him. Following its presentation in New York, the show arrives with an established reputation for clear and thoughtful storytelling that translates a personal journey into a collective experience.

Thematically, the piece examines the role of beauty in the face of grief. It considers how we manage loss within a working life and how the act of looking at art can offer a form of quiet resilience. Rather than treating the museum as a static setting, the production uses the visual environment to reflect the internal state of the protagonist. It speaks to an audience looking for a sense of perspective and a grounded reflection on how we find our footing after a life-altering event.

The show is based on a successful New York Times bestseller that has found a wide readership through its honest account of a specific, lived experience. While the book offered a solitary perspective, this adaptation brings that narrative into a shared theatrical environment. It is a work built on the idea that art is a practical resource for navigating difficult times, resulting in a production that is visually composed, emotionally direct, and rooted in reality.

"An exquisite portrait of the Met and its treasures that reminds us how to look at the world."
- The Washington Post

Patrick Bringley was twenty-four and building a career at The New Yorker when his older brother died of cancer. In the aftermath, the expectations of a high-achieving life felt increasingly distant and the pace of the city became difficult to manage. Seeking a role that required presence rather than productivity, he left his job to become a security guard at the Metropolitan Museum of Art.

For the next decade, Bringley wore the museum's blue uniform and stood watch over two million square feet of galleries. The book documents his journey through the quiet corners of the institution, moving from the treasures of ancient Egypt to the canvases of the European masters. By stepping out of the typical career path, he found a space where he could process his grief without the pressure to move on or succeed in a conventional sense.

The narrative describes the daily realities of the job and the unique perspective of someone paid to stand still. He shares the stories of his colleagues, a diverse group of people who find their own reasons for working in the silence. He also observes the visitors, noting how people from all walks of life interact with art when they believe no one is watching. Through these interactions, Bringley explores how human beings use creativity to make sense of their own experiences.

All The Beauty In The World is a memoir about the value of slowing down. It details how ten years spent in the company of art allowed Bringley to find his footing again. The book suggests that museums are not just repositories for the past, but practical sanctuaries for the living. It is a straightforward account of how a decade of observation helped a man navigate a personal tragedy and eventually re-engage with the world outside.

JAMIE MUSCATO
IS PATRICK

Jamie Muscato is currently one of the West End’s most bankable leading men, combining consistent critical acclaim with a highly loyal, ticket buying fanbase. In 2026, his commercial profile reached new heights. Alongside taking over the iconic role of The Emcee in the Olivier Award winning production of Cabaret at the Kit Kat Club, he is set to star as The Phantom in Love Never Dies at the London Palladium this October, anchoring the high-profile celebrations for the fortieth anniversary of The Phantom of the Opera. These major milestones followed significant live concert successes earlier in the year, including two consecutive sold-out solo shows at the Theatre Royal Drury Lane in March 2026, scaling up from his previous sold-out concert residency at Cadogan Hall which was recorded and released as a live album.

Theatre

• Jamie’s recent stage work includes originating the title role in The Great Gatsby at the London Coliseum, which earned him a 2026 WhatsOnStage Award-winning nomination for Best Actor in a Musical. He also received a 2025 Laurence Olivier Award nomination for Best Actor in a Musical for his performance as Anatole in Natasha, Pierre and The Great Comet of 1812 at The Donmar Warehouse.
• He is well known for originating the role of JD in the UK premiere of Heathers: The Musical at the Theatre Royal Haymarket and The Other Palace, earning a 2019 WhatsOnStage nomination and establishing the show as a major commercial theatrical brand.
• His notable leading roles in the West End and across major regional theatres include Christian in Moulin Rouge! at the Piccadilly Theatre, Dexter in One Day at the Royal Lyceum Edinburgh, Guy in Once at the London Palladium, and Enjolras in Les Misérables: The Staged Concert at the Sondheim Theatre.
• Further stage credits include West Side Story (Leicester Curve), Big Fish (The Other Palace), Lazarus (Kings Cross Theatre), A Subject of Scandal and Concern (Finborough Theatre), Stay Awake Jake (The Vaults), Bend It Like Beckham (Phoenix Theatre), Sweeney Todd (Welsh National Opera), House of Mirrors and Hearts (Arcola Theatre), Dogfight (Southwark Playhouse), The Light Princess (National Theatre), Rock of Ages (Shaftesbury Theatre), Love Story (Duchess Theatre), Les Misérables (25th Anniversary tour), and Spring Awakening (Novello and Lyric Hammersmith).

Film and Television

• On screen, Jamie recently won the Best Performance in a Drama award at the Kino Festival for the film What We Wished We Could Be. He also starred in the independent feature film The Colour of Spring, winning Best Actor on an international festival circuit that secured 22 awards in total.
• His television and film credits include prominent roles in Chemistry of Death (Paramount+), The Undeclared War (Channel 4 and Peacock), Danny Boyle’s punk biopic Pistol (FX Network), The Trial of Christine Keeler (BBC), Cilla (ITV), The Nun (Warner Bros), and the feature film adaptation of Les Misérables (Working Title).

Key Awards and Nominations

• 2026: Nominated for the WhatsOnStage Award for Best Actor in a Musical for The Great Gatsby
• 2025: Nominated for the Laurence Olivier Award for Best Actor in a Musical for Natasha, Pierre and The Great Comet of 1812
• 2019: Nominated for the WhatsOnStage Award for Best Actor in a Musical for Heathers
• Winner: Best Performance in a Drama at the Kino Festival for What We Wished We Could Be
• Winner: Best Actor at the International Film Festivals Circuit for The Colour of Spring

All casting is subject to final availability

PATRICK BRINGLEY
AUTHOR

Patrick Bringley is the New York Times bestselling author of All the Beauty in the World, a memoir about his decade working as a guard at the Metropolitan Museum of Art. Named one of the best books of the year by the New York Public Library, the Financial Times, Audible, the Sunday Times (London), and others, the book has resonated globally, with translated editions from Brazil to Ukraine to South Korea, where it became a number one national bestseller.

In the spring of 2025, Patrick starred in an Off-Broadway production of All the Beauty in the World, a solo play he adapted from his book directed by Dominic Dromgoole, formerly the artistic director of the Globe Theatre in London. He has been featured in the New Yorker, the New York Times, NPR, the BBC, CBS, ABC, Fox, and many other outlets, and has lectured at major cultural institutions worldwide, including the National Gallery of Art, the Museum of Fine Arts Boston, the University of Virginia, and venues in Dubai, Dublin, Oxford, and Seoul. He lives with his wife and children in Sunset Park, Brooklyn. All the Beauty in the World is his first book. Crucially, Patrick will be actively involved in the UK marketing and PR campaign for this production, leveraging his international media presence and existing fanbase to drive visibility and ticket sales.

DOMINIC DROMGOOLE
DIRECTOR

Since leaving the Globe in 2016, Dominic Dromgoole has directed one film, Making Noise Quietly, and produced six including The Man In The Hat, Pond Life and Simon Amstell's Benjamin. In the middle of lockdown he directed the Climate Change Concert film Song for Nature in the Coliseum for Sky Arts. At present he is preparing a feature film and a documentary on Shakespeare's First Folio. With his company Classic Spring, he presented the Oscar Wilde Season in the Vaudeville, where he directed the first play A Woman of No Importance. In 2021, he directed El Perro Del Hortelano in Madrid, and in 2022 Nick Dear's version of Frankenstein in Beijing. In 2023 he directed Jordan Harrison's play, Marjorie Prime at the Menier Chocolate Factory.

Dominic was the Artistic Director of Shakespeare's Globe from 2006 to 2016. In that time the Globe built the Sam Wanamaker Playhouse, nurtured an extensive new-writing programme, held the Globe-to-Globe Festival, which hosted companies from 37 different countries, and developed a national and international touring programme which culminated in a two-year tour of Hamlet to every country in the world. Previously Dominic was the Artistic Director of the Oxford Stage Company (now Headlong) 1997-2005, New Writing Director at the Old Vic in 1997, and Artistic Director of the Bush Theatre from 1990-1996. Dominic is also the author of The Full Room: An A-Z of Contemporary Playwriting, Will and Me: How Shakespeare Took Over My Life, Hamlet: Globe to Globe and Astonish Me! First Nights That Changed the World.

Financial Information

This production is capitalised at £263,246 comprising £183,957 of pre-production costs and £64,090 of reserves, which incorporate deposits, VAT, and contingency, and include the cost of the first full running week. Weekly running costs are budgeted at approximately £25,629. The Producers aim to secure a seven-week season at Southwark Playhouse Elephant—a venue with a proven track record for launching major West End transfers, such as *Operation Mincemeat*—and based on current assumptions the projected break-even point for the production is approximately 74.11% capacity, meaning the production is designed to recoup its Production Capitalisation independently.

The Producers currently anticipate an estimated UK Theatre Tax Relief (TTR) claim of approximately £56,507, which is not relied upon for the purposes of meeting weekly running costs and is treated separately from the Production Capitalisation for budgeting and cashflow purposes. All budgets and schedules are illustrations based on the information available to the Producers at the time of this document.

Investments are typically offered in units of £25,000, with fractional units and lower tier amounts available at the Producers' discretion. The budget is currently modelled for the Southwark Playhouse Borough; the budget remains the same for Southwark Playhouse Elephant.

Darren Bell will act as Co-Producer and Co-General Manager of the production via QUBE Theatricals. QUBE Theatricals will receive a £15,000 general management pre-production fee and a £1,000 per week running fee, which are fully accounted for within the respective capitalisation and weekly operating budgets. In addition to management services, Darren Bell is anchoring the production's capitalisation, committing a financial contribution of up to the full capitalisation amount, and in any event, a proportion not less than 50% of the total raise (either independently or in conjunction with a general partner).

Given the limited run, no producer fees will be payable for this engagement. Creative royalties will be payable to the author and rights holder director only. All other creative royalties are waived for this short run engagement.