The Story

Elizabeth Filippouli is a journalist, playwright, and social entrepreneur. She is CEO and founder of the Global Thinkers Forum, an international nonprofit empowering youth and women through mentoring programs.

A published author, she is also deeply involved in theatre and storytelling. In 2023, she adapted the play Alexander the Great: Between Myth and Imagination for the British Library, introducing a fresh narrative around one of history's most legendary figures. 

In 2024 she was Executive Producer of the ‘FABULOUS CREATURES’ at the Arcola Theatre.

ALEX is her debut musical, marking her venture into musical theatre as both a writer and lyricist. Her recent book, ‘From Women to the World: Letters for a New Century’, published by Bloomsbury UK, showcases the voices of women from 19 different countries.

Filippouli was born in Athens and has been living in London for twenty-five years. She holds degrees from Harvard, Oxford’s Saïd Business School, and City University London. She has served on the International Advisory Board of the King’s Trust, under the guidance of Sir Lloyd Dorfman, supporting the launch of His Majesty’s mentoring programs for youth worldwide.

Sir Dirk Brossé, born in Gent, Belgium, is a multi-faceted award winning composer and a respected conductor on the international music scene. Since 2010 Music Director of The Chamber Orchestra of Philadelphia. He is currently Music Director of the World Soundtrack Awards at Ghent Film Festival, honorary conductor of Sinfonietta Cracovia and music director of Prima La Musica.

Dirk has written some 1850 works, including concerti, oratorios, lieder, chamber music, symphonic works, 14 musicals and over 50 film and TV scores. His score for the BBC/HBO series Parade's End was nominated for an Emmy Award. Dirk Brossé has made more than 120 CD recordings and has collaborated with world-class artistes such as José Van Dam, Barbara Hendricks, Julia Migenes, Julian Lloyd Webber, Salvatore Accardo, Alison Balsom, Hans Zimmer, Emma Thompson, Randy Crawford, Lisa Gerrard and Marcel Khalifé. 

Maestro Brossé has conducted over 120 orchestras all over the world such as London Symphony Orchestra, Vancouver Opera, l’Orchestre de la Suisse Romande, Camerata St Petersburg, Hong Kong Philharmonic, Philharmonic Orchestra of Shanghai. In 2008 he made his first appearance at the Royal Albert Hall in London. In 2016 he made his debut at the Carnegie Hall New York.

For more than four decades theatre historian and writer Dr Anthony Stevens taught literature and theatre, firstly in England, at De Monfort University, and then in Greece, in the International Baccalaureate section of the Moraitis School, at La Verne University Athens, and at the International Centre for Hellenic and Mediterranean Studies. 

During this time, he wrote, devised and directed many plays, with work performed throughout Britain, as well as in Australia, Greece and Lebanon.

He has worked in a wide variety of theatrical genres, including exploring ways of staging 'lost' Greek tragedies of which only fragments remain. He retired from teaching to devote himself to writing. His notable work includes ‘How Plays Tell Stories: Studying Drama as Literature’ and ‘How to Write a Greek Tragedy’. His often highly experimental work, mixes elements from different genres and epochs with a critical approach to theatrical performance.

"I wrote this show because I believe in stories that speak to the hearts of young people who feel invisible or have to give their own battles. We all need stories that open paths to inner healing. We also need humour, fun and expression through creativity, free expression, music and dance!"

Elizabeth Filippouli

Writer & Lyricist

"I’ve always been fascinated by Ancient Greece and the figure of Alexander the Great. 

There was something very charming and human about him. This story is now approached from a whole new perspective! Musically it is a blend of contemporary musical theatre with Mediterranean, Middle Eastern, and orchestral textures."

Sir Dirk Brossé

Composer

'A provocation to re-thinking: somewhere between historical fact, myth, dreams and imagination, or in their interplay, we might begin to recognise not some supposed ‘essential nature’ of Alexander’s greatness but a new inflection of it.'

Anthony Stevens

Theatre Historian/Dramaturg