Obituary: Dominic May – ‘angel who invested more than £550,000 in new productions’
After taking early retirement from an accountancy career that included extended periods with various iterations of London Transport and petroleum giant BP, Dominic May transformed a lifelong interest in theatre into an active behind-the-scenes involvement as an ‘angel’, investing more than £550,000 in new productions over the past two decades.
He made his first investment in the late 1990s with a touring revival of West Side Story and went on to help fund a diverse array of shows including the 2014 tour of The Full Monty and Funny Girl with Sheridan Smith at the Menier Chocolate Factory (2015-16) and Savoy Theatre (2016).
In 2017, May was an associate producer of John August and Andrew Lippa’s Big Fish, the London stage debut of Kelsey Grammer at the Other Palace. More recently, he contributed to Heathers the Musical at the Other Palace and Florian Zeller’s The Height of the Storm, starring Eileen Atkins and Jonathan Pryce at the Wyndham’s Theatre, in 2018.
Among the last shows he backed was James Kettle’s The Life I Lead, a portrait of the actor David Tomlinson starring Miles Jupp, which opened earlier this year on tour and was seen at London’s Park Theatre. In September, it will have a limited run of eight performances at the Wyndham’s Theatre.
A keen supporter of Arts Educational Schools London, May was also well-known as a commentator on science fiction, contributing regular columns to Radio Times and Doctor Who Magazine. An active, long-standing member of the Doctor Who Appreciation Society, he contributed to and edited its newsletter.
Dominic May was born on May 14, 1958, and died on May 24, aged 61.
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.