New Year’s Eve, Palm Springs, 1979 — the midnight Sinatra you dream of meeting.
He hates retirement; his comeback album has flopped. He can still fill a room — but he feels out of step with the times, chasing the one big hit that might redefine him all over again. Dangerous. Unpredictable. Brilliant.
A new play written and directed by Bert Tyler-Moore — creator of The Windsors — with additional material by and starring Richard Shelton, with live piano accompaniment.

Richard Shelton took SINATRA: One Last Shot to the Edinburgh Fringe this August — a full run at Dirty Martini, Le Monde, from the 7th to the 30th. It sold out, took three five-star reviews, and came home with a Gold Award from the Fringe Theatre Awards.
He played three nights here in August, before Edinburgh. This is the show that went north — and this is it coming back.
One Saturday in Hampstead. Fifty-five seats, a stool, a microphone, and a bottle of Jack Daniel’s.
On New Year’s Eve, with a small group of invited showbiz pals, Frank Sinatra holds court — through music and song, and the talk between. This is not the Sinatra of the greatest-hits package. This is the man after midnight: the doubt behind the swagger, the wit, the temper, and the voice that made him.
Richard Shelton stars, following his critically acclaimed Sinatra: RAW, which wowed critics worldwide. With live piano accompaniment — just a voice and a piano, the way these songs began.
Will he ever find that one big hit to redefine him?
“You feel as though Sinatra himself has walked into the room.”
Richard Shelton is widely acknowledged as the world’s leading dramatic interpreter of Frank Sinatra — a multi-award-winning actor whose screen work spans Emmerdale, Jane the Virgin, Dig and House of Lies.
He has sung by Royal Command for King Charles, and recorded alongside Sinatra’s own bandmates at Capitol Studios, Los Angeles. He is acclaimed worldwide for Sinatra: RAW and Rat Pack Confidential (London, West End).

Fifty-five seats, no distance. A performance this raw has nowhere to hide — and nowhere to go but straight into the room.
Live piano accompaniment, the way these songs began. No orchestra to hide behind — only the song, and the man singing it.
Not the package. The man after dark — dangerous, unpredictable, brilliant — the one you always wished you could meet.
28 Heath Street, Hampstead, London NW3 6TE. Hampstead station, Northern line — thirty seconds from the door. A proper theatre: private entrance, West End sound and lighting, fifty-five seats — all good ones.