Tag Archives: James Hameed

JUST FOR ONE DAY

★★★★

Old Vic Theatre

JUST FOR ONE DAY at the Old Vic Theatre

★★★★

“high-energy, high-power, dynamic staging that pays tribute to what was possibly one of the greatest events in music history”

A decade before the Live Aid concert, David Bowie was holed up in a studio in West Berlin with a three-chord instrumental track ‘in the can’, as it were. But no lyrics. During a cigarette break he observed a young couple, by the Berlin wall, sharing a furtive kiss before going their separate ways. Inspiration struck, and ‘Heroes’ was born. He was almost certainly unaware of the anthem the song would evolve into, adopted by many causes – most famously Live Aid – as a signature tune; the lyrics eventually spawning the title for the Old Vic’s jukebox, nostalgia-fest of a musical. His estate was among the first to pitch in to give permission, so somebody must be doing something right.

In fact, a lot of people are doing a lot of things right. And according to the thousand plus jubilant crowd crammed into the Old Vic, the cast of “Just For One Day” can do no wrong. After two and a half hours it is nigh on impossible not to be swept along by the waves of enthusiasm that sway to the final crashing bars of ‘Let It Be’. The unintended pseudo-religious quality of McCartney’s lyrics matches the preachiness of the show’s final message, even if that message is the complete opposite of ‘letting it be’.

Writer John O’Farrell seems to have pre-empted the flak that present-day, tag-hungry sanctimony was going to throw his way, and he has dealt with the subject with good humour, even if it is as cheesy as it comes at times. But we’re revisiting the eighties after all – the decade that fashion forgot, and we hadn’t accelerated back to the future yet in our DeLoreans and shoulder pads, so let’s try and forgive the inanity of the book. Director Luke Sheppard helps us do just that with his high-energy, high-power, dynamic staging that pays tribute to what was possibly one of the greatest events in music history.

Whichever you look at it, the glossy razzmatazz is a glorious recreation of some wonderful music. But the stabs at analysis and commentary are way too simplistic. We are introduced to various individuals who stand up proclaiming ‘I was there’, while others proudly claim not to have been born yet as though their completely random date of birth gives them superiority. The generations clash and eventually come together. Of course they do. Elsewhere the earnestness is dispensed with entirely with stabs at humour – which is generally more successful and elicit some laugh out loud moments. Already larger than life characters (Sir Bob, Margaret Thatcher, Harvey Goldsmith, Charles and Diana, and innumerable musical icons) are given even larger life in a sort of ‘Spitting Image’ without the puppets scenario.

“Pangs of nostalgia reverberate in time to the kick drum while our own internal rhythms are swinging from bemusement to enjoyment in double time”

The music celebrity crème-de-la-crème of the 1980s is being represented on stage, and Sheppard has assembled the musical theatre crème-de-la-crème of the 2020s. Matthew Brind’s arrangements exceed the X Factor as we race through vast chunks of the set list from Wembley and Philadelphia. The further away the numbers stray from their original structure, the more moving they become; as highlighted by Abiona Omonua’s rendition of Dylan’s ‘Blowin’ In The Wind’ which powerfully transports us to the ravished plains of Ethiopia. Meanwhile Jack Shalloo, as a rakish Midge Ure, swoops through ‘Vienna’ with soaring glissandos. Danielle Steers, as Marsha – one of the Live Aid event’s organisers, is in unmistakably fine voice throughout; as is Jackie Clune, playing the now grown-up teenager who skipped her O’ Levels to grab a ticket for the concert. At the centre, inevitably, is the foul mouthed, ‘Saint Bob’. Craige Els swaps impersonation for a series of soundbites and witticisms that give him the more accurate title of ‘patron saint of the humble brag’. Writer O’Farrell’s comic flair is accentuated during Geldof’s surreally depicted standoffs with Margaret Thatcher (Julie Atherton on top form).

Gareth Owen’s sound is faultless. And bombastic enough to reduce the Old Vic’s stuccoed tiers and balconies to dust. But we don’t care – it’s like there is no roof to bring down anyway as we imagine we’re all waving our lighters under an azure, stadium sky. As we gaze around the auditorium, surveying the faces beaming with joy, it is hard to reconcile the fact that this musical (and the Live Aid event itself) comes with the inevitable flotsam of modernist accusations of ‘white saviourism’. Of course, Sir Bob Geldof has vehemently denied such allegations. One can sympathise with Geldof, and it is ultimately unfair and irrelevant to wave the neo racist flag at an event that occurred four decades ago. Yes, in hindsight the value of the gig can still be debated. But that is another discussion. “Just For One Day” doesn’t really want to go there, but the fact that it feels impelled to, feeds the narrative with half-hearted, perfunctory banality.

It is a divided show, in content and in structure. Act One deals with the build-up while Act Two covers the titular ‘One Day’ – in London and in Philadelphia. And that is where it truly comes alive. Pangs of nostalgia reverberate in time to the kick drum while our own internal rhythms are swinging from bemusement to enjoyment in double time. In the end the latter wins, and we leave the theatre on the upbeat. By the time we’re out, dancing in the streets, we have forgotten the duff notes, and we’re not just singing the songs but singing the praises of the singers too.

 


JUST FOR ONE DAY at the Old Vic Theatre

Reviewed on 16th February 2024

by Jonathan Evans

Photography by Manuel Harlan

 

 

Previously reviewed at this venue:

A CHRISTMAS CAROL | ★★★★★ | November 2023
PYGMALION | ★★★★ | September 2023

JUST FOR ONE DAY

JUST FOR ONE DAY

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Be More Chill

Be More Chill

★★★★

Shaftesbury Theatre

Be More Chill

Be More Chill

Shaftesbury Theatre

Reviewed – 6th July 2021

★★★★

 

“an undeniably addictive show”

 

Based on Ned Vizzini’s 2004 novel of the same name, it is difficult to watch the musical adaptation without the added poignancy wrought from the knowledge that Vizzini took his own life at the age of thirty-two. He was aware that the musical was being produced – indeed even excited at the prospect. Writer Joe Tracz and composer and lyricist, Joe Iconis, had just finished the first draft when they learned about the author’s death. Sadly, he hadn’t yet heard any of the music, much of which represents Vizzini’s personal struggles.

It’s hard to know how much of the innate sorrow washes over the audience’s head. “Be More Chill” is unquestionably aimed at the younger demographic, and one hopes that it speaks to them more directly than the whoops and cheers that accompany the action suggests. There is a superficiality that belies the subtext and, whilst you cannot ignore the sheer entertainment value of the production, it would be a shame to belittle the significance. As a (slightly) older member of the audience I try to put myself in a younger pair of shoes. Yes, I can argue that there’s nothing ground breakingly new here, but the freshness of Iconis’ music and lyrics, with Tracz’s book pull you in to the story; a pull made more forceful by the strength of the performances.

Stephen Brackett’s production focuses on two high school characters doing their best to try to fit in: Jeremy; who is on a quest to find acceptance, initially with a self-absorbed disregard of anything or anybody else (cue the scope for redemption), and Michael who is more accepting of his oddball status. Jeremy is persuaded to try a new pill called SQUIP (Super Quantum Unit Intel Processor) which imports a supercomputer into the brain and instructs him how to achieve the self-confidence he needs. It is a short cut to the popularity he dreams of but, being a heavy-handed metaphor, comes with the predictable downfalls. Michael is sceptical. What follows is a weird and sometimes wonderful storyline that is a mixture of high school musical and sci-fi fantasy.

Scott Folan’s Jeremy is a perfect mix of charm and angst, susceptibility and awareness. The standout is Blake Patrick Anderson as Michael. The audience cannot fail to be gripped by his show stealing performance, particularly during the most recognisable number, ‘Michael in the Bathroom’. Yet each cast member shines in their own way. Stewart Clarke as the personification of ‘Squip’: an intended pastiche and homage to Keanu Reeves in ‘The Matrix’. Miracle Chance illuminates the stage as love interest, Christine, while Christopher Fry delights as Jeremy’s father – trouser-less but nevertheless still ‘wearing the pants’.

The characters are brought further to life by Alex Basco Koch’s video projections which hypnotically convey the altered states of their minds. There are moments when the narrative steers a bit too close to confusion, but the actors pull it back and through song refocus on the heart of the matter. It’s a show of extremes; of suffering and joy, the agony and ecstasy. It’s initial run Off-Broadway failed to ignite its audience, and it simmered silently for a couple of years. Through word of mouth and YouTube clips the soundtrack eventually hit the charts and a cult phenomenon was born. Paradoxically you can understand both receptions. It is an undeniably addictive show, although I can see why some might want to resist it. But if you can cast aside reservations and learn to ‘be more chill’ it is well worth the ‘trip’.

 

Reviewed by Jonathan Evans

Photography courtesy Be More Chill

 


Be More Chill

Shaftesbury Theatre until 5th September

 

Previously reviewed at this venue this year:
Abba Mania | ★★★★ | Shaftesbury Theatre | May 2021

 

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