“Brooks practically steals the show with her soul-stirring “No Woman, No Cry”.
There’s a backline of oversized speakers, on which the cast and musicians sway to the beat while Bob Marley bounces downstage to take the microphone. Over the vamping, pulsating music, Marley introduces the cast members, inviting applause for each name check. We are definitely in gig territory here – not one of the oldest, most elaborate West End theatres. A sensation reinforced by the stripped back narrative that follows. The music is key. But like with Marley himself, it serves the purpose of getting the message across in ways that mere words cannot achieve.
David Albury bears a striking resemblance, physically and vocally. He is the alternate Bob Marley, but the role seems to have been written for him alone as he takes us on the journey of one of the most popular, yet most misunderstood, musicians in modern culture. Marley has achieved immortality, but some argue that his image is commercialised and diluted. “Get Up Stand Up!” gives us a glimpse of the real deal. The ghetto kid who believed in freedom. And fought for it. The convert to Rastafari. The kid sent away by his mother to Kingston for a better life. The ambassador of love, loss and redemption. The victim of an assassination attempt who headlined the ‘One Love’ Peace Concert in 1978, receiving the United Nations Peace Medal of the Third World. The cancer victim. But we also catch sight of the misogyny, the carelessness and self-absorption that affected those closest to him – namely his wife, Rita (Gabrielle Brooks), and long-term girlfriend, Cindy Breakspeare (Shanay Holmes).
The most revealing and poignant moments of the evening are provided by Brooks and Holmes. Hearing Marley’s words resonate from these two formidable women’s voices adds layers of compassion, tenderness, and bitterness. Brooks practically steals the show with her soul-stirring “No Woman, No Cry”.
Marley’s somewhat questionable attitude towards women is certainly thrown into the spotlight, and while writer Lee Hall tries to mitigate by highlighting Marley’s ‘marriage to the band’, we never really get a sense of what makes him tick. As mentioned, we do only get the broad outlines. The dialogue between the numbers does tend to assume we know so much already. But with such a wealth of material that’s probably a necessity, and it does spur us on to do our own homework. In the meantime, we can relish in the sheer energy of Clint Dyer’s production. It is a jukebox musical that never feels like one. Marley’s songs are the soundtrack to his life, so obviously make the perfect soundtrack to this sweeping panoramic vision of a visionary artist. Dyer races through the story, but occasionally stops the track to zoom in and focus on particular moments. Marley watches his younger self (brilliantly played by Maxwell Cole) leave the family home, while later on the young Marley stands by to witness his older self receive his cancer diagnosis.
These moments of unconventionality never detract from the ‘concert’ feel of the show. And, after all, it is the songs that tell the story. Shelley Maxwell’s choreography is stunning but, with an eye on a West End audience, occasionally mismatched to the material. But the roots are still there, just as Marley stayed true to his own roots even when Chris Blackwell of Island Records (Henry Faber) sensed a need to reach out to the predominantly white, British audience in the 1970s.
The set list is comprehensive, including lesser known, more lyrically challenging numbers along with the signature tunes we know and love. As the evening slows down to a plaintively acoustic “Redemption Song” we see the intoxicating mix of the gentle and the explosive that coexisted within Marley’s spirit. And his spirit is in full attendance throughout the night. The crowd can’t fail to follow the command of “Get Up Stand Up” during the rousing encore.
“an energetic and spectacular tribute to one of the most influential artists who has ever lived”
Thriller Live first opened at the Lyric Theatre in London in 2009 and since then has had over 4,000 performances and is soon to be the 11th longest running musical in the West End. Celebrating the life and legacy of Michael Jackson, Thriller Live, produced by Paul Walden and Derek Nicol, takes its audience on a journey through the King of Pop’s greatest hits from his early life in the Jackson 5 to his dizzying success with the albums Bad and Thriller.
The show has little plot other than a vague chronology of Jackson’s life and musical career. The incredibly cute Ishaan Raithatha plays a young Michael Jackson and leads on ABC and I Want You Back while Florivaldo Mossi does an excellent job of playing the King of Pop at the height of his career. With Mossi’s effortless flair, it’s easy to forget that you are not actually watching MJ himself. In Billie Jean, Mossi takes to the stage alone and dominates the space with his incredible imitation of Jackson’s dancing. The choreography (Gary Lloyd) is incredible throughout the show and particularly notable during Dangerous, Dirty Diana and Smooth Criminal.
For a special two-week run this Christmas, singer Peter Andre also joins the cast. There is great excitement for Andre amongst the crowd and any appearance of his on-stage garners whoops and cheers. Andre did well to keep up with the King of Pop’s signature moves, but his voice is unfortunately not nearly as strong as the other singers. The strongest vocalist is Vivienne Ekwulugo who leads a beautiful rendition of Who’s Loving You.
Haydon Eshun and John Moabi do well to host the show though there is no one person who is particularly good at getting the audience going. Any enthusiasm from the crowd is the result of favourite songs rather than engaging audience participation. During Shake Your Body, the cast attempt to start a sing along but it is far too early in the show for the audience to really be warmed up enough. By the finale, however, the audience are far more receptive.
The set (Johnathan Park) consists of several screens one of which opens at the back of the stage to create an entrance and from behind which the band plays. Two tall light-up staircases sit either side and lead up to a walkway where the cast dance and in Smooth Criminal show off Jackson’s famous anti-gravity lean. There is another large screen that hangs above the stage and displays different images depending on the song. Bursts of light and flashing effects (Nigel Catmur) are also frequently used to enhance crescendo moments.
There are few props, but these are barely necessary as the dancing and lights are engaging enough. During Smooth Criminal and Dirty Diana in the second half, two sofas are wheeled around to add variety to the dancing. There is also some flag waving at the end of Can You Feel It and fake drums to match the banging in They Don’t Care About Us. The costumes (Rob Jones and Catherine Teatum) are suitably Jackson-esque with lots of sparkles and iconic outfits such as the Smooth Criminal white suit and the red Thriller jacket.
Michael Jackson fan or not, it is hard to not find yourself bopping along in your seat or, when encouraged, to stand to your feet and sing along. Though some more information on Jackson’s life would have been appreciated, Thriller Live is an energetic and spectacular tribute to one of the most influential artists who has ever lived.
