I was lucky, I was working away from home, and so had no family commitments in the evening. In a city the size of Birmingham there was always some sort of gig on, and this night I landed on PJ Harvey at the seedy, run down, but glorious Hummingbird in Dale End.
PJ Harvey had come to my attention though John Peel’s evening show, her astonishing debut album and equally astonishing follow up “Rid of me” which she featured that evening.
Her music was as angular and wasted as her appearance, but her performance was emotional, aggressive and defiant, a three piece including Steve Vaughan on bass and Rob Ellis – drums, vocals,and harmonium generating an extraordinary sound. She reminded me of very early U2 circa their debut album, it is no co-incidence that their manager Danny McGuinness went on to manage her.
Folk pervades her song writing, she performed a blistering cover of Dylan’s “Highway 61”. The haunting, insistent, hypnotic opening “Rid of me” a superb statement of intent which she struggled to better as the set unfolded, despite the obvious merits of “50ft Queenie” and “Water”. With only two albums worth of material , mostly three minute songs , the set was understandably modest lasting about 75 minutes with no encore, but what she lacked in quantity she generously compensated for with quality. She looked exhausted at the end, and so were we, a performance that was jagged, ragged, lacerating and sexy.
The crowd was 100% indie and two thirds male despite Polly’s feminist credentials and message. She doesn’t offer the sassiness of Chrissie Hynde or poppiness on Blondie, where she fits I am not entirely sure. What I am sure of is that no female rock performer bettered that night that I had seen or subsequently saw
Six years ago Derby theatre performed Laura Easons’ adaptation of this classic story directed by Theresa Heskins . The 2023 production 150 years on from the original English publication, is very different and unrecognisable from its previous incarnation , this time directed by Juliet Forester for Tilted Wig productions.
Jules Verne’s classic story has obvious cinematic possibilities realised by others in the past, and equally obvious drawbacks as the basis for a stage adaptation. How do you portray a worldwide journey on a theatre stage? Yet that conundrum is also the basis for this dramatic incarnation of the tale. You don’t. You allow the audience’s imagination to do the work. Circus has long been the home of tall stories and impossible feats . Thus Director Juliet Forester chooses a circus motif and theme to develop the story which is presented to the audience by a group of circus performers as a play within a play. As a novelty she also tells the story of Nellie Bly, who travelled around the world in just 72 days.
Sensibly, Forester eschews the problems of depicting eight countries and utilises a single circus set with a roller banner identifying which country the characters were in at any given time . Sara Perks’ split-level colourful set dominates, its hidden hatch facilitating the best joke of the evening. The see-saw is well used.
The play within a play device allows the circus performers to engage with younger members of the audience and comment upon the original story and some of its anachronistic elements as well as using the character of Nellie Bly to revise the entire premise of the proceedings. Katriona Brown is superb as Bly who somewhat overshadows Phileas Fogg, played by Alex Phelps.
Wilson Benedito makes the most of classic comic creation Passepartout, the hapless valet. Eddie Mann steals the show as Detective Fix attempting to thwart Foggs’ journey and bet, not least in a wild west shoot out which is ingeniously shoe horned into the production. . Foggs’ 80-day trek ends with him finding happiness somewhat closer to home with Aouda ( subtly played by Genevieve) in a schmaltzy denouement which was straight out of the Disney/ Spielberg playbook. Verne hadn’t visited many of the destinations depicted, in the same way that Coleridge ( Rime of the Ancient Mariner) had never been to sea, but this never impedes a good story.
This is a bold attempt to rework and reinvent a classic story for a modern audience and plays until Saturday 10th before continuing on nationwide tour.
This was the third Bowie Tribute I have seen in as many months providing a useful contemporaneous comparison, previously John Mainwaring’s Jean Genie, then Oliver Slee’s Bowie Experience. I suspect that “better or worse” comes down to the setlist and how that resonate with your own favourite, but Absolute Bowie are certainly different.
–
They are by far the most lavishly costumed. I did not think that would make a difference, but it does, particularly for the first half when the Spiders are dressed as the Spiders. They play as a five piece, John O’Neill as Bowie, Andy Marr on lead guitar as Ronson/ Slick , Varo Sitsi as Wakeman/ Garson on Keys, Sam Ferrari on bass as Bolder, and Alex Face as Woody on drums. As far as I could tell there were no backing tracks, and mercifully no tacky pyrotechnics just a bit of dry ice.
–
What sets Absolute Bowie apart is the Bowie/ Ronson interplay. I had forgotten how important that is visually, Marr resplendent in black sequins, platforms and blonde wig- and boy can he play guitar!
–
They opened with “Let’s Spend the Night Together” which I had never seen performed live before- it works brilliantly and O’Neill uses its refrain skilfully to connect with the audience. “Ziggy Stardust” is magnificent, but “Moonage Daydream” blows the roof off followed by a rip roaring “Suffragette City” O’Neill establishes a one to one link with the fans as he wails “Keep your electric eye on me babe, put your ray gun to my head” whilst Marr stretches out the solo to provide the standout moment of the night. I am not a fan of swaying my hands in the air, that is best left to a Lionel Richie concert, but for “Dudes” I was swaying them with everyone else, a joyous “Starman” providing a further opportunity for a sing along. The first set closed with a “Life on Mars” which was just a shade bombastic for these ears, sometimes less is more, but was ecstatically received.
–
The second half opened with the band out of Ziggy Costumes, but with Marr as rock side man Slick and Setsi wearing a jacket as worn by Garson and blasting into “Blue Jean” a bold choice amongst an eclectic second half set. I have never been a hugs fan of “Fame” live but Marr made it his own with some clever and inventive improvised licks. However the standout song of the second half, vying with “Moonage Daydream” for song of the night, was “ Ashes to Ashes” in which Setsi was given full rein to stretch out then duel at the end with Marr. It was sublime. Garson would have approved.
–
The second was enhanced by a barnstorming “Look back in Anger” , “China Girl” fell between the Bowie and Iggy versions, “Heroes” did what it needed to, “ Space oddity “ curiously ended rather than opened the evening and a 400 odd crowd, many of whom had returned after their last Derby show, went home happy.
–
Absolutely Bowie are unquestionably different. O’Neill embraces Bowie’s sexiness and fey sexual ambivalence and channels Ziggy era Ziggy perfectly, the lavish and on point costumes are an integral part of that. They also visually, and through performance, feature Ronson as an integral part of the show. The same is true of Garson throughout. Musically they are faultless.
–
The set list managed to offer some surprises and unpredictability. Anecdotally, many of the fans I spoke to are fans of the image and hits, not the minutiae of his back catalogue. This traps any Bowie tribute act. With all their money coming from touring, it is the hits which bring the paying punters in, the glorious offbeat obscurities would be commercial suicide for the performing artist.
–
During “Moonage Daydream” I was transported back to Earls Court in 1973- thank you.
Two months after the originally scheduled show was postponed at short notice due to illness, the “Bowie Experience” appeared to a 500 seat sell out at the Lichfield Garrick Theatre on a Sunday night.
I am a die hard Bowie fan and an enthusiastic consumer of tribute shows. Tonight intrigued me. Previously I had seen Laurence Knight fronting the show, who did very well, but for reasons which are not entirely clear to me Oliver Slee has now taken frontman duties. Laurence continues to tour with a band badged “The Bowie Experience”, a distinction which many will not identify in advance, and on the night the frequent wig and costume changes mean that some in the audience may not even realise the frontman replacement. But that does not matter, as Springsteen once proffered “You have to prove it all night, every night”. To these eyes the original band seem to have remained in situ apart from a new rhythm guitarist for a cracking evening.
I recently saw John Mainwarings’ long established “Jean Genie” show and am seeing “Absolute Bowie” in Derby on Friday. The market for Bowie tributes is a given, the challenge they face is becoming harder. The calibre of tribute acts for numerus artists in terms of presentation, production, performance and musicianship is improving all the time, audience expectation is rising. The sceptre of Abba’s “Voyager” show has also changed everything. A virtual performance by a band captured in their heyday takes some beating.
Oliver Slee a Bournemouth actor and drama teacher, is 26 years old, the same age as Ziggy era Bowie enjoying a similar lean physique and frontaas Bowie. “Space Oddity” is an apposite opener. Vocally it is not too stretching, but musically it gives the band a chance to stretch their muscles. As it draws to a close, we all know that everything is going to be alright.
They do use some backing tracks, most notably on “Life on Mars” adding orchestration, but the eight piece ( Slee on vocals and occasional guitar), lead and rhythm guitar, keyboards, bass, drums and two backing singes one of whom plays saxophone, the other a multi instrumentalist make a pretty hefty sound in their own right.
First half
Space Oddity
Queen Bitch
Changes
Life on Mars
Moonage daydream
Ziggy
Man Who Sold the World
Sorrow
John I’m Only dancing
Jean Genie
Suffragette CIty
Rebel Rebel
Second Half
Diamond Dogs
Cracked Actor
Station to Station
Young Americans
Sound n vision
Boys keep Swinging
Fashion
Lets Dance
China girl
Under Pressure
Heroes
All the Young Dudes
The first half is Ziggy era culminating in a rousing “Rebel Rebel” and the amusing sight of a predominantly sixty something audience enthusiastically yelling the chorus. It also reminds you how THAT riff, alongside “jumping Jack Flash”, “Sweet Home Alabama” ,”Don’t Fear the Reaper” “Whole lotta love and “Smoke on the water” is locked into our collective subconscious waiting to explode as soon as those chiming notes ring out.
The surprise highlight was a sublime slowed down waltz paced “Sorrow” segueing into an euphoric “John I’m Only Dancing” cheekily introduced by borrowing Queen’s Crazy little Thing called Love” intro. A song that on vinyl struggled to find a home on stage found just that with this spot.
Musical director and lead guitarist Tim Wedlake had a few more surprises up his sleeve too.
In the second half I am always wary of Station to Station being used in any other set position that is not opener. But here, a slightly edited version segues magnificently into “Golden Years” as the second half. It worked brilliantly. “Ashes to Ashes” is given a reggae intro ( which begged for a “Don’t look Back” sample which didn’t come”), “Boys keep Swinging” goes full rock and “Under Pressure” a song I don’t like, becomes a show highlight with backing singer, and multi-instrumentalist Charlotte Talbot, all glam in a black evening dress with mesh sleeves, taking centre stage for the duet, the song soars.
“China Girl” performed by Iggy Pop is dark and dirty as envisioned by Nile Rodgers it is light and poppy. Wedlake reinvents it once again as a stretched out hybrid of the two, it was wonderfully realised.
The home straight of Heroes and “Dudes” was euphoric stuff with the crowd baying for more but Slee confessing they had nothing further rehearsed which was a shame – it cried out for “Rock n Roll Suicide”. Ssaxophonist Westwood was a vital ingredient, her concession to costume change was to chnage from black pvc leggings into black tights for the second half!
With tribute shows it is easy to look for trouble, but the fact is that the band delivered a popular hits heavy set which the audience lapped up with arrangements which were skilful and much helped by five part vocal harmonies, saxophonist Emily Westwood dovetailing nicely with Talbot.
Tribute acts continue to be a contentious subject on this site. I had seen The Jean Genie fifteen years ago and had enjoyed his show very much, but I was intrigued to discover what my reaction would be now in a tribute market which has been transformed in recent years.
Two things have changed . Firstly the quality of the show, calibre of the act, and performance, have improved immeasurably to the point where they are now touring playing theatres ( and in the Australian Pink Floyds case Arenas). Secondly , Abba’s virtual Voyage show has revolutionised what a Tribute show can be.
–
So, who is “The Jean Genie” ? He was created by John Mainwaring in 1993. An original recording artist in his own right, John Mainwaring had been signed by numerous record companies throughout his career – twice with Warner Bros. In the 1980s Tony Visconti produced some of John’s songs when he was signed to WEA.
–
John has worked with with Jarvis Cocker on his ‘Bad Cover Version’ single, singing and starring in the video, and recorded all the music for Beverley Callard’s ( aka Liz McDonald in Coronation St) work-out fitness DVD entitled ‘Lasting Results’. As well as performing as David Bowie in Jean Genie, John is currently signed to Bucks Music Publishers. He wrote 3 songs for Tony Christie’s million selling album ‘The Definitive Collection’, plus numerous theme tunes for BBC radio.
–
In the late 1990s John was approached by ‘The Spiders from Mars’ to tour with them, which he did. John remains to this day to be one of only a few tribute artists to tour and perform with that original artist’s band. He has been a regular fixture with Trevor Chance’s show of ‘Legends’ in Blackpool.
–
His credentials are fine, but how would he do in this celebrated, wonderfully cramped, sold out music venue in Derby on an Easter Saturday night ?
–
I had forgotten what a gregarious and friendly crowd Bowie fans are with pre gig drinks a whirl of reminiscences with new acquaintances.
–
As the house lights dimmed the band sauntered on stage to an electronic reworking of “Ode to Joy” , a nice nod to Ziggy era Bowie shows. No costumes, no look alikes, with John dressed in a dinner jacket the only concessions to razzmatazz being a few puffs of dry ice and guitarist Steve Gardiners handsome Gibson. They perform as a three piece, drums, bass, electric guitar and John on occasional acoustic guitar.
–
There were some very discreet backing tracks with keyboards. This comes with advantages and disadvantages. The advantage is that, particularly in the first hal,f the vibe of an early Spiders show was conjured up very persuasively. The disadvantage is that some songs sans overt keys suffered, as did the fullness of the sound. But in the real world, touring with another musician takes another chunk of door revenue and they got away with it, just, mainly because of the musical dexterity of the band.
–
The show was divided into two halves, the first half was resolutely Ziggy era Bowie plus the welcome addition of a very good “Valentine’s Day”
–
Five years
Changes
The Man who sold the world
Space oddity
Queen bitch
Suffragette city
Valentines day
Moonage daydream
Starman
–
The second half was an eclectic Bowie smorgasbord, bravely opening and closing with two of David’s most vocally demanding songs.
–
Wild is the Wind
Medley including Dancing in the street/ Sound n Vision/ Boys/ Fashion/ Ashes various
Jean genie
Heroes
Lets dance
Life on Mars
encores
Rebel Rebel
Ziggy
–
Early on John declared that the show was simply about keeping Bowie’s music alive, and playing it properly. You could not fault the musicianship, and the clever arrangements to compensate for the limited on stage instrumentation were superb. That success was almost entirely due to the real star of the show, Steve Gardiner and his Gibson Les Paul Gold Top.
–
Steve looks every inch the classic rock star with his lithe frame and flowing long hair, the perfect Ronson doppelganger. A very accomplished guitarist, he switched effortlessly from Robert Fripp’s parts in Heroes, to Stevie Ray Vaughan’s in lets dance. He also squeezed every second of drama out of “Moonage Daydream” and a raucous “suffragette City”.
–
Presenting Bowie songs is the greatest challenge for any Bowie tribute. David’s arrangements , vocal style and fashion changed over his forty years of live performance, it is an insurmountable task for any one person. John sings them pretty straight, with Gardiner and bassist Dan Clark singing occasional harmony vocals. Frustratingly these were oddly absent during “Moonage Daydream”, ”Ashes to Ashes” and some others. John eschewed David’s reflective original delivery of “Heroes” opting boldly for the bombastic post 9/11 version.
–
A special mention is due bassist Dan Clark, who in the absence of a keyboard or electric rhythm guitarist had to work doubly hard to fill out the live sound- he did so admirably, to a rock steady drumbeat.
–
It would be true say that the medley section divided opinion in the crowd post gig. It enabled extra songs to be shoehorned into the set, but was a bizarre Jive Bunny/ Stars on45 hybrid, however I accepted John’s ill judged affected take on “Dancing in the street” as a price worth paying for a superbly reworked “Sound and Vision”.
–
Overall it was a hugely enjoyable evening, much appreciated by a knowledgeable, discerning and enthusiastic Saturday night crowd at a great live venue. . A touching and unexpected highlight was when the volume naturally dipped during “Ashes to ashes” enabling the entire crowd to be heard singing; “I’ve never done good things, I’ve never done bad things, I’ve never done anything out of the blue-whoa”. Live magic.
A fine new Easter production for all the family written by Deb McAndrew who has rebooted the classic tale for a 21st century audience in a seamlessly integrated BSL production, signed and captioned.
–
All the traditional elements are here for mums and dads but with plenty of child friendly ingredients, not least a powerful eco friendly message about the importance of trees and the environment. In an era when Boris Johnson , Emanuel Macron, and Benjamin Netanyahu have come under the spotlight for perceived abuses of power, the morality tale of the excesses of the Sheriff of Nottingham and Guy of Gisborne has lost none of it contemporaneous impact. And after a Liz Truss/ Kwasi Kwarteng government thought that it was a good idea to take from the poor to give to the rich, Robin Hood is back to offer his own more egalitarian views on wealth redistribution ably assisted by Little John ( Oraine Johnson).
–
McAndrew made her name originally as Angie Freeman in 1990’s television soap opera Coronation St, but has gone on to forge a distinguished career as a dramatist and playwright with several other productions appearing around the country this year. In April 2018, McAndrew was announced as Leeds Trinity University’s new Chancellor and has worked with the Hull Truck theatre Company, Northern Broadsides and Claybody theatre.
–
Emily Bestow has created a lush set which effortlessly transforms from castle to forest. Tim Heywood’s costumes are lavish and colourful. Musical stalwart Ivan Stott has composed the score and plays with an onstage ensemble of musicians, along with lead singer Joanna Simpkins as Alana Dale who ensures that we all party like its 1499.
–
A strong cast is notable for its character parts, with several traditionally male roles reimagined as female. Laura Golden is brilliant as a rumbustious Tuck, Abbey Bradbury dashing as Scarlett, the angular, comic Becky Barry delivers withering apercus as Roger the Reeve.
–
A fast paced production ensures that proceedings are concluded within two and a quarter hours ensuring that the attention spans of younger audience members are not tested while amplified electric music segments inject zip and chutzpah into the narrative.
–
The dynamic of some of the character roles has shifted, Maid Marian ( Mia Ward) is less simpering female heroine and more Palace insider, Guy of Gisborne’s ( Dominic Rye) dastardliness is throttled back, while the Sheriff ( Adam Bassett) channels his inner Basil Fawlty as his plans are frustrated and a splinter in his backside adds as much discomfort to him as Robin Hood does. The gross medicinal remedies offered to him delighted the young audience. My two expert child theatre goers, Sol aged nine, and May aged seven, loved it.
–
Craig Painting portrays a youthful, exuberant Robin Hood with brio and energy, relishing the freedom of the forest in the second Act after the constraints of his time as a prisoner in the castle in the first Act. Director Sarah Brigham and writer Deb McAndrew never lose sight of the need to entertain in this brisk and lively family show which runs until Saturday 8th March
David Bowie’s love affair with Japan, and Japanese style, underpinned his early career. He sold 1,000,771 Albums in a country whose western tastes otherwise were dominated by Maria Carey and Michael Jackson. This feature is intended as a reminder that although London, Berlin, New York and Los Angeles were important cultural influences – so was Japan.
–
David had a longstanding association with Japanese designer Kansai Yamamoto , instantly assimilating the Japanese tradition of fusing fashion and music.
–
His signature fashion styling for Aladdin Sane featured a costume by Japanese designer Kansai Yamamoto for which International make up artist Pierre la Roche borrowed from Lindsay Kemp. Yamamoto designed for Bowie through both his Ziggy Stardust and Aladdin Sane eras. Among his most famous outfits for Bowie was Space Samurai, a black, red and blue outfit adapting the hakama, a type of loose trousers which samurais wore and which are still worn by martial arts practitioners.Yamamoto’s outlandish costumes became a central element of Bowie performances.
–
That association went back to the early 1970’s and manager Tony Defries’s far sighted decision to have Main Man offices in London, New York and Tokyo meaning that Bowie was the only international popstar to have representation in Japan itself. David’s androgynous face and body, perfectly suited Kansai Yamamoto’s unisex style”.
–
Davids interest in Japanese theatre was ignited in the late 1960’s when, he studied dance with Lindsay Kemp, a British performance and mime artist who was heavily influenced by the traditional kabuki style, with its exaggerated gestures, elaborate costumes, striking make-up, and “onnagata” actors – men playing female roles. That dramatic make-up used by kabuki became part of the Ziggy Stardust look . He learned from celebrated onnagata Tamasaburo Bando how to apply traditional kabuki make-up – its bold highlighted features on a white background, evident in the lightning bolt across the Ziggy face.
–
The quick change tradition of Japanese theatre fitted perfectly David’s needs for his stage show. The dramatic cape could be whipped away on stage mid-performance and he also wore a kimono-inspired cape with traditional Japanese characters on it which spelled out his name phonetically. He was also the first Western artist to employ the hayagawari – literally “quick change” – technique from kabuki, with unseen stagehands ripping off the dramatic cape on stage to reveal another outfit.
–
The elaborate clash of prints on his famous knitted bodysuit were also a reference to yakuza (organised crime syndicates) tattoo patterns. It wasn’t just his appearance – references to Japan are scattered through Bowie’s music – his 1977 album “Heroes” features the track “Moss Garden” on which he plays a Japanese koto.
–
‘Crystal Japan’ was an instrumental recorded during the sessions for the Scary Monsters album with Tony Visconti, but the song itself was one of Bowie’s oldest, written when he was 16, and worked up from a contemporaneous demo. . It was originally titled ‘Fujimoto San’, and was intended to close the album, before Bowie being replaced by a reprise of ‘It’s No Game’ which features Japanese spoken word guest vocals.
–
The synth layered instrumental “Crystal Japan” is reminiscent of of “Low” and “Heroes”, possibly the reason for its ultimate omission from the album. It was used as a soundtrack for a 1980 Japanese television advertisement for the Shōchū drink Crystal Jun Rock, a Japanese distilled spirit made by Takara Shuzo Co. Bowie appeared in at least three different commercials, all of which featured the song. A hugely successful product, the saturation coverage the advert provided, sometimes twenty times a day, both reflected his historic and contemporary status in Japanese pop culture, it also cemeneted it long into the future. Sharp move. ‘Crystal Japan’ was released as a single in Japan in July 1980.
In “Move on” from lodger David references “Spent some nights in old Kyoto/Sleeping on the matted ground” Bowie’s determination to champion Japanese culture as distinct from a generic Eastern vision endeared him enormously to the Japanese . Kyoto was his favourite Japanese city which he visited frequently over a period of many years particularly: Tawaraya Ryokan, where he stayed with Iman on their honeymoon, David befriended another David, leading U.S. Sinologist David Kidd, who had a house in Kyoto called Togendo, as well as a school dedicated to teaching traditional Japanese arts. Bowie stayed at Togendo in 1979 for some weeks, even contemplating moving there full time at one time. He played a gig at the City in 1983 as part of the “Serious Moonlight” tour.
–
Japan embraced Bowie back, where he remains one of the best known western rock and pop figures. Leading Japanese rock guitarist Hotei Tomayasu, who composed the theme for Quentin Tarantino’s Kill Bill films, cites David as an important influence and played with him onstage at the Nippon Budokan in Tokyo in 1996. Between 1978 ( isolar2) and 2004 ( Reality), David played the legendary Budokan arena in Tokyo nine times.
It is easy to forget that as Bowie’s career took off, World War 2 was only 25 years distant with memories of Japanese ill treatment of Allied, and in particular British and Australian, prisoners of war, still fresh in the public’s mind with many survivors still living. Thus his leading role in the feature film “Merry Christmas Mr Lawrence” alongside Tom Conti is even more extraordinary as Maj Jack Celliers directed by the renowned Nagisa Oshima. It was controversy free instead winning plaudits as a vehicle for Japanese and western reconciliation.
–
The film, set during World War Two in a Japanese POW camp , pits Bowie’s character and another soldier against two Japanese officers, one of whom is played by the musician Ryuichi Sakamoto who contributed the memorable film score.
–
Not a war film, but a film set in war time Bowie’s character tries to bridge the cultural divides between the P.O.W. s and the Japanese camp commander in order to avoid blood-shed in a subtle synthesis of life and art. It is my favourite Bowie performance on film.
–
Although the Japanese dimension to Bowies life and career is relatively well known, it is only when you pull the strands together as I have attempted here, that its significant impact becomes apparent
There are good times to catch bands, bad times, and times when you are just grateful to have seen them at all. This gig falls into that latter category, thirty years after their inception, this was their last full tour, played to a quarter full sports hall. That it should have come to this…
–
The always volatile dynamic between brothers Ray and Dave was never far from the surface, but Ray’s professionalism won through. On some previous dates, Dave had done an opening solo set. Fortunately we were spared that tonight, the fans had come to hear the Kinks play together, not a rotating variety bill. Acknowledging the poor turnout, around 400 in a 2000 capacity venue, Ray dedicated the show to the faithful who were there supporting them, the faithful were not disappointed with a sprawling set which took in their entire career.
–
Many argue the question, who was our greatest sixties band, the Beatles, or the Stones ? I have long felt that the Kinks should be part of that equation. Their best songs are a match for either. Jagger may have had the edge in showmanship, the Beatles in range of composition, but Ray Davies ‘ quintessentially English outlook and David’s growling guitar were some combination.
–
It was a night drenched in nostalgia, and Ray was happy to supply numerous illuminating supporting anecdotes. As a young child I used to love “Apeman “and “Autumn Almanac” on Radio 1’s junior choice. “You Really Got me”, “All day and all of the Night”, “Til the end of the Day” rocked, “Sunny Afternoon”, “Waterloo Sunset” and “Village Green Preservation Society” were as English as strawberries and cream or “fish and chips,” “Lola” was the inevitable singalong, but “ Come Dancing” was the surprise standout,celebrating the golden era of the Davies’ parents youth and the Dance Halls.
As the band left the stage there was a valedictory air. They seemed relieved to have got through it, the fans were pleased to have been there, and there was a distinct sense that this was to be their last time.[
I saw Ray several times later doing solo shows which were not only superb affairs allowing Ray to be Ray, and demonstrably so, musically probably better and with more heart. But I had seen the Kinks play, and that was all that mattered.
The contrast with the AVLC gig could not have been greater. A packed out Symphony hall, acoustically superb, and from the minute that Ray bounded out it was clear that we were in for a very special night,rapturously received with no less than three encores. The opening “Im not Like Everybody else” was extraordinary played with the vigour of a teenage
Ray Davies from The Kinks performs at the “Barclaycard British Summer Time Hyde Park”.
Set List
I’m Not Like Everybody Else
Where Have All the Good Times Gone
Till the End of the Day
After the Fall
A Well Respected Man
Autumn Almanac
Dedicated Follower of Fashion
Celluloid Heroes
20th Century Man
No One Listen
Come Dancing
Village Green Preservation Society
Sunny Afternoon
Dead End Street
Tired of Waiting for You
Set Me Free
All Day and All of the Night
Encore:
A Long Way From Home
The Getaway (Lonesome Train)
Lola
Days
Encore 2:
Imaginary Man
Waterloo Sunset
Encore 3:
You Really Got Me
Ray Davies, Symphony Hall, Birmingham , England May 28th 2007
Set List
“Victoria” was the surprise highlight in another set of evergreen classics
The Abba Voyage revenues are jaw dropping. Average £70 a ticket, 3000 capacity, seven shows a week two dark days, two with matinees equals £1.47m a week before merchandise/ refreshments. That is £76.44m per annum.
Production costs, exclusive of live band/staff are estimated at around £140m. Start date May 2022, ticket sales currently to end Jan 2024 but will almost certainly run for the whole of 2024.
BUT, Abba also “own” the Abba dome which can be sold to a new host city with Dubai, Sydney , Kouga South Africa and Las Vegas all keen.
“Mama Mia” the film has grossed £3bn to date.
The stage musical has grossed £3.5bn
Queen are banking £22m a year from the stage musical “We will rock you”
The Rolling Stones are currently grossing £100m a year when they tour.
Abba also “own” the digital technology which could be a massive future earner. As can be seen, the origination costs are massive, and each new artists show will want to keep those down, not reinvent the wheel.
However, motion capture is far easier on live performers than dead. The number of performers who can virtually sell out a venue for a year is very small. Probably only Elvis Presley, Michael Jackson, the Beatles and the Rolling Stones . David Bowie, the Doors, Buddy Holly, the Who, the Eagles Dolly Parton, Whitney, Madonna are a maybe. And what about a virtual Woodstock?
A big tourist destination with a turnover of visitors is essential. And if you can have shows running simultaneously in Dubai, Las vegas and London that would help.
In time, origination costs will come down, but as it evolves it could go up again!
As the golden age of rock and pop dies as its protagonists become too old, infirm or die too it is inevitable that those , and their estates, who can cash in will.
What’s this? Panto in Wolverhampton at the end of February? Oh yes it is.
Having stormed the normal panto season first in Brighton, then the Duke of York’s Theatre in London, the audience response was too positive for it to wither with the Christmas decorations, thus it has continued on a short victory parade around the country taking in Wolverhampton this week with further dates thereafter.
–
Mother Goose is a Christmas stalwart as a story, and is often performed. What sets this production apart is the cast, specifically Sir Ian McKellen of Lord of the Rings fame as Mother Goose.
–
The all important script is by Scouse novelist, playwright and satirist Jonathan Harvey who just happens to have fellow Liverpudlian John Bishop as his comic hitman on stage. The recent political farce in government is a gift for satire, and Harvey dos not miss a trick in singling out the obvious targets, Boris Johnson, Suella Braverman, Camilla Parker Bowles and the energy companies amongst them. He has been a regular on the Coronation St scriptwriting team since 2004, his populist credentials and touch are a given.
–
This is a traditional show, affectionately delivered by Director Cal McCrystal, narrative driven with no over reliance on special effects, still music hall rather than 3D cinema . However that does not preclude copious Tolkien references and a rather wonderful foray into a Shakespeare soliloquy. There is plenty of razzle and dazzle courtesy of Lizzi Gee’s lively choreography, Prema Mehta’s colourful pink and green lighting , and Ben Harrison’s sound with Lady Gaga’s “ Born this way” a showstopper, closely followed by Anna-Jane Casey’s “Cilla” powerhouse : ‘Don’t Rain on My Parade’
–
Although inevitably MCkellen and Bishop rightly dominate proceedings, the supporting company is strong and effective. Son Jack ( Oscor Conlon- Morely)is exhaustingly frenetic, villainess Malignia gloriously enjoyed by Karen Mavundukure, is suitably malign at every opportunity thankfully thwarted at every turn by good witch soprano Encanta ( Sharon Ballard), Anna Jane Casey is the goose that lays the golden egg, all of whom sing remarkably well.
–
The denouement is messy, Bishop is very funny, Mckellan is a vision in a frou frou nightdress and delivers his apercus with consummate style.
–
The ensemble menagerie of all singing, all dancing puppeteer animals are terrific initially shivering in a closed Debenhams store , Liz Ashcroft’s street set is stunning. The animals are very much part of the fun. A donkey that self identifies as a llama, Richard Leeming flickers wonderfully as a bat, Genevieve Nicole as Puss wonders if she is in the right panto, other animals are available!
This wonderful comic production runs at Wolverhampton until 25th February then continues on nationwide our at Liverpool, Oxford, Leicester, Cardiff, Dublin, Salford and Bristol.
Garyswordz 