REVIEW: BROTHERHOOD OF MAN & BOBBY G's BUCKS FIZZ

Whether putting on or attending an outdoor event in the UK, you make a pact with the devil.  The summer months are notorious for chucking up some terrible weather.  And thus it was with a certain resignation that I drove in the rain to the picturesque Anderton Boat Lift with the foreknowledge that we were probably going to be a wet audience by the end of the night.  And it proved to be an accurate assessment, however when it comes to our music we Brits don't let a little thing like the weather put us off.  The small but extremely enthusiastic crowd gathered on a predictable August evening to pay homage to two groups who have earned their place in the hearts of Eurovision fans throughout the world.

ReMinds

The scene was set by local Northwich band ReMinds.  Essentially a Simple Minds tribute band, but with some extra 80s colour thrown in.  A great little five piece band, they proved a welcome start to the evening. As the 1980s synth sounds blasted out into the night, feet were tapping and we were singing along. It proved to be a great way to get us connecting to our younger selves and the influential musical landscape that was the fabric to the lives of all that attended.

 Brotherhood Of Man performing their winning routine in 1976

Still going strong after 45 years, rocking it in Cheshire

 The original vinyl single selling 5 million worldwide

But this evening was about two icons of the Eurovision Song Contest. The British winners.  First up were Lee Sheriden, Nicky Stevens, Sandra Stevens and Martin Lee, known collectively as Brotherhood Of Man.  Brought together in 1972 to replace a former incarnation of the group,  they quickly solidified themselves into a formidable vocal group.  With nine Top 40 entries, including three number ones, they have a powerful arsenal of catchy pop classics in their repertoire.  Towards the end of their recording career, the Brotherhood descended into a covers band, issuing albums of Disco and Love Songs.  Two of the members though Lee and Martin – together with long term record producer Tony Hillier – wrote all their hits and its perhaps a pity the team were not allowed to flourish more as their record contracts came to an end. However, none of that is important here.  Kicking off with a powerful version of “Love Grows Where My Rosemary Goes” (a hit for Edison Lighthouse in 1970) it marked the start of a hugely enjoyable journey through the 1970s.  Nicky Stevens and Sandra Stevens (no relation) are often compared to ABBA’s Frida and Agnetha, which is rather unfair, the double Stevens combination have terrific voices in their own right. When harmonising together they make a powerful pop sound. Tearing through their own hits we were given “Figaro”, “Angelo”, “Beautiful Lover”, “My Sweet Rosalie”, “Oh Boy! (The Mood I’m In)” and “United We Stand”. Added to that string of chart successes,  they threw in the Bay City Rollers, Kiki Dee, The Beatles and even The Wombles.  No retro stone was left unturned and the crowd lapped it up.  However the mere mention of their legendary Eurovision win earlier in the show had the crowd whipped up into a frenzy. Therefore there was only one way to end this set.  “Save Your Kisses For Me” is still the biggest selling Eurovision winner ever.  Five million units sold and number 1 in 33 countries. There was not a single person who didn’t sing it along with the Brotherhood. We were instantly transported back to 1976, the biggest moment in the career of Brotherhood Of Man and part of the soundtrack to the lives of everyone there.  After all these years, the Brotherhood have still got it.  Long may they continue to delight the faithful.

When four become three...  poor Paul (right) was ill on the night

                                                 Still making their minds up 36 years later!

                                                The 1981 single with the original line up.

Next up were Bobby G’s Bucks Fizz.  Although due to illness there was still plenty of Fizz but less Bucks.  Group member Paul Yates’ illness reduced the group to a threesome. Original member Bobby G, his wife Heidi Manton with Tammy Choat completing the trio.  Again with three number 1’s to their credit amid thirteen Top 40 chart hits,  all masterminded by producer Andy Hill. Sadly the Bucks Fizz brand has been soured over the past few years by legal action over the name and Bobby’s fellow original members launching into sporadic bitching in the press. However, all this was brushed aside as the 2017 official holders of the brand name opened with the tribal pop anthem “New Beginning (Mamba Seyra)”.  If there was a small criticism it is that there was mercifully few of the well remembered Bucks Fizz hits.  We were treated to “You And Your Heart So Blue” and “My Camera Never Lies” in the early part of their set but it was then given over to cover versions of classics by Tiffany, Meatloaf, ABBA, Toni Basil and many others. One criticism that cannot be levelled at Bobby G’s Bucks Fizz is that they cannot sing.  All three boasted powerful voices,  Bobby G’s vocals effortlessly conjured up the sound that fronted so many of the original hits whilst Heidi and Tammy both handled their solo opportunities with terrific professionalism.  Finally the group returned to the brand with their last two numbers. "The Land Of Make Believe" is one of those songs which has had a life beyond the era that it was recorded in,  and joining in was a must for the audience who were now all on their feet and dancing.  As with Brotherhood Of Man, the final song is the one that Bucks Fizz will always be remembered for: "Making Your Mind Up". Thankfully Bobby managed to rip both girls skirts off.  What a guy, not bad for 64!

It is fair to say I think, that both these bill toppers deserved to play to a much bigger crowd than was actually present (and with tickets on sale for a mere three weeks they were lucky to attract the crowd they did - not the fault of the groups though), but to their credit the Brotherhood and the Fizz gave 110% to the show and delivered an evening all present will remember.

Keep up to date with both groups on their official websites:

www.bucksfizz.co.uk

www.brotherhoodofman.co.uk 

Me sneaking in a quick cuddle with the legends themselves,

Brotherhood Of Man

 

REVIEW: OUR HOUSE @ CREWE LYCEUM

The jukebox musical has become a firm money spinner for theatres across the land,  but for my money there are only two jukebox musicals that lift the art to a higher plane: the eternally sunny Mamma Mia! and at the other end of the spectrum darker events in NW1 courtesy of Madness and Tim Firth in Our House.

It seems a little cruel to be giving a verdict on the opening night of a tour with a show as complex as this. There were bound to be fluffs with costume and set, and sure we got them, but it didn’t deter from what is clearly a classy revival. The magnificent Crewe Lyceum proved an equally classy setting to launch this new tour.

Tim Firth’s script is seemingly influenced by the movie Sliding Doors (and we got plenty of them in this version) as we follow the alternate time lines of Joe Casey following a break in at a building site.  There follows events which in which the ‘light’ Joe Casey - who gives himself up when police arrive - seems to be getting the worst of things, whilst ‘dark’ Joe Casey with his decidedly dodgy morals does a runner. This Joe seems to have everything: success and his girl,  Sarah.  But this is a morality tale and fortunes change.  Firth’s clever script mines the comedy out of some quite murky events,  and the drama is heightened by the timeless pop arsenal of Madness.  Back in the day, the bleak jobless landscape of life in Thatcher’s Britain was reflected in the lyrics of some of the best songs married with some killer singalong tunes. It was an irresistible combination which made them the legends they are today.  Songs such as It Must Be Love, My Girl, House Of Fun, and the title song Our House remain classics. It is almost impossible not to get out of your seat and dance.

This new production produced by the Immersion Theatre Company and Damien Tracey Productions conjures up the world of NW1 in style. Designer David Shields has a tough task of producing a number of locations ranging from Casey Street to inside a prison to a Las Vegas wedding. He does so with a clever array of set pieces which work well. Meanwhile director James Tobias and choreographer Fabian Aloise get the meat out of the drama and music through a high energy young cast.

As the pivotal role of Joe Casey,  Jason Kajdi has big shoes to fill. But he does so magnificently. This must be one of the toughest roles in musical theatre beset with baffling quick changes as the ‘light’ and ‘dark’ aspects of the character intertwine. And despite the odd wardrobe malfunction, Kajdi sailed through it like a true pro.  He gives a star performance.  He is surrounded by an equally strong ensemble.  Deena Payne brings just the right amount of  sensitivity to Joe’s mother Kath.  Sophie Matthew is spot on as Sarah who struggles with the actions of both versions of Joe.  She possesses a lovely singing voice too, which is most evident in her solo number NW5. Street dancer George Sampson (erstwhile winner of Britain’s Got Talent nine years ago) steps up to play one of the villains of the piece, skinhead scumbag Reecey.  Naturally some street dancing is incorporated into the show, but away from that Sampson has the confidence to give Reecey the arrogance and swagger that defines him.  It is the start of a promising career in musicals.  A word too must go to Callum McArdle as Joe’s Dad.  A spectral figure who observes and narrates the actions of his son,  it is a strong binding of the two alternate futures from the view of a father who is so near and yet so far. 

Jason Kajdi as 'dark' Joe

Deena, Jason and Sophie

George Sampson as Reecey

I could go on naming cast members, but it would just bore you. Save to say that this is a top notch, high energy cast who leave us all breathless with their dance and performing skills. Musical Director Dustin Conrad leads a band of four, which somehow manage to sound like twenty, and are one of the major reasons the audience were tapping their feet throughout.  After a hectic first performance, the show will no doubt be tightened and honed further. I'd like to see the cast when they are truly bedded into their roles. 

The cast of Our House 2017:  raw talent

It is always a worry, when you hold happy memories of previous productions of a show, that a new tour will somehow diminish those memories for you.  However the residents of Casey Street are in good hands here.  It is a production blessed with a lot of love for its subject.  There has never been a better time to be invited to Our House.

Tour details can be found at www.ourhousetouruk.com

FOR THE RECORD: BILL KENWRIGHT'S JOSEPH

Overture and beginners please...

I don’t know the official stats, but I would think Bill Kenwright’s legendary production of Tim Rice & Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat sits in the records books as the longest touring production in modern theatre. It started life in 1979, when Kenwright agreed to take over a Christmas season of the show from a producer who had hit financial problems, and continued touring until 1991. After a gap of 6 years (to allow Lord Lloyd Webber to produce his own version with Jason Donovan, Phillip Schofield et al) it was off on the road again and it continues to this day, gathering new generations of fans wherever it goes. The production grew organically and for many years featured a song called “I Don’t Think I’m Wanted Back At Home”, hijacked from a piece called Jacob’s Journey which, in the early days of Joseph's development, was the first half to a much shorter version at the Albery Theatre (now the Noel Coward Theatre). This was removed from Kenwright’s production in the late 1980s at the insistence of Lloyd Webber, who was none too pleased to find it had been included in the show without his knowledge or approval.
  There have been a lot of recordings of Joseph over the years, from productions all around the world, and Bill Kenwright’s production has had a number of occasions where it was committed to either vinyl, cassette or CD. For the most part these releases were only available at the theatres where the production was playing, and were never made available in record shops. So I thought I would take a look at the recordings, which fans around the country have snapped up over the years, to see how they stand up today.

JOSEPH (1980)

Principal performers: Jess Conrad (Joseph),  Leo Andrew (Narrator), Dave Mayberry (Pharaoh)  Running time: 10 minutes

The first official recording of Bill Kenwright’s production arrived in the shape of a vinyl EP of just four tracks. The star performer of the time being 1960s pop star Jess Conrad who leads the EP with “Any Dream Will Do”.  It’s fair to say that Conrad’s success is mostly down to his good looks and charisma, not his singing voice. No amount of vocal multi tracking can disguise the shortcomings of his voice. But this EP has a couple of secret weapons. Dave Mayberry is perhaps the most Elvis-y of all the Pharaoh’s and gives us a cracking “Song of the King”.  Although it is now accepted as a female role, the Narrator was originally male and Leo Andrew proves that it can work with a heartfelt “Pharaoh’s Story”. Finally, a medley of songs by Conrad & Andrew (in truth part of the celebrated encores from the show) ends this 7 inch collection. The recording is produced by Bill Kenwright himself and is a welcome first foray into the recording studio by Joseph’s longest serving incarnation.

 

   

JOSEPH (1986)

Principal performers: Mike Holoway (Joseph), Carla McLaine (Narrator), Sean Simon (Pharaoh), Peter Lawrence (Jacob / Potiphar), Ashley Keech (Butler), Iain Rogerson (Baker) Running time:  51 minutes

Not quite the full show, this recording does though feature all the major musical passages and is produced by Jon Miller, a long time associate of Bill. Musical director David Steadman, who provides the arrangements for the show, leads a thirteen strong band on the recording.  This version is perhaps the show at its most rock ‘n’ roll.  Synths pound and electric guitars wail, perhaps expecting the arrival of Brian May at any moment.  It has the feel of a raw live album at times, and for this reason stands up as my favourite of all the Kenwright tour recordings. At its heart is Mike Holoway, who possesses a fine pop voice. Holoway came to the production as a cult star of the 1970s children’s sci-fi serial The Tomorrow People, and having had some success with his own band Flintlock. His charismatic performance, and vocally strong delivery, saw him emerge as one of the longest running Joseph’s in the production. He is matched by Carla McLaine’s clear and powerful singing as the Narrator. On this recording Benjamin (John Melvin) has a short refrain of “Close Every Door” prior to the start of “Benjamin Calypso”, one of the many touches that disappeared when ALW demanded changes.  Added to a thumping “Song Of The King” from Sean Simon,  there are many moments that stand out. 

 
JOSEPH (1998)

Principal Performers:  Richard Swerrun (Joseph), Julie Maguire (Narrator), Shane Cortese (Pharaoh), Peter Lawrence (Jacob / Potiphar), Joe Maddison (Butler), Gary J. Myers (Baker)  Running time:  67 minutes

When Kenwright was handed back the rights to produce Joseph in 1997,  it was very much his production that returned.  All the little touches that had made it such a huge success were back,  albeit with a new revamped set and costumes.  Once again David Steadman handled the arrangements, with the choir on this recording provided by Babette Langford’s Young Set as they had done on the previous recording. Eight musicians this time provide the musical settings. This is a much more polished affair, produced again by Jon Miller using David Steadman's arrangements. Whereas the previous recording could have passed as live, this time there is a sheen about it. Richard Swerrun’s vocal is equally polished, a very musical theatre ‘stage school’ delivery, technically excellent. The production has always been lucky with the quality of its Narrators over the years, and Julie Maguire proves no slouch on the vocal side either. Shane Cortese’s Pharaoh lends the necessary Elvis-isms to his big moment, complemented by some nice brass work.  In many ways this can be said to be the only complete recording of Kenwright’s original production, as we will see shortly. For the first, and only time to date, we get the "Joseph is it really you?" beginning and the hoe-down dance in the middle of "One More Angel" among the familiar touches.

JOSEPH (2009 Edition)

Principal Performers: Craig Chalmers (Joseph), Abigail Jaye (Narrator), Simon Bowman (Pharaoh), Henry Metcalfe (Jacob / Potiphar), Stephen McCarthy (Butler), Harry Morrison (Baker) Running time: 65 minutes

Some 11 years after the last recording, we find ourselves in reality TV land. The 2007 television talent show Any Dream Will Do had a showdown of potential Joseph’s with Lee Mead a clear popular winner.  He was rewarded with a season in ALW’s production at the Adelphi Theatre. However, all was not lost for the runners up as the wily Mr. Kenwright signed them up for his touring version. With this recording, the influence of the 1991 London Palladium production (and 2007 revival) is heard in full. The arrangements are heavily based on those for that version, making it less the Kenwright show and more of a hybrid of the two. The recording is well produced by Chris Winter and David Steadman. One of the problems of replicating arrangements that have already been heard on cast albums from many productions around the world, is that you are in danger of being just another ‘generic’ Joseph album. Indistinguishable from the many that have gone before. We do have the inclusion of Pharaoh’s number “King Of My Heart” which was written for the 2007 West End revival, but is in effect just a mediocre song which gives Simon Bowman (the original ‘Chris’ in Miss Saigon no less) another chance to shine as Pharaoh but is neither necessary to the plot or particularly impressive as an addition to the otherwise brilliant score.  Even 40 years after the show was written,  that master wordsmith Sir Tim Rice is tinkering with the familiar lyrics.  “So Jacob bought his son a coat, a multi-colored coat to wear” is now “So he designed, with Jo in mind, a multi-colored coat to wear”.  When you are singing along at home after being a visitor to the show for over thirty five years, it takes you by surprise!

Craig Chalmers provides the Joseph on this version, and he sings the score nicely, if a little blandly.  Abigail Jaye gives us a lovely “Pharaoh Story”, one of the highlights of the score in my opinion.  It’s a good solid, version of the show even if some of the Kenwright-ness is missing.

JOSEPH (2017 Edition)

Principal Performers: Joe McElderry (Joseph), Abigail Jaye (Narrator), Simon Bowman (Pharaoh), Henry Metcalfe (Jacob / Potiphar), Stephen McCarthy (Butler), Harry Morrison (Baker) Running time: 66 minutes

JOE McELDERRY IS JOSEPH screams the cover! This young winner of The X-Factor has been imported into one of the most coveted roles for a young performer in theatre land. Quite craftily, Bill Kenwright (and it is released by BK Records) has taken the 2009 recording and overlaid McElderry’s vocals onto it. I’ve not yet seen Mr. McElderry perform the role but have read several reviews which state that he may well be the best sung Joseph of them all.  I’m not sure this is necessarily true of the recording, however his delivery of “Close Every Door” gives an impression of how powerful his voice might be in a live setting. He certainly doesn’t disgrace himself, and had I not owned the 2009 recording would not have been aware that his Joseph was dubbed onto it. Of the two, it is McElderry’s version that is perhaps the better in fact. His charisma shines through.

**UPDATE**
JOSEPH (2019 Edition) 
Principal Performers: Jaymi Hensley (Joseph), Abigail Jaye (Narrator), Simon Bowman (Pharaoh), Henry Metcalfe (Jacob / Potiphar), Stephen McCarthy (Butler), Harry Morrison (Baker) Running time: 66 minutes

Like a chameleon changing it's colours, this is the second re-release for the 2009 recording, this time with Union J's Jaymi Hensley having replaced Chalmers and McElderry on the lead vocal.  A full review of the tour with Jaymi at the helm can be found HERE.

As I write,  there is no sign of the ‘juggernaut of joy’ stopping as it heads towards its 40^th anniversary. Bill Kenwright’s production of Joseph and the Amazing Technicolor Dreamcoat has always been an important show.  It has taken high quality theatre on the road to the people,  and apart from pantomime, is probably the first introduction many youngsters have had of musical theatre. There is a reason why audiences are on their feet nightly and keep coming back for more.  In short, you walk out of the theatre happier than you went in.  It’s a tonic for modern life,  good triumphing over bad.  Doubtless many of us wish the world outside the theatre were as predictable. I have always thought that whilst the Really Useful Group’s 1991 version had the budget and grandeur,  it lacked the heart of Kenwright’s production.  I’m glad it continues in some form to delight audiences all over the UK.  With an animated movie of Joseph now in production by Elton John's Rocket Pictures, the timeless march of this theatre classic shows no sign of slowing down.  

YOU CAN FIND TOUR DATES AND BOOK TICKETS FOR THE ONGOING UK TOUR OF JOSEPH VIA THE BILL KENWRIGHT PRODUCTIONS WEBSITE