Neil Jones
(3 Reviews)

There are not many bands who have had their story told in two highly celebrated biographical movies, an acclaimed cinematic documentary, and a long-running hit stage play.  But then again, Manchester's Joy Division are no ordinary band.

I have been meaning to catch New Dawn Fades since it first premiered at the Manchester Fringe Festival in 2013. The stage play about the influential Mancunian post-punk legends, who went on to become New Order, always seemed to be touring whenever my diary had me elsewhere. Its subsequent national tours, which have seen it grace the stages of the region's theatres ever since, their capacities growing with every passing year, were now a far cry from that first night at The Lass O'Gowry pub.

Tonight (and for the rest of the week) it returns home, with a sold out performance at Lowry's Quays Theatre. The audience is largely made up of couples in their late 50s or early 60s, many wearing their Joy Division or New Order t-shirts. Indeed, looking at the demographic, I suspect that while some might have seen the show before, many were probably fortunate enough to attend one of the band's numerous legendary Manchester and Lancashire gigs, between 1977 and 1980 , or at least one of the New Order or Peter Hook & The Light line-ups since.

For most of the audience, it would probably be true to say that a trip to the theatre would normally be to watch a music concert rather than a drama play or a musical, but tonight, they were in safe hands. This production has pedigree. It was written and co-directed by Brian Gorman, who also plays an uncanny version of Anthony H, Wilson, the late Granada TV icon and Factory Records boss who acts as the narrator of the piece, driving the story forward with the Salford-born, Marple-raised, Cambridge-educated broadcasting legend’s trademark humour and self-effacing, pretentious, style.

The producers also have rich Manchester musical lineage.  Tony Davidson, the man who introduced the world to Mick Hucknall in 1979, owned the legendary TJM Rehearsal Studio and record label in Castlefield, where many of the most famous names in Manchester’s rich music history practiced and recorded, including Joy Division who shot their famous video for “Love Will Tear Us Apart” there. His co-producer Nigel Carr set up and edits the brilliant Louder Than War website, magazine, radio station and record label with famous music journalist John Robb.

It’s rather fitting that the staunch socialist, who was known as “Mr. Manchester”, narrates the play, as much of the script gives the audience a history of the city - with brief vignettes covering its Roman beginnings to Hanging Ditch, Peterloo and Marx & Engels, The Free Trade Hall and Peel Park, to the Electric Circus and Factory Records. With his infamous excessive civic pride, he walks us through its many famous streets and venues, past and present, with plenty of added pointers specifically for these  performances at Lowry; highlighting the places in Salford which are literally a stone’s throw away - with plenty of cheers when his beloved United get a namecheck, and laughs when Factory manager Rob Gretton’s favoured City get a humorous shout out.  There’s even a brief interlude to show an old PG Tips chimpanzee advert from the era, although there’s no mention that the popular teabags were created in Manchester by Brooke Bonde, and are actually still made just across the water from the theatre in Trafford Park.

On a personal note, one early joke hit home hard, as he introduced himself to the audience - not that he was unknown to anybody in the auditorium, “You can call me Anthony, you can call me Tony, but please don’t call me a twat!” - a reference to what Ian Curtis had called him on their first encounter. I had also done likewise in front of 500 people during a very public game of  “Who Am I?", at the Comedy Store - when, after “Mother Theresa” and “Shaun William Ryder”, his own name appeared on the big screen above his head. Even though he instantly guessed the answer correctly, he looked physically shaken and upset at the crude insult. It turned out he wasn’t as thick skinned as he came across on TV. Over the next five years, I would often bump into him on his daily walk along the towpath in Castlefield with his beautiful Weimaraner dog, William - the same breed as appears in New Order’s "Blue Monday '88” video. Seeing him growing more and more gaunt as his kidney cancer took over, yet remaining ever charming to literally everyone whom he encountered,  I regret to this day never actually reminding him of the occasion and apologising for my insulting clue. He passed away, aged 57, in 2007 leaving a legacy that few in Manchester’s 2,000 year history have matched.

While Anthony H. Wilson’s own story is a major part of New Dawn Fades, the central character is of course Ian Curtis, whose tragic life story is told, along with Joy Division’s musical history by eight actors, who between them perform twenty one different characters - ranging from Tony and Ian, with bandmates Bernard Sumner (played by Garient Lyons), Peter Hook (Gaz Hayden), and Stephen Morris (Jack McGarry). Ian’s wife Debbie is brilliantly played by co-director Lauren Greenwood, while Kivan Dene and Nicholas Eccles hilariously split the roles of, among others, manager Rob Gretton, producer Martin Hannett, photographer Kevin Cummins, journalists Paul Morley and Mick Middles, and some of  Tony Wilson’s more unlikely interviewees on Granada Reports: Roman General Agricola, 16th century occultist John Dee, Friedrich Engels, and Shelley (both Percy and Pete).

The costumes, musical instruments and band’s studio equipment are impressively accurate and, as you can imagine, there are plenty of laughs throughout to balance the sombre subject matters of epilepsy, depression, marriage breakdown and, of course, suicide - all of which are dealt with so sympathetically you could hear a plectrum drop in the virtually sold-out 460 capacity auditorium.

If you have seen Michael Winterbottom 2002 classic Mancunian film 24 Hour Party People, and Anton Corbijn’s 2007 biographical masterpiece Control, or the incredible 2007 documentary Joy Division, let alone read many of the superb books about the band and Factory Records, you will already be familiar with the hilarious iconic quotes and jokes - whether accurate or embellished in Tony’s typical fashion - which spilled out of the madhouse combination of pretentious wordsmith Wilson, to-the-point sweary Gretton, and spaced-out genius Hannett  - not to forget the passionate but permanently grumpy Peter Hook, whose continued animosity towards his former bandmates makes Roy Keane and Morrissey look like Sally Hawkins’ character in fellow Salfordian Mike Leigh’s Oscar-nominated Happy-Go-Lucky.

Aside from the laughs, Josh Lonsdale is absolutely superb as Ian Curtis, and ranks alongside Sam Riley and Sean Harris for his accurate portrayal.  Not only does he physically resemble the iconic lanky Stetfordian, but he recreates his mannerisms and famous dance moves to a tee, even perfectly singing live vocals to the surprisingly few songs used in the play. While it comes as no surprise that Ian Curtis was his idol as a teenager, it is astonishing to think that he came to this role as an actor at Venice’s Teatro Stabile, rather than via one of the many Joy Division tribute bands which sell out venues across the globe.

While there are semi-live performances to four Joy Division songs and narrative background tracks from the likes of Mott The Hoople, David Bowie, Roxy Music, Bolton’s Buzzcocks, Bury’s Peter Skellen, and even James Bond, the shortage of songs is perhaps one of the most obvious quibbles with New Dawn Fades. Not only did the music journalist sitting next to me comment on the fact, but I also overheard a fan query it with one of the producers at the merchandise stall afterwards. The reply he received was: “Because it’s a play, rather than a concert, I feel the story is stronger for it with less music.” And while I agree with that explanation to a certain degree, especially when telling Ian and Debbie’s heartbreaking story, it also raises a big question of who the play is actually aimed at.

In the opposite way to how the 2018 multi-Oscar-winning Freddie Mercury biopic Bohemian Rhapsody irked die-hard Queen fans for its many inaccuracies, which went unnoticed by the vast majority of the millions of people who made it the highest grossing biopic of all time, New Dawn Fades perhaps suffers from trying to be far too accurate - almost like an acted Wikipedia entry at times - concentrating on every little detail, including the names of all the drummers they went through in 1977 before settling on Stephen Morris, or the exact dates of specific concerts or record releases.

For the average theatregoer, a lot of this is not needed and arguably slows the flow of the story down at times while making it more contrived as a result. It also unnecessarily highlights parts where the story switches back and forth chronologically. For example, the end of Part One ends with a brilliant rendition of Shadowplay, recreating Joy Division's performance on So It Goes, on the 20th September 1978, with Stephen Morris on drums. But then Part Two confusingly skips back to 1977 and the founding of both Factory Records and TJM Studios, with the band still searching for a drummer having hilariously sacked Morris’s predecessors.

Like Bohemian Rhapsody, it’s these tiny details which actually serve to separate the enjoyment for die-hard fans from seasoned theatre goers into very specific parts of the venn diagram. Throw into the mix the history of Manchester too - which is certainly of interest to proud-Mancunians but perhaps possesses too much of an annoying cocky Tony Wilson/Ian Brown/Liam Gallagher/Aitch & Angry Ginge Manc swagger for non-locals, and you are left with a very small intersection, in to which I thankfully fell.

During an emotional scene where Ian and Debbie discussed their divorce, a strong smell of marijuana wafted through the Quays Theatre, an unusual occurrence for such a venue, which I took as validation that some people were here for a gig, rather than a drama play. As the smell grew more and more obvious around the auditorium, the inquisitive chatter and irritated coughing among the audience started to detract from the estranged couple’s heartbreaking conversation and awkward silence on the stage, which was key in leading up to the Final Act. It was only when Debbie later told Ian that he had to stop laying around smoking weed all day, that people started to realise the smell was perhaps an unexpected act of interactive theatre purposely created from the stage - and which audience members would also get to take home with them in their hair and on their clothes. Either that or it was a brilliant piece of improvisation from Lauren Greenwood. If this was indeed part of the show, it highlighted the need for more props, as the actors throughout the show had mimicked holding invisible cigarettes, drinking glasses and answering telephones; a sign of the show’s humble amateur beginnings in less professional venues.

By the time the coughing had stopped, we were at the horrific ending of Ian’s story. Acted with such grace, Brian Gorman had approached the scene so respectfully,using Ian’s own painful lyrics to paint the scene. While he had left the graphic events to the imagination, it was still obvious to those with no prior knowledge, yet still included subtle nods to Werner Herzog’s Stroszek and Iggy Pop's The Idiot for those die-hard fans who will never be able to hear the two in the same way they had before 18th May 1980.

After a huge applause - with plenty of fans in Joy Division t-shirts offering a standing ovation - there was time for a jukebox musical encore of Love Will Tear Us Apart, which got an even bigger reaction, and everybody seemed to leave satisfied, regardless of where in the venn diagram they fell (or how much their clothes now smelt of weed).

WE SCORE NEW DAWN FADES...

 

THE GEORGE MICHAEL SINGERS ARE AMAZING!

It's incredible to think that it's been nine years since George Michael tragically passed away, aged 53 on Christmas Day 2016. His music remains as fresh as it did when it was released and one can only imagine what contemporary recordings he would have made since given everything that has happened (for the worse) in that time.  

The George Michael Singers are keeping his legacy alive while acting as a cathartic relief for the singers involved - Jo Garland, Shirley Lewis, and Jay Henry - who are obviously still feeling the loss of the beautiful, charitable human being and multi-talented man they spent most of their careers working for as his backing singers, both on record and live on tour.

The Lowry was buzzing in anticipation before the concert, with the majority of people obviously not having seen the show before. Despite his universal appeal and ageless back catalogue, I was surprised that, in Salford, the audience was easily 95% white, 90% aged over fifty, 80% over sixty, and 70% female; the majority having presumably seen the trio before - not with this particular celebration, but actually on stage with George himself on his 25 Live, Cover to Cover, and Symphonica Tours.

As the show started, the anticipation quickly reached a level of audience interaction before the singers had even taken to the stage. The tight knit band's funky intro inspired one or two "super-fans" on the front row to stand up and dance along, clearly to the annoyance of one old chap who quite agressively prodded the guy in front and curtly instructed him to "f'ckn sit down!".  The encounter was hilariously not helped by the three singers then entering the stage, beckoning the crowd to get up and dance as they did so. Needless to say, the angry old fella had already made his stance and, possibly as a result, was probably the only person who remained seated in the stalls and circle (the gallery not being open) during the whole concert.

It is safe to say the entire concert was a chance to dance and sing along with many an emotional moment producing tears for both performers and audience alike. At the Lowry, with the modern auditorium design of the Lyric Theatre, this was not an issue (despite the age of many of the audience) - unless of course you are physically unable to stand - but I can imagine that at some older or more compact theatres - especially in Holland where people are considerably taller - such behaviour would result in many obstructed view seats.

It was clear early on that this was not a Tribute Show, but a celebration of George by those who knew him best. The songs - all instantly recognisable to even the most casual of fans - were interspersed with conversation and stories about how the three Londoners had first met George, with their memories segueing into the next associated hit, each delivered with such finesse it left you in no doubt why George had remained loyal to their employment for so long, even if it did raise questions why they were not famous solo artists in their own right.

Shirley Lewis had spent 30 years collaborating with George and her voice is instantly recognisable on some of his most iconic hits, especially Freedom, and Father Figure, which she delivered with such emotion that it received a prolonged standing ovation, during which, she - and most of the audience - broke down in tears. Given this was actually the third show of their current tour and not the first time the three have performed as "The George Michael Singers" you can only imagine how hard his loss must have affected her.

As well as being a backing singer for George Michael on record and tour, Jay Henry was also signed as a solo artist to the former Wham idol's Aegean record label, with the two cementing their bond with a cover of Sly & The Family Stone's "One Nation Under a Groove" (George using the alias "Laker Boy").  

Jo Garland (as Jo Bryant) toured, sang, recorded and wrote with George on all his albums from Older to Ladies & Gentlemen, and Patience but is perhaps best known for his MTV Unplugged perfomance and starring in the Fastlove and Spinning The Wheel videos, both of which she immaculately delivered.

Jo explained that she had first bonded with George due to their mutual love of the recording technique of American jazz pianist Patrice Rushen (Jo's own father, Ritchie Bryant was Aker Bilk's drummer).  It was her cover of Rushen's 1982 hit Forget Me Nots which appears on the Fastlove single.

An added bonus was a guest performance by Lisa Moorish, who is perhaps best known for her cover version of Wham!'s I'm Your Man, which reached UK no.24 in 1995 and featured George on backing vocals, after he heard the version while recording at Sarm West studios at the same time.

While not taking top billing, the whole show was held together and moved along by Musical Director, keyboard player and trumpeter Steve Sidwell, whose own association with George Michael went back even further, to his Wham! days and the 1987 Faith solo debut album.

As well as famously providing the trumpet on “I Want Your Sex” and “Older”, Steve was also a co-producer on the Oscar-winning Bohemian Rhapsody, the cinema biopic of George's idol, Freddie Mercury, which culminates in Queen's triumphant set at Live Aid in 1985 - widely regarded as the greatest ever live performance in music history.

Arguably the highlight of George's own career was his rendition of Queen's Somebody to Love at the Freddie Mercury Tribute Concert in 1992 - the live recording of which would be one of seven no.1 hits he would score (alongside another six chart toppers with Wham!). He was backed by the London Gospel Choir that night, rather than Jo, Shirley and Jay, so it was understandable it didn't make the setlist for The Lowry; not least for the fact he scored 47 UK Top 40 hits of his own. But, given their close harmonies and gospel-like range, it would have been fascinating to hear the George Michael Singer's interpretation.

And that is what makes this concert different from a tribute show. Rather than going for the more obvious hits - although with so many to choose from, there's still more than plenty here - the songs performed all have a back story and close association with the musicians involved; the singers personally directed, coached and collaborated through them by George himself.

Sadly for us, Steve Sidwell let his piano and keyboard do the talking so we never got to hear his personal stories about George or the world tours he was also Musical Director on. Nor did we hear from the band members - who, on further research, I found had also appeared alongside George on tour - Mike Brown (guitar), Chris Brown (bass), Richard Cottle (keys & sax), Fez Ogunseyinde (drums) and Lea Mullen (percussion). Together, they were tighter than George's jeans in the Faith video and you can imagine the George Michael Singers fitting in perfectly at the likes of the Montreux Jazz Festival.

Other than an explanation of each band member's involvement with George, and perhaps big screen visuals of the three singers together with the musical icon, it would have been nice to have heard them dueting with his actual vocals (as Queen now do with a backing track of Freddie when performing Love of My Life). Although, in saying that, I am not sure that Shirley Lewis - or much of the audience for that matter - would be able to get through it without flooding the Lowry with tears.

By the end - which seemed to come around far too soon for both performers and audience alike - even the miserable old man in front of us was up on his feet applauding for the standing ovation(s) and the buzz of anticipation felt around the Lowry ahead of the gig had been replaced by an even greater electrical charge of delight. 

Listening in to people's conversations on leaving the theatre is always a highlight of a reviewer's experience and it is safe to say the levels of satisfaction here were off the chart.

If you are a George Michael or Wham! fan (let's face it, who isn't!?!), then this really is a show you need to catch while it is still on tour [Leeds is the closest remaining date for any Mancunians who missed this gig].

Just remember to bring your dancing shoes and tissues. As George is probably saying himself, looking down from above... "I think it's amazing."   

WE SCORE THE GEORGE MICHAEL SINGERS...

FIREBIRD IS A BREATHTAKING FAMILY-FRIENDLY FESTIVE SPECTACULAR

Arriving literally just before the show started was never the most relaxing way to enjoy a Christmas theatre trip, however the relief of finally getting a car park space among the hordes of Boxing Day sale shoppers perhaps amplified the enjoyment of what turned out to be a gripping family day out.

The irony that Gandey's Big Top (and the adjacent Jurassic World Exhibition) was using up one of the Trafford's biggest overflow car parks would not have been lost on the many latecomers but, once seated in the warm circus tent, around the small ice rink stage, any pre-show stress was soon replaced by an engrossing experience for the next hour and a half.  

I have always been intrigued by travelling circuses, and having encountered a few along the route of a long distance bicycle ride from Lithuania to Magdeburg in Germany, barely a month earlier, I had seen first hand the excitement they can bring to small towns and villages in which they peg their Big Tops. But here, at the Trafford Centre, with a catchment area far wider and more metropololtan than would perhaps be traditional for such entertainment - and not having attended a Gandey's Circus event before - my expectations probably veered more towards an amateur dramatics show than the multi-million pound productions of the likes of Cirque du Soleil or Afrika! Afrika!, who would typically pitch up on the edge of a big city.

How wrong was I. The portaloo toilets aside, the production and setting of Snowstorm - Firebird was certainly on the higher-end of the scale that you would expect from international visiting shows.  

Part circus, part ice dance show, Gandey's fourth annual festive spectacular delivers something for all ages, albeit only for adults with strong nerves and low blood pressure, with many of the aeriel stunts delivering heart-in-mouth moments which the more carefree younger members of the audience are able to overlook, while at the same time presumably taking inspiration to try and recreate at home, much to their parent's anxiety.

The story, performed by world-class skaters and top international circus performers (who also happen to be able to skate pretty well too) follows a mythical firebird who loses her wings and needs to complete a series of tasks to be reunited with them. What follows is a mixture of ice dances and breathtaking stunts, interlaced with plenty of pantomime laughs and "he's behind you!" moments to keep the kids enthralled throughout.

Without wanting to give too much away, the numerous circus acrobatics deliver plenty of "ooh" and "aahh" moments, inviting comments like "how did she not bang her head on the ice?" or "I thought he was going to fall off,"  - presumably, if it ever goes wrong, it must go seriously wrong! - while the ice dance routines equally impress, with the large cast complemented by costumes and staging which are equally splendid despite such a small ice rink serving as the stage.

As the happily satisified crowds dispersed from the Big Top afterwards, heading back to their cars which had been dumped randomly on whatever pavement, double yellow line or grass verge they could find before the show, it was interesting to listen in on people's conversations about their favourite part of what they had seen. It came as no surprise to me that the answers varied so much from person to person that almost every aspect of the show was covered, and I can only presume there are plenty of repeat visits, if not for Snowstorm Firebird, but for Gandey's next visiting production.

If you haven't yet seen it, make sure you do so before the circus packs up its tent and leaves town on the 5th January.

WE SCORE SNOWSTORM - FIREBIRD...