It’s funny to think that one of the albums driving so many into the arms of Punk back in 1976 should have been so instrumental in launching Richard Branson’s fledgling Virgin Records. Released in 1973 it – not least the money its success generated – enabled the label, a few years later, to sign and propel the short-lived, incendiary career of The Sex Pistols. Further intriguing that a piece, at points ethereal and plangent, should end up soundtracking a film like The Exorcist. Though the haunting aspect of the snatches employed in the film have in no way been diminished or Tarantino’d, representative of the fact they were part of a work more substantial; for here we are, over 50 years later, with a superb band, marshalled by director Robin Smith, bringing it to life on stage. Something the ‘early adopters’ back in the 70’s can only have dreamed of.
For those who do not lean naturally into this kind of music it’s easy to poke fun and coin this ‘proto-Partridge’ but the show was point-blank excellent from the well-staggered entry of each musician to the quality of the sound and the precision of the lights. Anyone swithering on buying a ticket should know it’s actually not just the album but a show of two halves, the first reminding us that Mr Oldfield had, amongst his 26 albums, a few pop hits. ‘Moonlight Shadow’ and ‘Family Man’ are both aired, the former well-delivered by Lisa Featherstone, the latter not quite so by guitar impresario Jay Stapley, though the dynamic to-and-fro between Lisa (now playing bass) and drummer Will (or was it Jack?), an entertaining element amidst a clearly tightly orchestrated production.
Following the interval ice creams the audience sat rapt by what it had come for. Applause and cheers followed each twist and turn of the opus. Despite the absence of a John Cleese, Viv Stanshall (or a Brian Blessed!), the only oversight was not adding, amongst the comic announcements, one for the soaring operatic contribution of Daisy Bevan. One also felt for Maxime Obideau, who’s animation was hampered by switching instruments, at some points, every four bars. Kwesi Edman’s masterful input on the cello deserves a mention.
It’s not everyone’s ‘cuppa’ but the passion and dedication from everyone (including the technical staff) shone through, confirmed by a standing ovation from the full house.
Reviewer: Roger Jacobs
Reviewed: 14th October 2024
North West End UK Rating:
From the duo who brought us Dancing Shoes at this venue before Christmas (and The…
In the week Timothée Chalamet made his ill-advised claim that “no one cares about ballet…
Few venues could host something as gleefully ridiculous as ‘Ancient Grease’, but The Vaults proves…
Do you feel strong? Harder? Better? Faster? Stronger? She Goat’s Iron Fantasy is putting in…
Opera North’s 2026 production of The Marriage of Figaro proves that a thoughtful modernisation can…
London’s Savoy Hotel became a second home to the famous author Arnold Bennett, who, it…