| |
When my therapist (the real one, not Jack Daniel) suggested that I broaden
my perspective on life, I remembered that Kerry Hiles invited me to go and
see “Glory Days”, playing at the Barnyard Theatre in Menlyn Park, Pretoria
(until early August). So there I was, listening to the Bruce Springsteen
song with the same name and sipping on a JD, not briefed as to what to
expect at all… Problem is, when I got home, I couldn’t remember nearly
enough to write a vaguely decent review (I have my reasons/ excuses, but
they will not be elaborated upon here)! So what was a man to do but go and
watch it again, this time (very cleverly) armed with pen and paper…
|
|
|
Kerry informed me before that her bass playing
is limited to “only a few bars in one song” in this show, and that she is
mostly “just singing”. If you have ever heard Kerry sing, you will know that
this is – to say the least - very modest, but more about that later. I was
pleasantly surprised to see another member of our Collective, Jenni Wilkins,
laying down the bottom line here. The rest of the cast, then, is as follows:
Andrew Webster (male lead); Thabo Mdluli (Male lead vocal); Roger Grant
(Guitar); Franco Del Mei (Drums); Judy Brown (Sax, Clarinet, Pennywhistle,
Keyboards); Connie Bentlage (Keyboards, Sax), and Vaughan Croeser (Trumpet).
Connie is also the musical director of the show.
|
|
|
“Glory Days” kicks off with a very nice instrumental rendition of Europe’s
“The Final Countdown”, which immediately suggests that this show is a
reflection on the “magic of the 70s and 80s”. Shortly after, this suspicion
is confirmed by the hilarious Andrew Webster in the role of Wally – a
computer nerd who aspires to be a Rockstar like his hero Bruce Springsteen -
saying that “there was a lot going on in the 80s”. What were to come were 32
songs from this era, a number of which are skilfully combined into medleys.
So I sat back and waited to rekindle years long past…
After Wally’s hilarious renditions of “Get Down On It” and “Rappers
Delight”, Kerry makes her first appearance on stage to show Fairground
Attraction just how good their “Perfect” can sound. Moments later, Thabo
appears the first time as well, sporting a life-size Afro, to very
adequately bring homage to Lionel Ritchie’s “All Night Long” and “Dancing on
the Ceiling”. Andrew then steps out of his Wally persona for a moment to
show off some of his singing talent in some songs “made famous by nerds” –
Richard Marx’s “Right here Waiting for You”, Rick Astley’s “Never gonna Give
you Up”, and Boy George’s “Karma Chameleon”.
|
|
|
Kerry and Thabo team up next for a splendid rendition of a real 80s
trademark: The movie Dirty Dancing’s “I had the Time of my Life” (has anyone
not seen this more than once?). This great performance makes place for
another: “Pick up the Pieces”, where Kerry takes over on keyboards and
backing vocals, while Connie and especially Judy take centre stage for some
awesome sax work.
Skipping through some great duets by Thabo and Andrew, Kerry reappears as
the “Material Girl”, before Jenni takes centre stage to proclaims her love
for Rock and Roll, Joan Jett-style. Early Kylie follows in the form of
“Locomotion”, which encompasses a definite highlight: a very impressively
executed bass ‘showdown’ between Kerry and Jenni. And then, as if Andrew in
his Tina Turner attire doing “Lets Stay Together” and “Simply the Best” is
not enough, Thabo and Kerry appears similarly dressed to show Ginger Spice
how “It’s Raining Men” should really sound. Thank God I had an umbrella…
An interval later, Roger Grant takes the spotlight for a brief moment to
very skilfully and authentically shred through the intro to AC-DC’s
“Thunderstruck” with his cherry Gibson SG – Angus Young’s trademark guitar
(as if everyone didn’t know that!). Roger very expertly blends his guitar
exploits into “Peter Gun”, where Kerry again takes over on keyboards to
allow some more superb sax work – this time with more soloing from Connie –
as well as some trumpet solos. Roger doesn’t stand back for very long before
reaffirming his status as fretdemon by burning up his axe behind his neck.
Moments later, Thabo is back on stage, complete in Rasta gear and dreads, to
celebrate what Wally called something in the line of “a certain kind of
weed” (can’t remember exactly, my mind was a bit foggy…) with some splendid
renditions of reggae greats like “Buffalo Soldier” and “Red Red Wine”.
Kerry takes centre stage next to perform “I Will Always Love You”, taken
from Kevin Costner’s ‘The Bodyguard’. Just to clarify, I have never been a
Whitney Houston fan, but Kerry’s stirring and roof-lifting interpretation of
this song is welcome in my ears any time – especially after having the
pleasure to experience it twice.
After some Wham? and U2, my favourite part of the show arrives: Roger plays
- no, engages in - Gary Moore’s “Parisian Walkway” in a way that leaves me
absolutely astounded. And as if this is not overwhelming and breathtaking
enough, Kerry steps up to take care of the vocals and obviously add another
elegant mass of finesse. Like I told Roger after the show, if I had
emotions, I would have to fight to keep the tears back. Unquestionably
enthralling.
Bringing the show closer to home, the revolution in SA music in this era is
next, starting with a beautiful rendition of “Weeping”, lead by Jenni and
supported by the rest of the cast, and followed by an equally marvellous
performance of Johnny Clegg’s “Great Heart”. Mango Groove’s very upbeat
“Special Star” is up next, complete with pennywhistle (Judy), a dancing
cast, and vocal performances that would leave Claire Johnston either very
pleased or very jealous. To end off the show, Andrew picks up his Strat to
lead you through a smashing (yeah baby!) version of “Summer of ‘69”, just to
remind me why that is the only Bryan Adams song I ever liked.
To answer the audience’s unsatisfied chants, Drummer Franco appears on stage
to play a beat reminiscent of a somewhat more complex “We Will Rock You”,
before quickly exploding into a high-energy, almost-vicious solo with every
beat and every shot perfectly in tact. This serves to introduce the Simon
and Garfunkel Classic “Call me Al”. By this time, (at least most of) the
crowd are usually at their feet, clapping along, jumping up and down,
stomping their feet, and just generally acting in ways that are highly
unbecoming of respectable theatre goers (hehehe). And then, like all good
things, the show comes to an end with “Old Time Rock & Roll”, featuring a
great drum and bass interlude, just to remind us all of what sweet sorrow
parting brings…
In sum, this show is nothing short of outstanding – there is no question in
my mind that I will go and see it at least once more. In addition to the
very professionally done lighting, visuals, and sound (I could even hear the
bass! Clearly!), what made a definite impression on me is the raw and very
infectious energy that the performers put into every second that they are on
stage. Even though they have been running with the show six days a week
since early April, the enjoyment they draw from it is not only apparent, but
also very inspirational. I overheard someone comment that for the first time
in 30+ years, (s)he felt the awesome power of rock and roll, and that (s)he
can’t believe how much (s)he has missed out on (ambiguous enough?).
Fortunately, this person realised that it is never too late – I hope (or
should I say I bet) the catching up process is running with a vengeance!
A very special thank you goes to Kerry for inviting me to experience this
spectacular event – you saved me about 13 therapy sessions (the cheque is in
the mail!). As for the rest of you, go and see it NOW!
|
|
