But when I came to fulfil this commission, I couldn’t think of anything. So then I remembered the Blood Brothers idea. It was for schools, it had to be 70 minutes, and I thought he said we was going to hire an actor who could double on piano. So I wrote it as a mini-musical, and presented it to Paul and he was like, ‘No, you must’ve dreamt that!. So I cut all the songs, apart from the Marilyn Monroe song, which they did acapella. George Harrison was not a fan of the 1974 musical John, Paul, George, Ringo, and Bert. He hated when people ripped The Beatles off. However, sometimes, Beatles musicals and films only happened because the band didn’t look after their interests following their split. Actors in the 1974 musical ‘John, Paul, George, Ringo and Bert’ | Wiggy/Mirrorpix/Getty Images George Harrison on the musical ‘John, Paul, George, Ringo, and Bert’ It was five actors with minimal lighting, in front of 150 truculent schoolkids who’d been dragged there reluctantly, but they’d do the Marilyn Monroe song and – silence. And then laughter… laughing at actors being 14-year-olds, saying dirty stuff and doing all those embarrassingboy-girl things. And then at the end, even just with a mimed gun, these kids were blown away.

I was widening my writing into other forms, and I wanted to take what I'd learned and what I loved about folk music into those other forms.” According to an interview with Creem magazine, George Harrison stated that he saw the play with Derek Taylor and greatly disliked it. [3] He walked out while attending the London premiere and withdrew permission to use his song " Here Comes the Sun". [4] It was replaced with " Good Day Sunshine". [5] Being playwrights, they know all about making each word count. But what they are doing here - cutting up and reassembling their selected prose then interspersing it with their own songs - offers them the chance to make their words count in altogether different ways… Both Russell and Firth have the kind of range that would allow them to turn their 90-minute concert in whatever direction they wanted. There’s the sublime (Living on the Never Never (Easy Terms) from Blood Brothers) and the joyous (She Give Me, and its highlights from Shirley Valentine). It also ran in Ireland in 1977 and in the United States in 1985. [2] Creative team [ change | change source ]

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Despite the theatre’s shabby appearance, writers and performers of the city embraced it. “We really believed we could change things with our work and make things better,” artistic director Alan Dossor told Radio 4’s The Reunion in 2004. Dossor took on his position in 1970, coming with a reputation for committing to radical causes. “We were trying to get a young, articulate, working class audience,” he said. Poets Roger McGough, Brian Patten and Adrian Henri, who were accompanied by singer-guitarist Andy Roberts, are seasoned Fringe performers and they delivered their warm, witty and wise verses and devastating one-liners with accustomed aplomb - but it was playwright Willy Russell who stole the show.

The Philistine's poem that ran "I hate theatre, I hate ballet, I hate art galleries - but I like arts council' They say No'!". Shirley Valentine's recollection of her son's uproarious apperance in the school nativity play and an extract from one of Russell's two forthcoming novels were delivered with a breezy confidence that matched any of the Fringe's excess of stand-up comics. Parents, if you're considering tutoring or supplemental education for your child, you may be interested in my observations on Kumon.It also briefly ran in Ireland in 1977 and in the United States in 1985. [2] Creative team [ edit ] Within two weeks, I’d gone out and bought what I thought was a guitar. It was a plank with wires on, basically!” So buoyed by the effectiveness of that version, I immediately set about writing the full musical. And I thought, I’m just going to have to write the music myself.” It is a very funny show. Exhilarating at times. It is no publicity job for The Beatles. Their warts, indiscretions and mistakes are there for all to see — so are their exploiters. The dialogue hits pretty hard; there’s nothing phoney about it.”

No AI program will ever generate that sort of loony insight. And if it did, it would be the product of data volume and/or randomness, not of the singular musical mind of a man who knew how to play best with others. After all, John Lennon wasn’t just rebellious. He was also the Goofy one, the Knowing one, the Searching one. I was still a hairdresser at the time, and I used to go and cut the hair of a Mrs Walker. She always had the telly on, and Top Of The Pops was on, and I saw Hendrix for the first time, doing Hey Joe. And if you think of the end of Blood Brothers, there’s a madman with a gun… that level of violence and anger was something that was sparked by seeing Hendrix on TOTP.

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But the abiding memory of 'Words On The Run' is of these five grizzled geezers - "Our combined age may be 273, but we're still singing animals!" - shuffling off and returning after the interval still singing about Tupperware Girls with lovely hair who drink German wine and don't think much of Wittgestien but like to do the Hokey Cokey in their underwear. It was awful stuff. All these idiots act­ing out people–­it’s like I say in ‘ The Dev­il’s Radio,’ talking about what they don’t

George didn’t see Stigwood’s musical. “The reports on it were so bad that I didn’t want to see it. But maybe it’s good. I don’t know,” George said. Dossor then asked Russell to adapt a play by Alan Plater called The Tigers Are Coming OK about Hull City FC to make it relevant to Liverpool. Russell turned it into a play called When the Reds about the history of Liverpool FC. He then went off to become a schoolteacher. With his Cavalier Spaniel hair style, the author of 'Educating Rita', 'Blood Brothers' and 'Shirley Valentine' was making his first Fringe appearance since 1972. During the 80s, Russell’s other work was also shown, including: the premiere of One For The Road, the television drama One Summer, the composition of the theme for the television series Connie and the film Mr Love. Arthur was well placed to portray the role of Bert a fictitious character representing all the people who were involved with The Beatles in their early years, as Arthur had long been the best friend of George Harrison.The Moose was a really important period for me though. I never for one second realised it at the time but I now see that from having to do that gig every Thursday I was learning all kinds of things about the nature of performance, about audiences, about what will and won't work, about how overwriting can kill a song (or, indeed, a play or any other form for that matter). Although none of us knew it at the time, all those folk places, cafes, pubs, old cellars were a fantastic training ground for all kinds of talent - it was a completely anti-commercial, anti music-establishment phenomenon.”