Two weeks after I attended the first performance of the new Stock Aitken & Waterman Musical, I Should be so Lucky, at Manchester’s Opera House, I also attended the star-studded official Premiere of the show.
I was determined to be at that first ever show, knowing I’d also see it a couple of weeks later.
If you don’t know why, let me explain. When Back to the Future the Musical first opened in Manchester my son, who considers the Michael J Fox and Christopher Lloyd film to be the greatest ever made, and his favourite, had to be there for that first performance. He was fearful that the musical wouldn’t live up to his high expectations, but after that first performance he loved it.
I was with him, that night, at the Opera House and there were a few technical glitches, which might have been expected from such a complex show. We went home that night full of enthusiasm to see it again, which we did. To our amazement, the next time we saw it again the section where the Doc hangs off the clock tower had been considerably shortened, the bit where Marty backs up the DeLorean, as he prepares to get up to 88mph, was also condensed.
Even more surprising was that a song by Biff, Good at being Bad, had been dropped. Neither of us had expected the show to change in such significant ways. We thought there might be tweaks, one of two lines might change due to audience reaction, but not such big changes. I found the whole process fascinating.
That was why I wanted to see the first performance of I Should be so Lucky. I was curious to see what the changes would be. Officially, those first two weeks of performances of a new show are called previews and the reason that the press aren’t invited to the Premiere, until two weeks after that first show, was so that creator Debbie Isitt and the other producers, could gauge audience reaction and make changes.
At this point I have to admit, I wish I’d made some detailed notes about that first performance. My son has a more photographic memory and he wasn’t with me. I did notice one scene, where the “groom” went to talk to his father, who was in a care home, had been changed for the better. It felt like one or two songs had been beefed up and extended, there were new jokes and the whole show felt slicker and more polished. It was definitely better the second time around.
It’s a juke box musical, it’s a very British production which I doubt would transfer to Broadway, but as it tours the UK after it’s month long stay at the Opera House, I suspect it will be very successful. It’s joyous, corny, clichéd, camp and full of great tunes. What’s not to like?
That description could also apply to pantomime, the season that is fast approaching; oh yes it is. Whether you fancy supporting a local theatre or you prefer to attend a professional show, like Jack and the Beanstalk at Manchester’s Opera House with Jason Manford and Ben Nickless, you’ll have plenty to choose from.
I’ve been chatting to lots of creatives involved in these productions and it’s a fascinating subject, not least, “how does Panto fit into modern society and it’s current sensitivities”. Please join me from 7pm this Sunday when you’ll hear from three great guests. Manchester born Liam Fox, best known from Emmerdale, Dinner Ladies and Coronation Street, who’s playing Abanazar in Aladdin at St.Helens Royal joins me, as does Mike McClean who plays Jester in Sleeping Beauty at the Regent Theatre Ipswich and the fountain of all Panto knowledge Mark Llewellin, who’s been starring in and writing pantos for decades. That’s Break-a-Leg from 7pm on Tameside Radio 103.6FM every Sunday.
