It’s coming up on forty years since the multi-venue concert known as Live Aid was held. The brainchild of Bob Geldof and Midge Ure, the concerts not only raised millions for famine relief, it broke new ground in satellite broadcast techniques. John O’Farrell’s new musical, Just For One Day, which has opened at the Old Vic, recounts the events leading up to Live Aid and examines its lasting impact.
Following the success of the Band Aid single, ‘Do They Know It’s Christmas’, Geldof quickly put plans in place to stage the biggest concert in history. Broadcasting simultaneously from London and Philadelphia, it was essentially organised on a wing and a prayer, despite featuring the biggest names in music.
This isn’t so much their story though, even if Just For One Day does feature the songs of Dylan, Bowie, U2, Queen, Diana Ross and many many more. Instead the musical focuses on the people who ‘made’ Live Aid; the sound engineers, venue staff and perhaps most importantly the fans.
Geldof is the driver of the story though, forced to almost justify his actions to a young gen Z (Naomi Katiyo), who believes their generation could have done it better than a bunch of “rich, white men”. While in this story, Geldof is portrayed as a humble, reluctant hero, the audience come to realise we’re hearing it largely from his perspective.
Craige Els is an important part of this production’s success, portraying Geldof as a fiercely passionate individual, determined to make a genuine difference in the world. Els is accompanied on stage by a cast of 26, each stepping into various roles throughout.
James Hameed shows off impressive vocals in a variety of roles, as does Danielle Steers as Marsha. Jack Shaloo brings us an enjoyable portrayal of Midge Ure, while Joe Edgar is delightful as Tim.
There’s a running thread that sees Suzanne (Jackie Clune) looking back to her younger self (Hope Kenna) and it’s here we see just how Live Aid had such an effect on the collective conscience of the world.
The seriousness of the cause is balanced with a lot of light-heartedness. There’s a focus on Geldof’s dealings with then Prime Minister Margaret Thatcher (who wanted to keep all the VAT from Band Aid sales for the Treasury). Scenes between Geldof and Thatcher (Julie Atherton) are extremely funny, and Atherton is clearly enjoying the only modern numbers in the score, ‘Mrs T/Mr G’.
Directed by Luke Sheppard, Just For One Day takes an ensemble approach. Often members of the cast are sitting on the stadium seating that lines Soutra Gilmour’s set, either performing, or waiting to come centre stage for their next scene. Howard Hudson’s lighting recreates the feel of the events, while Andrzej Goulding’s video design and live projection summons up unmistakable imagery from London and Philadelphia.
Undoubtedly, the biggest selling point of Just For One Day is the music. These iconic songs that are reminiscent of the era are simply irresistible, especially to anyone who’s a fan of eighties music. Importantly, this doesn’t feel like another ‘jukebox musical’ instead it feels like proper gig theatre, and what an extraordinary gig this is.
Four decades on, and the legacy of Live Aid continues, Bob Geldof taught us that music is the language of the world, and this musical teaches us theatre plays just as in important role. In terms of reminding us all why Live Aid mattered, Just For One Day is one of the most important musicals on stage right now. It creates an unmistakable feeling, not unlike Live Aid itself, and seems perfectly placed for a future West End transfer.
