Jeff Wayne’s The War of the Worlds: The New Generation – Live Review

• 30th Dec 2012

It was with great excitement and anticipation, that after having interviewed Jeff Wayne back in May and talked extensively about this all new version of his meisterwerk; I was finally able to check out the new show at the O2 Arena, and report back to Glasswerk Towers all about it.

As most of you may know, the original War of the Worlds (TWOTW), live show began in 2006, and has toured the world very successfully most years since. Unfortunately, I was not lucky enough to have seen the original show in person, but I do own the special edition DVD release of it, and knew it fairly well before seeing the new one.

The stage design is much as before, with the Orchestra (conducted by Wayne), stage right, and the electric band stage left, divided by a central ramp down to the stage front for the various dramatic performers to use. Dominating everything is a massive video screen spanning the width of the entire stage, with a smaller ancillary view-screen to the left (effectively replacing the giant floating head of the old show). Tucked up in amongst the lights high above the stage, one can see what turns out to be a pretty much full size, semi-articulated Martian fighting machine, which makes several appearances throughout the show, shooting fire and lasers, and providing a dramatic visual realisation of the Martian menace.

So far, this is all essentially the same as before, however this is the new generation, and the changes are actually quite radical, as we shall see. First and foremost of course, we have a new journalist, in the very famous, and suitably gravitas laden form of Hollywood superstar Liam Neeson. Yes, gone is the iconic Richard Burton audio/visual component, completely replaced by an all new, expanded (and this is key), performance by Neeson. He appears in several different ways, the most radical of which is a life-size onstage interactive presence achieved via a transparent screen, and clever projection. He also appears on the giant main screen in various dramatic scenes, and on the ancillary screen to perform various other parts of the narration. This is actually a real advance; the benefit being that instead of Burton’s finite audio performance, and no real way to effectively visualise it; we now have a journalist who is fully integrated into the action, in three different ways.

That’s pretty major.

In addition to Neeson, we also have former Wet Wet Wet singer Marti Pellow, taking on Justin Hayward’s iconic role as the sung thoughts of the journalist. Hayward had sung on the original album of course, and had also returned to perform in the live show time and time again, right up until this new production’s launch.

With Jetblack’s Will Stapleton replacing Chris Thompson to sing Thunder Child (Thompson being another original album survivor, who up until now has also performed in the live shows), these are the three most radical cast departures in order of ascension; from the point of view of the classic TWOTW fan.

The stage is set then, both in real terms and metaphorically; for a unique experience. I took along my thirteen year old niece, who is a keen musician, a big Doctor Who fan, and a TWOTW noob; to see what she made of it all.

Lights down….well, actually, the first thing that I felt wasn’t quite as it should be was the light level in the O2 Arena, which in my opinion, remained too high throughout, so it’s more like – Lights slightly lower….

Those (like me), who are as familiar with the original studio album as we are with the backs of our own hands, will notice immediately every time the show deviates or ‘adds’ to the original. Naturally, this is because the new show is based on the new album. I will refrain from detailing these changes here of course, and save it for the specific album review. However, I think the expanded sections work well, and nothing about them jar or clash the sensibilities. It’s actually quite a subtle expansion; and sympathetic to the ears of a veteran fan.

As before, the show begins with an extended introduction. This takes us to Mars, and the inner council of elders, deciding to invade Earth, and explaining why. To be honest, I’ve never been a fan of it, either in concept or execution. I’ve always preferred the album’s no nonsense, direct launch into Richard Burton’s mellifluous but disturbing “No-one would have believed…” narration. As it is; I have always preferred the more enigmatic, mysterious, unseen, and malevolent way the album presents the Martians (pretty much by not presenting them at all, except for their exhalations “Ulla!!”). I also think the album’s simple intro would have always worked live too (imagine a properly darkened auditorium, and Burton’s voice booming out of it, or Neeson’s now of course, only to launch into that massive opening orchestra salvo).

Awesome.

Anyway, hey ho, we have this Martian preamble represented on the main screen with some (it must be said), rather clunky, outdated CG animation. The quality of the CG visuals will actually form the main area where the show is not quite what it needs to be, but we’re getting ahead of ourselves.

Soon enough, we are into Neeson’s interpretation of that most famous of narrated intros. Now, let me say for the record right now; I like and respect Liam Neeson, and in my interview with Wayne all those months ago; I expressed a lot of support for the wisdom of this choice in casting him. Neeson’s interpretation will certainly grow on me in time, but I did feel that there was something of a man, trying to avoid injecting anything Burtonesque into his delivery about it. Given a simpler world, and no Burton baggage to contend with, I suspect Neeson might have delivered a line or two quite differently. It’s a terribly difficult thing, as of course Neeson has to make the part his own and bring himself to it. I just got the impression that ‘himself’ would have actually been a little closer in delivery to Burton, had he not been almost unnaturally avoiding that like the plague. Having said that, it’s a ‘damned if you do, damned if you don’t’ situation. I’m being too harsh perhaps. Neeson is a great actor, and does the expanded material proud.

I guess this kind of critique will be a common recurring theme throughout this review and that of the new album, and in all fairness; it’s something of an unavoidable component when an artistic work that has been so fully absorbed, digested and loved, is suddenly changed. This renders those changes (however good), fighting an uphill battle from the get go.

Speaking of uphill battles, I was not wholly convinced by Marti Pellow’s performance as the sung thoughts of the journalist. Obviously, this role encompasses two of the most well-known sung components of TWOTW i.e. The Eve of War, and Forever Autumn. I thought Pellow’s presence on stage was a little stiff, and his voice sounded as if unsuited to the material and somewhat warble-ridden and over operatic. He pulls it off overall, but it didn’t light my fire. The show continues through the first act, bringing us smartly to a tremendous 1st half climax. The thousands of tissue paper leaves falling down from the ceiling during Forever Autumn was a great touch. My niece and I collected handfuls to take as keepsakes, as did pretty much everyone else. Despite my reservations about Pellow’s performance; the overall effect come the half time break was pretty cool. That ‘Forever Autumn/Thunder Child’ one/two punch is a powerful combination, and Will Stapleton’s vocal performance on the latter was great, even if his physical presence felt a little perfunctory. I think this is something inherent in the role, as Chris Thompson sort of suffered from it too over the years. The audience does not get a chance to meet this ‘character’ before the performance of Thunder Child, and then he plays no further part, until the very end when the entire cast comes out to sing. You only have the duration of the song then, to invest in the person singing it. Thompson had the benefit of having been the original album performer, but Stapleton has no such safety net. Luckily, Thunder Child is a fantastic way to close out the 1st half, is one helluva song, and is delivered with gusto. Bravo!

The second half begins, the red weed descends, and the pace after the ‘route of mankind’ is slowed right down to that of a creeping malaise. This gives you time to absorb and take stock of the story so far. Both my niece and I are really enjoying the experience, she’s really hooked in to the story, and there’s a great atmosphere in the venue. There were a couple of hacks nearby who were being extremely critical and loud about various things, but it didn’t spoil the mood too much.

The first big number of the 2nd act is of course the duet, Spirit of Man. Jason Donovan’s Parson Nathaniel was a standout performance for me, and I was extremely impressed with his commitment and the quality of his vocal and acting delivery. Wicked’s Kerry Ellis as his wife, Beth was great too, but Donovan was a revelation. The dramatic ‘acting’ component of the live show has always been a slightly strange beast to behold. The live show mixes events on stage, with events on-screen, and it can sometimes be a little difficult for the audience to maintain their dramatic focus and not be jolted out of the moment, switching back and forth. A play does not have the same dynamic qualities as a film, and this is essentially what the show attempts to mix together. It’s a tall order. One of TWOTW’s most amazing strengths (in terms of the music), is its fantastic ability to immerse the listener, and completely swamp the senses with its depth and drama. There is a reason why the preferred position for listening to it was (and still is), in the dark, with a good set of headphones on. The practicalities of the live event sometimes serve to undermine that power a little. A noticeably delicate, Gran and Grandad friendly volume level didn’t help this either. I was constantly wishing that the sound pressure would ramp up a whole heap more, as this music needs to be felt full in the face, or the gut. The O2 Arena is a pretty big space, and with a composition so famous for its power to immerse, and surround; the PA setup needed to be a lot more aggressive in my opinion.

Having said that, the inherent power of the music, and strong performances from all the main players (notes on Pellow’s performance accepted), help to carry you through any and all of these gripes. All too soon, you find yourself at the coda with that elated feeling of having been on a very cool ride indeed. Another shout out must go to Kaiser Chiefs singer, Ricky Wilson as the Artilleryman. I was not massively sold on him during his act 1 spoken scenes, but he was really excellent in act 2, and performed Brave New World with swagger, panache and a command of the audience that was a joy to watch. There was a rumour going around the area where we were sat, that David Essex (the original Artilleryman), was in the audience up front. I’m sure if this were indeed so, he would have approved of Wilson’s performance.

We wrap up with the disease and death of the Martians, and the entire cast coming out for one last round, and it’s over….or is it?

Allow me to give you some advice; do NOT leave until you’re absolutely sure it’s over…….nuff said.

My niece was blown away by the show, she loved it, and I am really glad it had that effect on her. It proves that Jeff Wayne’s creation is in rude health; and is as compelling as it ever was to new audiences. There is a deep quality, and irresistible magnetism to the work (and let’s not forget to mention HG Welles here), which shines through any and all of the technical or other issues one might mention. Wayne and his colleagues and contributors shepherded a magical confluence of elements, and it’s deep down power is truly undiminished. It’s terrific fun.

For me, as more of a veteran; I think the New Generation live show has made some fantastic advances over the old one, and should be very proud of itself. Ironically; it’s not the bits that have changed, or the ousting of the old guard that caused me any problems here; but rather, it’s the bits that haven’t changed, but need to. The production; although polished and professional overall, still looks like something of a work in progress, in terms of being a convincing 21st century package. I really hope that Mr. Wayne manages to drum up the serious capital needed to be able to junk all the sub Playstation standard CG imagery, and hire WETA or ILM to do it properly. I think it is doing the show a great disservice now, and just cannot pull its weight in 2012.

With the New Generation advances; It seems clear that this must be the next logical step, should finances allow it. In our interview with him, Wayne said that ultimately he would want to see a feature length movie (perhaps animated), of his creation. I would love to see that too, and creating some bang up to date, kick ass new CG visuals for the live show would be a great start.

However, such further enhancements could be a long way off, so in terms of maximising the effectiveness of what they have already; venues absolutely must turn the lights down lower, and the PA up higher. Just these two things would improve, and enhance the show’s considerable natural powers no end.

Ben Pegley