Bringing On Back The Good Times!

Product Information

Every single one of these gloriously talented actors/musicians are stars in the making. I never cease to be amazed at the wealth of young talent that has come through the pandemic and burst forth like a dormant seed frozen for far too long in some ice-bound tundra, but now visibly germinating in a post-covid spring. I went to the matinee performance today and what can I say other than it was awesome! “Laura” gave me goosebumps with her solo of “You Don’t Own Me” Every single cast member was outstanding and loved every minute. No way could you sit through the whole show and not tap your feet, clap or snap your finger. Well done all, a round of applause really isn’t enough ☺️💕 Due to its effervescent score and sitcom-style book this show would go down a storm on a glamorous over 60’s luxury cruise ship voyage. At times it felt so “cruise ship” (in the best way possible) that it wouldn’t have come as much of a surprise if Jane McDonald burst through the auditorium fire exit doors with a camera crew in toe. Congratulations to cast and crew for pulling off a truly feel-good show – the band and cast are a class act of talented individuals! Bravo. This sequel reunites the characters some may have seen before, following sweethearts Laura (the chart-topping TV star taking up a glamorous summer season residency at the Torquay Palace) and Bobby (who’s been offered a summer gig with his boyish bandmates at Butlins, Bognor Regis) as they venture through the early days of their long-distance summer romance. No wonder it all feels like a homage to Hi-de-Hi!

Morgan Fisher (born Stephen Morgan Fisher, 1 January 1950, Mayfair, London) [6] – keyboards (1968–1971) A final special shout out to audio man Chris Whybrow who delivered a pretty authentic 60s sound – Sheridan Lloyd for magnificent MD-ship and nimble fingered keys, plus my top man – Daniel Kofi Wealthyland – for being the most exciting drummer I’ve heard in a long while. He drove each number with a passion in every beat. A vibrant, young and talented cast took over the stage with their energy - singing, dancing and saxophone playing.....this show is a delight from start to finish with an excellent cameo by a familiar face of the 60s Mark Wynter - and he's still got charisma!

In 1971, they recorded the song "Wake Me I Am Dreaming", an English cover of "Mi ritorni in mente" (music by Lucio Battisti and Italian lyrics by Mogol). By the end of 1974, Love Affair was over. And in the wake of this societal revolution is the wartime generation of bewildered and resentful adults, wondering what the hell they fought for during those dreadful years that irrevocably left their stain on the 20th century.

Yes, it’s a long-lost England in which the generational void is not so much a gap more a yawning chasm. The choreography by Carole Todd is engaging and accurate – from the ‘Shadows’ dance steps of the guitarists to the hands in the air ‘Stop! In The Name of Love’ motions of the ensemble. The group became frustrated at being treated like teen idols, unable to hear themselves on stage because of the constant screaming and at being pigeonholed as a "pop group". All the A-sides featured heavy orchestral and brass arrangements behind Ellis's vocals, with minimal participation from the others, although they wrote and played on the heavier B-sides themselves. [5]Mike Lloyd as the Butlin’s camp jobsworth cum ex-army sergeant major personifies the dying Britain that has just abolished national service, thereby providing the vacuum soon to be filled by youngsters ready to enjoy themselves without fear of their lives suddenly being put on hold on some god-forsaken parade ground. a b "Love Affair – Music Biography, Credits and Discography". AllMusic. 1 January 1950 . Retrieved 7 December 2012. Kenwright is served by a 17-strong cast, who are all consummate multi-tasking professionals – they act, sing, dance and make their own music on brass, strings and percussion. a b Rice, Jo (1982). The Guinness Book of 500 Number One Hits (1sted.). Enfield, Middlesex: Guinness Superlatives Ltd. p.113. ISBN 0-85112-250-7.