Live Aid. One of, if not the biggest and most memorable cultural event of the past half-century. A flag-bearing event for a hugely important cause, and now the story of the latest production to take over the stage at London’s Old Vic Theatre. With the world as it is, there may never be a more appropriate time for this show to exist, and what a show it is. One unlike anything before it, and possibly anything that comes after.
Show: Just For One Day
Venue: The Old Vic, London
Director: Luke Sheppard
Writer: John O’Farrell
Runs until: 30th March 2024
Rating: ★★★★★
Just For One Day, contrary to the title, spans a fairly broad timeframe. The show starts before Bob Geldof even thought of the famous Band-Aid hit ‘Do They Know It’s Christmas’, continuing to how Live Aid came to be, after the concerts, and the impact they had not only then, but their continuing relevance and work still now in 2024.
Penned by Tony-nominated John O’Farrell (Something Rotten, Mrs Doubtfire) and complemented by engaging direction from Olivier and Tony nominee Luke Sheppard (& Juliet, The Little Big Things), the show really takes everyone on an emotive journey, complete with all the famous 80s hits everyone knows and loves. Just For One Day is not only an incredibly poignant, sensitive and illuminating production, but one that offers a terrifically fun and memorable night out for all.
It’s not often a show is so astounding that it’s hard to find words to do it justice, yet Just For One Day is one such show. Long after leaving the theatre, the show remained firmly in my head, rent-free and stubbornly refusing to leave. That night, my thoughts were simply ‘How on earth will I write about this? What can I write about a production so significant and impactful that words will never suffice?’ – that in itself is a marker of how fantastic and crucial a piece of theatre this is.
26 brilliantly talented performers come together to bring this iconic story and even more iconic music to life on the stage, doing so in a way that ensures every note feels fresh. These are songs that generations have grown up and fallen in love with, and probably belted out at karaoke once or twice – but it’s refreshing to hear these iconic songs staged in a way that maintains their original essence in a way we know and love, but without ever feeling like performers are trying to imitate the original icons who made them famous. Patrick Hurley’s musical direction combined with a diverse cast of performers and voice types ensures the show sounds stunning from start to finish, leaving not a dry eye in the house when the time comes to applaud this cast for a job well done.
No member of this show’s cast or band fails to be incredible or make the stage their own when rightfully given their time to show off what they can do; however arguably Craige Els (Chess, Matilda the Musical) has more than his work cut out for him, taking the reins of portraying the man behind it all, Bob Geldof himself. A distinctive figure in our society, let alone in a production about his most famous work and its lasting impact, taking on such a role must be intimidating for any performer. Yet Els is a star through and through, with a stage presence, mannerisms and acting choices that combine for an overall performance as Geldof that is nothing short of incredible. Els portrays Geldof perfectly – demonstrating the abruptness yet fierce passion and determination to do what is right that Geldof is so famous for.
Jackie Clune (Billy Elliot, Emilia,) and Hope Kenna (Wendy & Peter Pan) portray the same character, years apart – Clune as Suzanne in 2024, and Kenna as the same character 39 years prior. The pair work beautifully together, complimenting one another, and mirroring the other’s performance so closely that it’s always starkly obvious they’re the same person with just (a few!) years matured. It’s also really touching to see Suzanne across two time periods, with her passion and love for the event still very much alive all these years later. A fact I am sure is no less true for many who witnessed that unforgettable date.
The production’s staging is minimalist, but this makes for a clever and effective choice. Besides small set pieces that are brought on and off stage when needed to aid the story, and sparse costume changes for a few characters dotted throughout the show, there is no excess set or props or costume changes across the performance. But this is not a show that needs more than is necessary for the story. This creative decision works well, ensuring focus is on the story being told, and the heart of the show is those telling it, without letting anything distract from the importance and impact.
One of the many things that makes Just For One Day such a special theatrical event is that the show is for everybody, focusing the spotlight on all those who put in the work to get Live Aid off the ground, and the reason for its existence. The lawyers, the music producers, the technicians, the whole village of people it took behind the scenes. This is a show to celebrate the work of those who may not celebrated as much as the stars themselves, without ever failing to also be for its audiences. Whether for those who attended, donated, listened on the radio, watched all over the world on TV, or were not alive at the time but have since heard of it, there is something and someone for every person lucky enough to find themselves sat in front of this stage. This eye-opening spectacle celebrates the people who made Live Aid happen, but also how ordinary people can make a huge impact, whether individually or working together with one goal in mind.
Crucially, the production keeps the ethos and purpose of Live Aid at its very core. Abiona Omonua (Caroline or Change, The Colour Purple) portrays Amara; a character out in Ethiopia doing all they can to help in a dire situation. Throughout, the show alternates between events in the UK with Band Aid and Live Aid, and those in Ethiopia where Amara recounts the harsh reality of living through the country’s atrocious famine. This storytelling technique is powerful and never lets go of why Live Aid was needed.
The show is not all doom and gloom, however – far from it! Impactful, moving, heartbreaking, yes. But there are lighter moments too; how many times have you gone to the theatre and enjoyed Margaret Thatcher and Bob Geldof engaging in a rap battle and dance-off? These lighter moments serve to balance the tone of the show, so it isn’t heavy from start to finish, but great attention is given by the creative team to ensure this never becomes insensitive. All elements of the story and the reality behind it are handled with the respect and awareness they demand and deserve.
Occasionally, a piece of theatre comes along, reminding me why I love this art form so much. Just For One Day is the latest. A show for everybody with power behind it, this experience will stay with me forever, and serves as an outright reminder and go-to example of the power that the stage and storytelling can have. I would even be so bold as to say this will already be one of, if not the best show to come out of 2024.
As Live Aid did before it, Just For One Day is a show that without ever becoming preachy, can open eyes, minds and hearts, and educate the thousands who will come to see it. A show that deserves audiences far and wide, I truly hope when the end of March comes, this is not the last we see of this production – though having sat in its audience, I expect such worries would be in vain.
Moving, affecting and extraordinary in every sense of the word, Just For One Day reminds us of how crucial the arts are, and alongside being the exact show the world wants and needs more of, is simply an exceptional piece of theatre.
Just For One Day runs at The Old Vic until March 30th. You can find out more about it and buy tickets here: https://www.oldvictheatre.com/stage/event/just-for-one-day
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One Show at a Time 