Backbeat is the new Beatles musical which covers the early period of teh Beatles success story, mostly in Hamburg where John Lennon, Paul McCartney, George Harrison, Pete Best and Stuart Sutcliffe entertained the nightclub goers in the Reeperbahn district. The main focus of the show is Stuart Sutcliffe, the “lost” Beatle, who played incompetent bass guitar but was an art school friend of John’s and an ambitious young painter. The show follows Sutcliffe’s relationship with the German photographer Astrid Kirchherr – who was responsible for the Beatles’ mop-top haircuts and some superb early images of the group. It also depicts Lennon’s angry feelings of rejection, and McCartney’s relief that he has got John back.
This article titled “Backbeat – review” was written by Lyn Gardner, for The Guardian on Tuesday 11th October 2011 18.08 UTC Does London need another jukebox bio musical? No, and it doesn’t get one either in this intelligent, multilayered and often touching account of the Beatles’ early days in Hamburg and Liverpool and the “lost” Beatle, Stuart Sutcliffe. The epitome of cool, Sutcliffe was John Lennon‘s art-school buddy and a gifted young painter who abandoned the group for art and the love of Astrid Kirchherr, the photographer who took some famous moody shots of the band and originally styled their mop-headed, collarless look. Sutcliffe died aged 21 of a brain haemorrhage, just as the Beatles were on the brink of success. Based on Iain Softley’s 1994 movie, Backbeat is – despite all its raucous energy and high levels of amplification – often quite downbeat. It’s all the better for it. More a play with songs than a fully fledged musical, this is not a show threaded through with familiar Beatles’ hits: a brief glimpse of John improving on Paul’s faltering attempts to write Love Me Do is about the closest we get. Instead we see the boys in their Hamburg days when they were essentially a covers band playing in a seedy nightclub, perfecting their sound and skills on hits such as Twist and Shout and Please Mr Postman. The music is delivered with some panache that does eventually lead to the inevitable dancing in the aisles, but it’s a mistake to think that Backbeat is about the music or is indeed the verifiably true story of the early days of the Fab Four. In David Leveaux‘s moody, often painterly production it is much more about art and ways of seeing. There is a small, quiet scene where Sutcliffe contemplates the changes wrought by a lighthouse beam. Oh and it’s about love, in particular the love between Andrew Knott’s arsey antagonistic Lennon, who claims that all art is “dick”, and Nick Blood’s charismatic Stuart, who sees the band as a diversion and is forced to make the hard choices about who he should be with and what he should do with his life. “You’ve got to let me go,” he tells John, and it’s as if he is trying to disengage tenderly from a lover. It’s a small show wrapped up big for a West End theatre, and there are moments of clunkiness in the handling of the ensemble in the Hamburg scenes. But it’s always visually arresting and, finally, a little bit heartbreaking too.
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