Play Music Clip

 
A Bard Days Night has already had press attention all around the Globe, due to the World Wide Web and the shear number of fans that The Beatles and Shakespeare attract respectively. 
 
The show has come to the attention of all the major Beatles and Shakespeare Twitter Accounts such as @FabFourFacts and @BeatlesNews and the productionʼs own account @ABardDaysNight is being followed by both @TheBeatles and @YokoOno.
 
 


 

 
 

 
 

 
 
 
 


Below is an extract from Mark Shenton's blog for The Stage
 
Dated August 02, 2011.
 
The gestating, incubating and nurturing of new musicals
 
 
Permalink | Comments (6)
 


Last night I met Scot Williams, an actor and writer who, at the age of 18, was the youngest-ever playwright to have a play staged at Liverpool Playhouse, and had played Pete Best, the original drummer of the Beatles before he was sacked by Brian Epstein and replaced by Ringo Starr, in the 1994 film Backbeat.
 
By pure coincidence, it was announced just yesterday a stage version of Backbeat is heading to the West End’s Duke of York’s in September, after a try-out in Glasgow last year. But Scot has, for the last five and a half years, been working with Chris O’Neill (another actor who had starred as George Harrison in the film version ofBackbeat with him) on another original musical entirely, A Bard Day’s Night.
 
 

It’s a show that imagines what might have happened had the Beatles met and collaborated with William Shakespeare — and though of course they never could have, here’s an intriguing true fact: in September 1966 Paul McCartney was asked by the National to write the music for the songs of a production of As You Like It, but according to Barry Miles in his book “Paul McCartney: Many Years from Now”, McCartney replied saying he’d “given the matter some thought”, but that he “couldn’t write music to Shakespeare’s words.”
 
 

So now O’Neill has, co-writing other lyrics with Williams, with Williams also writing the book. And, in a fascinating autobiographical postscript, Scot tells me that he discovered he is a cousin, twice removed, of the late Alun Owen, who had written the screenplay for the Beatles film A Hard Day’s Night and Lionel Bart’s musical Maggie May. (And another biographical link is that Scot was himself born in the same Liverpool hospital where John Lennon arrived into the world, too, 32 years before him).
 
He also filled me in on a developmental process that has seen them go through writing some 38 book drafts and 70 songs, and staging three workshops — the first, appropriately, at Shakespeare’s Globe in 2006, then another at London’s Unicorn Theatre in 2008, and then again at LIPA (the Liverpool performance arts school co-founded by Paul McCartney) earlier this year.
 
There’s clearly a lot of theatrical interest in the Beatles, as witness the success of Cirque du Soleil’s Love in Las Vegas, and more recently the Broadway tribute band show Rain (Chris O’Neill, meanwhile, has been part of another Beatles outfit, The Backbeat Beatles). Now Backbeat is confirmed for the West End, could it be time to finally bring Williams and O’Neill’s original show to full-scale life?
 
 
 
Below is a list of Newspaper reviews from Scot Williams' previous works, as well as comments from Leading Theatres and Industry Professionals:-
 

“Splendid. It is beautifully constructed with that manic logic you only find in the best French farces. Scot's achievement is all the more remarkable for a man of his age. He is well on the way to being Liverpool’s answer to Feydeux…I loved it”
(ALUN OWEN –AUTHOR OF "A HARD DAYS NIGHT")
 

“Williams handles comedy well and has a good ear for dialogue”
(THE LONDON ROYAL COURT)
 

“Williams has constructed the farcical elements well and conveys an increasing sense of chaos”
(THE LONDON ROYAL COURT)
 

“A remarkable piece of theatre”
(ANGELA HESLOP – BBC RADIO MERSEYSIDE)
 

“A clever notion that is most enjoyable. Marvellous characters…a joy to clap eyes on”
(THE STAGE)
 

“Scot Williams is rather good, very promising. What is more promising is his style of writing, particularly the dialogue. There are echo’s of Berkoff and Jim Cartwright, he could be very interesting”
(THE STEPHEN JOSEPH THEATRE)
 

“I found myself chuckling aloud, it is very stageable and the character would work wonderfully, it would be very funny if done well. The dialogue is wonderful, this could make a very good comedy”
(SOHO THEATRE LONDON)
 

“I was very impressed. The dialogue is very sparky”
(ALAN BRODIE – Literary Agent)
 

“A colourful imagination and a good degree of technique when dealing with the rudiments of farce. Excellent set pieces and a cracking pace and energy which hurtles the piece forward”
(THE CONTACT THEATRE / MANCHESTER)
 

“A wry black humoured satire. Extremely provocative and confronting, very powerful, the speeches are strong stuff and punctuate the play with great drama. It is highly verbal and theatrical and the characters have unique quirks and traits. Great potential on the whole, a stimulating and funnily mordant read”
(SOHO THEATRE LONDON)
 

“Williams has produced a drama, as stark and dark as anything by Strindberg or Ibsen”
(JOE RILEY – ARTS EDITOR THE LIVERPOOL ECHO)
 

“Williams has here a play and more importantly a talent, that should bring him much critical and commercial success”
(SHOUT MAGAZINE)
 

“To say that The Liverpool Playhouse is investing much faith in it’s protégé and his play, would be an understatement”
(THE WIRRAL NEWS)
 

“Extremely well written”
(THE LIVERPOOL UNIVERSITY GAZETTE)
 
 
“Your chance to see the launch of a great new talent”
(THE MERSEYMART)
 

“Things certainly look promising for his future”
(PENNY KILEY – LIVERPOOL DAILY POST AND ECHO)
 

“There is an obvious intelligence at work in his writing”
(PHILIP KEY – THE LIVERPOOL DAILY POST AND ECHO)
 

“Rich with language and striking imagery”
(PHILIP KEY – LIVERPOOL DAILY POST AND ECHO)
 
 
 
“Poetic and Powerful. Williams’ writing is original…he undoubtedly has talent”
(YVONNE BAKER ASSOCIATES)
 

“Williams has already proved that his work has all the right ingredients to take him to the top. He is a modest perfectionist”
(SHOUT MAGAZINE)
 

“Williams is not afraid of experimenting with theatre form. He reaches out to the disciplines of farce and absurdism”
(JOE RILEY – ARTS EDITOR LIVERPOOL ECHO)
 

“To say that The Liverpool Playhouse is investing much faith in it’s protégé and his play, would be an understatement”
(THE WIRRAL NEWS)
 

“Things certainly look promising for his future”
(PENNY KILEY – LIVERPOOL DAILY POST AND ECHO)
 

“For a change, a comedy by a Liverpool writer, breaks the mould of naturalistic social humour of the Willy Russell / Alan Bleasdale team. It is cleverly constructed and along the way we have much lively dialogue and some gloriously ridiculous commentary”
(PHILIP KEY – THE LIVERPOOL DAILY POST AND ECHO)
 

“Rich with language and striking imagery”
(PHILIP KEY – LIVERPOOL DAILY POST AND ECHO)
 

“Remarkably rich and well researched. There is not a single weak strand in the presentation. ****HEROIC”
(JOE RILEY - ARTS EDITOR LIVERPOOL ECHO)
 

“Scot Williams is something of a theatrical prodigy, a young local talent who writes, acts and directs. Cleverly written richly textured prose in a series of densely written monologues and cleverly researched. This play, more a meditation than a drama is ultimately as sobering as it is clever”
(PENNY KILEY – LIVERPOOL DAILY POST AND ECHO)
 

“Liverpool’s most talented young playwright”
(SHOUT MAGAZINE)
 
 
 
Below is a list of Newspaper reviews from Chris O'Neill's previous works, as well as comments from leading theatres and industry professionals:-
 

"The Backbeat Beatles are probably the nearest you will get to the real thing"
(THE DAILY MIRROR)
 

”BACKBEAT is one of THE great Rock 'n' Roll movies ever made. Chris O'Neill shows he is as charismatic on stage as he is on screen"
(EMPIRE MAGAZINE)
 

"I was astonished...amazing...completely true and accurate. I have seen BACKBEAT several times..."
(Lou Clark - of ELO)
 

“As I watched the Backbeat Beatles and the Royal Liverpool Philharmonic Orchestra come together in tribute to the greatest band in the world I had to wonder whether someone had slipped a little something into my wine”.
(THE LIVERPOOL ECHO)
 

“The evening was billed as The Phil plus special guests the Back-beat Beatles. But these four boys from Liverpool were anything but the support act”.
(THE LIVERPOOL ECHO)
 

“As soon as they arrived on stage the half-full Big Top at the Kings Dock erupted with something like Beatlemania”
(THE LIVERPOOL ECHO)
 

“Earlier the Philharmonic musicians had kicked off the concert with the jubilee anthem All You Need is Love and a medley of Lennon and McCartney hits, but the night really belonged to the Backbeat Beatles”
(THE LIVERPOOL ECHO)
 

“With the opening performance of All You Need Is Love the audience rose to it’s feet and filled the Big Top with as much noise as if John, Paul, George and Ringo had been there themselves”.
(THE LIVERPOOL ECHO)
 

“Somebody once told me this band were better than the Beatles, I think last night's audience might just agree”.
(THE LIVERPOOL ECHO)
 

“Musically the Backbeats are rapidly gaining a reputation as the best Beatle tribute band out there and that's before you even consider the charisma of Chris O'Neill as McCartney”
(THE LIVERPOOL ECHO)
 
 
”The Backbeats ran through all the early Beatle classics, with their usual aplomb but the added bonus of the Cavern venue made it even more exciting”
(THE LIVERPOOL ECHO)
 
 
”People who weren’t even born when the Beatles split up mingled with those who looked as though they'd enjoyed a few sixties gigs and filled the dance floor. If you closed your eyes you could imagine you'd been there at the beginning although if the stories of the Beatles early days are true, this lot probably handle their instruments with more finesse”
(THE LIVERPOOL ECHO)
 
 
”Dressing up as a music legend doesn't mean you can pull off a worthy imitation but this lot not only look the part, they sound great, putting together the perfect tribute package”
(CLARE STOKER, THE LIVERPOOL DAILY POST)
 

”In my opinion Chris O’Neill is one of the most talented people on the globe. We worked together most recently on some Beatle type songs for Simon Fuller. Chris can play any instrument and is just truly gifted!”
(MIKE ROSE, Music Producer for Kylie Minogue/Gary Barlow/Boyzone/Sugar Babes)

 

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