Review of ‘Just For One Day’: “Nostalgic radio-GaGa show gets viewers dancing with tears in their eyes”

London’s Shaftesbury Theatre hosts the West End transfer of The Old Vic musical — celebrating 40 years after the event that shook the world and changed the lives of so many in so many ways. Guillermo Nazara shares his views on the show — to let us know if its bohemian, rhapsodic narrative comes across as the best thing.

Stop your sobbing — that is, if you can. You may not have lived through the times of the Live Aid concert. And to be fair, I only heard of it first when The Old Vic announced the show’s opening. Even by then, I hadn’t put much thought into it. Yes, I was aware of the sense of unity that rock and pop stars had built — using their art as a weapon to fight the wrongs of the world.

But as I stepped into the Shaftesbury Theatre for last Monday’s performance of Just For One Day, I found myself in a similar position to that young girl character — captivated by her mother’s tale about the event that changed her life and saved many others. The sole difference is that I’m slightly less annoying than that self-entitled brat — just ever so slightly.

It may be an understatement to say that the piece reaches out and touches the heart as very few do — and the best part of it is that it never pushes hard to pull from its strings. The naturalness with which it accomplishes its poignancy is one of its most refreshing traits. The source of the plot has all the ingredients to be an emotional powder keg. Yet, mix them incorrectly, and it’s likely to implode into an oversentimental rat trap.

Bookwriter John O’Farrell does an excellent job of delivering a compelling plot that allows its pathos to come out organically. The use of a fictional side story about one of the gig’s attendees, thus underlining its cultural and societal relevance, works as an exemplary tool for dramatic engagement. It’s the everyday, universal figure that instantly connects with the regular viewer. If you were there, either presently or behind a screen, you’d see yourself reflected. If you learnt about it years later, you’ll be curious to experience it through her eyes. If you’ve never come across it up until now, her journey will still entice you to join in.

Brilliantly paced and deftly structured, the script agilely incorporates the show’s jukebox repertoire into the narrative — evenly integrating its spoken and musical components while smoothly transitioning between both. No rendition comes off as shoehorned or out of place. Every number serves its purpose — moving the action forward while also letting its more introspective aspects come to the front. As a result, each song and lyric hold meaning — edited into the exact cut the tale requires to convey its themes.

The show’s uncomplicated design is one of its most noticeable strengths. A three-angle screen, some fleeting lighting grids, and manual props compose the entire set. There’s no intent of opulence. Yet, the production’s visual impact is quite remarkable. The subtlety of the video animations is arguably its most striking feature — painting the most intricate pictures through the simplest, yet never rudimentary, strokes. You may see just a glaring orange horizontal line extended across the backdrop — and yet, you’ll feel as if you’ve never been closer to Ethiopia when sitting in front of a stage.

In addition, the company comes together with astonishing rapport and prowess — with everyone flaunting exceptional vocals and the majority also excelling in their acting. A first mention goes to Julie Atherton as Margaret Thatcher — milking the character’s most defining traits through a portrayal focused on capturing her essence instead of delivering a carbon-copy imitation.

Furthermore, George Ure also stands out as Midge (coincidental) Ure — exuding charm and presence while also boasting flawless singing skills. Yet, Craige Els earns the highest praise as the lead, Bob Geldof — giving a star-quality performance that proves his exceptional command of the role by enhancing the character’s humanity and authenticity.

A tale of heroes rockin’ all over the world, Just For One Day sends its message in a bottle deep into the audience’s souls — coming across, against all odds, as a theatrical tour de force where everyone involved could proudly chant “We are the champions of the season”. Still standing as a solid option in the current West End offer, this rebel, rebel show will surely enchant people of my generation and any other — for its magnitude is the only drive it needs to keep blowin’ in the wind. And also, it’s the first and only time you’ll see me applauding Margaret Thatcher.

All pictures credit to Evan Zimmerman.

Just For One Day plays at London’s Shaftesbury Theatre from Monday to Saturday. Tickets are available on the following link.

By Guillermo Nazara