Review Round Up: Just For One Day, Shaftesbury Theatre

© Evan Zimmerman

WhatsOnStage: *** “Now neatly marking the 40th anniversary of the epic charity rock concert that raised millions for famine relief, it is a neat trick in jukebox musical nostalgia, framed by a bit of recent history about “the day when music brought the world together.””

London Theatre.co.uk: **** “It made me deeply nostalgic for my pre-internet 80s childhood, a time when a BBC news report could make such a singular impact. And, as jukebox musicals go, this one has more hits to draw on than most. It’s wall-to-wall with tunes that will make you want to dust of your denims and, like Jemma, come to realise that for all its flaws, Live Aid is an event well worth celebrating.”

The Standard: **”Anyone desperate for a show about the story of Live Aid will enjoy getting exactly that. All the big hits are here, a few laughs, some serious bits and one genuinely moving moment when Geldof visits Ethiopia. But it’s stuck with the same problems that Live Aid had 40 years ago. As with Geldof, you can’t deny its good intentions. 10% of ticket prices are going to the Live Aid Charitable Trust and, throughout, there’s this undercurrent of ‘it’s better to do something than nothing’. It’s just a shame that the something they’re doing is this.”

All That Dazzles: ***** “No matter how old you are, there is something for everyone in this inspiring and immaculate musical. More than this, though, the musical is also doing some good in the world by raising more money for the Band Aid Charitable Trust, with more than £850,000 raised at the time of writing this. With that in mind, it might be best to do as Bob Geldof said (or, as it turns out, didn’t say) and give this show your f***ing money!”

Rolling Stone: **** “But with music at its core, this is ultimately a show where the classic songs of Live Aid and their world-changing impact are celebrated to a level that the West End has rarely seen. Geldof hailed the band as one of the best he’s ever seen on opening night, but it helps too that the ensemble cast deliver performances that elevate these tracks to a level where, at times, the sheer euphoria feels like you’ve been transported to Live Aid in the first place. This sublime jukebox musical will fill your heart and make you leave the theatre with the feeling that you could change the world too.”

Theatre Vibe: “While the humour is stronger, so too is the portrayal of the suffering of the starving and dying children and adults. It’s a delicate balance, but the message is clear and powerful. In 1985, our access to world events was limited to what we were told. Today, we can watch live footage on our phones. But there is no doubt that the £100 million raised and the awareness generated saved, and continues to save, many lives. That is the core message.”

The Reviews Hub: **** “While the piece does not fully explore the obvious flaws and contradictions in some of the movement’s choices, and starting with David Bowie’s Heroes perhaps is a bit too on the nose and self-congratulatory, this is a rip-roaring musical that has a much stronger message than your typical jukebox piece. Although you are invited to rock out with them by the end, the movement’s message about compassion, empathy and, to ‘feed the world’, is never too far away.”

Theatre & Tonic: ***** “Without a weak link or a dull moment, Just For One Day is a show that perfectly captures a huge moment in rock history. If you were there, it’ll take you right back to Wembley Stadium on July 13th 1985. If you weren’t, it’s probably the next best thing. “

Theatre South East: “There are several story strands running through the show, the Mother trying to explain to her daughter the importance of Live Aid, the frustrations of the people working behind the scenes and the chilling desperation of those working on the front line in Africa. Another thread is the battle to get the tax on the single refunded from a comedic Margaret Thatcher hilariously played by Julie Atherton.  Although corny at times, these stories build up a picture of life in the ‘80s and the sheer importance of this momentous concert.”

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