Thames Television was at the height of its creative powers in the late Seventies and early Eighties and under the wonderful Verity Lambert (1935-2007) produced many iconic shows including The naked civil servant (1975), The Sweeney (1975-1978), Minder (1979-1994), Widows (1983-1985), Rumpole of the Bailey (1978-1992) and Edward and Mrs Simpson (1978), all classic TV dramas of the period. In 1976/1977 she produced a 12-episode (2 series) show called Rock Follies which made stars of Charlotte Cornwall, Rula Lenska and Julie Covington and its themes of an independently minded three-girl rock band called the Little Ladies in a world dominated by men was brilliantly executed and acted. The Chichester Theatre adaptation of this Landmark TV series by Chloe Moss for the Minerva after 45 years is brave and bold against the memories of the 3 BAFTA Awarding winning series and a number 1 soundtrack album. The adaption appears to lift the plot from the twelve episodes and stay true to its storyline, but the effect is a very bitty episodic rather long running time as they cram every song and plot point in from their formation, through their relationships, the tours and agents and artists they meet in the pursuit of fame. It does draw out clearly the tensions between the need and desire for fame and fortune and the motivation and intent to change the world with their messages. It is this theme that perhaps resonates the best today, but it is not strong enough to drive the narrative.
The production features before Act 1, a soundtrack from the pop music of the day and during the interval, Blurred Faces play covers of some other tracks from the period. For those of us old enough these instantly recognisable songs remind us of the energy and excitement of the music of that period. 2-4-6-8 Motorway (1977), Boys are back (1976), Children of the Revolution (1972), Blitzkrieg Bop (1976), Ballroom Blitz (1974) and White Riot (1977) were generation defining songs and 50 years on the Performers and the lyrics are still strong memories of the era. Sadly, not a single tune of Howard Schuman and Andy McKay’s songbook live up to these and are forgotten within minutes of hearing them. Indeed, even the Little Ladies defiant protest song Jubilee pales in comparison with the Sex Pistols Anarchy in the UK (1976) and God save the Queen (1977) of that period.
This episodic structure and weak score mean the cast have to work very hard to breathe life and energy into the story and the three leading ladies make a very good effort in creating believable differentiated characters and the dynamic between them, even if they don’t quite have the charisma and presence of their TV equivalents. Zizi Strallen is Q, the posh peacemaker of the three, anxious to keep the three together by no siding with anyone while not admitting her relationship with Harry (Samuel Barnett) has broken down. Carly Bowden is Anna, the creative force of the group and writer whose own relationship with Jack (Fred Haig) seems to be more based on money than love. Angela Marie Hurst is Dee, supposedly the most powerful singer and in an open relationship in a commune with Spike (Stephenson Arden-Sodje). Later they are joined in the band by Roxy (Philippa Stefani) looking every bit like a cross between Suzi Quatrro and Sally James, two female icons of the period.There is strong support from Tasmin Carroll as the strident Kitty (in a perfect Joanna Lumley style Purdey haircut), the manager who finally gets their career on track but at some cost to the founders and their ideals and from Sebastian Torkia as the obnoxious pop star (looking like a cross between Alce Copper and Jerry Sadowitz) who symbolises everything that was wrong with the pop culture.
The result feels like a parody of seventies fashion, haircuts, and culture full of cheesy sleazy male stereotypes of the era with dated references to Susan Hampshire, Robert Redford, and Colonel Parker. The use of cabled microphones and a myriad of flight cases may be designed to create the feel of a seventies rock tour to divey venues with long-haired roadies setting the scenes so that you expect at any moment they will tap the mikes and announce “1-2” into them but it does not aid the flow of the show and creates tripping hazards which constantly challenge the cast. It feels clunky and messy and inhibits the central performances of the Little Ladies.At times the show feels like a Pre Edinburgh-Fringe workshop with a script that needs to be tighter, the changes of location slicker (perhaps with projected locations and dates or scene titles) and the feel more authentic and less parody. I wanted to like the production, I wanted it to honour the original and bring the story to new audiences, and I wanted to celebrate the seventies youth culture I enjoyed but, in the end, I was left recalling the title of a 1975 book, Nostalgia isn’t what it used to be.
Review by Nick Wayne
Rating: ★★★
Seat: Row E | Price of Ticket: £39
