John, Paul, George, Ringo ... and Bert (Original Cast Recording)

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But the abiding memory of 'Words On The Run' is of these five grizzled geezers - "Our combined age may be 273, but we're still singing animals!" - shuffling off and returning after the interval still singing about Tupperware Girls with lovely hair who drink German wine and don't think much of Wittgestien but like to do the Hokey Cokey in their underwear. But when I came to fulfil this commission, I couldn’t think of anything. So then I remembered the Blood Brothers idea. It was for schools, it had to be 70 minutes, and I thought he said we was going to hire an actor who could double on piano. So I wrote it as a mini-musical, and presented it to Paul and he was like, ‘No, you must’ve dreamt that!. So I cut all the songs, apart from the Marilyn Monroe song, which they did acapella. But there was one person that disliked the play: George Harrison. There is conflicting information as to when he saw the musical. Some things I read say that he saw it on opening night in Liverpool and Melody Maker says that he saw it in October of 1974 in London. Even at the time, without any benefit of hindsight one just knew what an extraordinary company of visceral young actors Alan Dossor had assembled at the Everyman. As well as Bernard Hill and Tony Sher there was Johnathan Pryce, Alison Steadman, George Costigan, Trevor Eve, Liz Estensen, Phil Joseph, Matthew Kelly, Pete Postlethwaite, Julie Walters, Bill Nighy... awesome really.” George Harrison stated that he saw the play with Derek Taylor. He disliked it. [3] He walked out while of the London premiere and withdrew his permission to use his song " Here Comes the Sun". [4] It was replaced with " Good Day Sunshine". [5]

The archive is an excellent resource for research into modern theatre, graphic design, creative writing, literature and linguistics. The collection has been catalogued and is available for access. With his Cavalier Spaniel hair style, the author of 'Educating Rita', 'Blood Brothers' and 'Shirley Valentine' was making his first Fringe appearance since 1972. John, Paul, George, Ringo … and Bert is a 1974 musical by Willy Russell based on the story of the Beatles. During the 80s, Russell’s other work was also shown, including: the premiere of One For The Road, the television drama One Summer, the composition of the theme for the television series Connie and the film Mr Love. It is a very funny show. Exhilarating at times. It is no publicity job for The Beatles. Their warts, indiscretions and mistakes are there for all to see — so are their exploiters. The dialogue hits pretty hard; there’s nothing phoney about it.”Russell wrote and composed Blood Brothers, which premiered in Liverpool. The play has been in continuous production in the UK since 1987. Likewise, Russell’s Shirley Valentine, which premiered at the Everyman Theatre, transferred to the West End and was adapted for film, starring Pauline Collins. Willy Russell wrote the screenplay and music. I was still a hairdresser at the time, and I used to go and cut the hair of a Mrs Walker. She always had the telly on, and Top Of The Pops was on, and I saw Hendrix for the first time, doing Hey Joe. And if you think of the end of Blood Brothers, there’s a madman with a gun… that level of violence and anger was something that was sparked by seeing Hendrix on TOTP. John, Paul, George, Ringo ... and Bert is a 1974 musical by Willy Russell based on the story of the Beatles. During the 1990s and 2000s, Willy Russell produced his first album, Hoovering the Moon, and performed on multiple tours, including Words on the Run with Merseybeat poets Adrian Henri, Brian Patten, Roger McGough, as well as the musician Andy Roberts and The Singing Playwrights with writer Tim Firth. He also wrote the screenplay for the film Dancin’ Thru The Dark, an adaptation of his play Stags and Hens and a novel entitled The Wrong Boy, to wide critical acclaim.

It also ran in Ireland in 1977 and in the United States in 1985. [2] Creative team [ change | change source ] Poets Roger McGough, Brian Patten and Adrian Henri, who were accompanied by singer-guitarist Andy Roberts, are seasoned Fringe performers and they delivered their warm, witty and wise verses and devastating one-liners with accustomed aplomb - but it was playwright Willy Russell who stole the show.

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According to an interview with Creem magazine, George Harrison stated that he saw the play with Derek Taylor and greatly disliked it. [3] He walked out while attending the London premiere and withdrew permission to use his song " Here Comes the Sun". [4] It was replaced with " Good Day Sunshine". [5] George didn’t see Stigwood’s musical. “The reports on it were so bad that I didn’t want to see it. But maybe it’s good. I don’t know,” George said.

While working as a teacher, Willy Russell continued to write for the theatre and for television. He produced several television dramas for the BBC, including Our Day Out, which was first broadcast in 1977. Much of his early theatre work was produced at the Everyman Theatre in Liverpool, including: The Philistine's poem that ran "I hate theatre, I hate ballet, I hate art galleries - but I like arts council' They say No'!". Shirley Valentine's recollection of her son's uproarious apperance in the school nativity play and an extract from one of Russell's two forthcoming novels were delivered with a breezy confidence that matched any of the Fringe's excess of stand-up comics. There’s not much more we [the Beatles] can be sued for, but we can sue a lot of other people,” George said. “Being split and diversified over the years has made it difficult to consolidate certain Beatles interests. For example, all those naughty Broadway shows and stupid movies that have been made about the Beatles, using Beatles names and ideas, are all illegal. Parents, if you're considering tutoring or supplemental education for your child, you may be interested in my observations on Kumon. So buoyed by the effectiveness of that version, I immediately set about writing the full musical. And I thought, I’m just going to have to write the music myself.”I saw it up until the intermission and then–­I saw it with my friend Derek Tay­lor, who’s a writer who used to work for Warner Bros. and Apple­–I said to him we either have to leave now or I’m gonna jump on that stage and throttle those peo­ple,” George said. Within two weeks, I’d gone out and bought what I thought was a guitar. It was a plank with wires on, basically!”