L-R Eve Kitchingman, Michael Mahony, Ciara Mackey, James Killeen, Sarah Gardiner, Conor Litten, Guy Freeman, Ian McIntosh - Credit Ellie Kurttz
It may not have been wise to send me to review The Commitments, and you’ll understand why shortly.
One good reason is my ability to spot a very talented set of musicians and actors, who by the end of the show were able to completely throw off the shackles of having to act shite in the first third.
They can sing, dance, perform, act and entertain, and not one minute on stage is wasted.
It is true. The Commitments are one of the best bands around, and something this south coast audience may not have appreciated at first.
This wasn’t the feel good show they may have been expecting: a humble beginnings story that erupts into fame and fortune.
In fact, what it does erupt in front of us, is what many, many bands experience, tempers, anger, frustration, clashes of egos, opposing goals and ambitions, and this is what is so brilliant about The Commitments as a musical.
L-R Sarah Gardiner, Ian McIntosh, Conor Litten, James Killeen, Ciara Mackey, Michael Mahony - Credit Ellie Kurttz
Being in a band is a commitment, and in this case, when you have ten members, and mixed genders, the dynamic tensions increase, the personalities rub, and the pressures of rehearsals, time keeping, gigs and responsibility, weigh heavy on some shoulders, lightly on others.
In a good band such as this it gels perfectly on stage, however, it is what happens in life that is the stumbling block to success.
This is the reason why I shouldn’t have been sent.
As a survivor of being in bands, it all came flooding back. All the frustrations that were safely buried in the past, rose to the surface and for two thirds of the show it was like my worst nightmare: a review of part of my life that had been quietly put in a folder, and then into a drawer marked “never open again”.
That was probably why people kept telling me when I was younger “have you watched The Commitments”, the film that is.
I always said “No”, as why would I need to see a film about a band trying to make it?
And even though it's a story mirroring events in all the bands I have ever been in, my conclusion would have been the same - I wouldn’t have stopped, even if I knew the outcome would be a disaster, being in a band is one of the best things ever.
Especially when the band, the songs and the audience connect, as they did at the end of this show in the Mayflower.
It doesn’t matter what size of venue, when the atmosphere is right, when the band is as tight as it gets, it is one of the best nights ever.
And that’s what you get with this production. The whole nine yards. And you get a wonderful introduction to soul music.
The programme notes talk about the genius of Ray Charles playing “exactly what he felt”, and it is that expression of uninhibited freedom that forms one strand of the story.
L-R Conor Litten and Stuart Reid - Ellie Kurttz
In the other strand we’re guided to the conclusion that soul music is felt and expressed by the oppressed, as they are closer to the realities of life, they know how life works out unfairly for many, and they have to cope with its natural rhythms to survive, how music can join an audience, bring people together in a shared experience.
The skill of the writing, performance and staging of this show takes you through all of the above in one evening.
And you may well come away thinking “why didn’t soul music solve their problems? Why wasn’t the group stronger than the individuals?”
Great art makes you think, and theatre is the ideal stage.
As manager Jimmy Rabbitte, perfectly shaped by James Killeen, tells the band: “The Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So say it once, say it loud: I'm black and I'm proud.”
It is Rabbitte’s vision and understanding of soul music, and how it can help the oppressed come together through rhythm and blues, that inspires the band members to take a chance on each other.
But although they have been painted as the unfortunates of the unfortunates, within the band there is a pecking order, division and disunity.
And this is the brilliance of author Roddy Doyle at work. He gives Rabbitte the line “I wish I could sing”, amplifying the frustration of having the vision but no vehicle to drive it home, so he manifests that vision in the band, but the band in this story is not the sum of its parts.
Ian McIntosh - Credit Ellie Kurttz
In an interview with Voice FM, Nigel Pivaro said that Ian McIntosh who plays lead singer Deco was “worth the ticket price alone”. He was spot on.
Not only has Ian got a fantastic singing voice, and easily connects with the audience, he’s also brilliant at acting the rubbish, frustrating, and infuriating talented waster he portrays.
As for the rest of the band and singers, as I said before, they are fabulously rubbish to begin with and then, over the space of a couple of hours, grow into a wonderfully tight unit that captures the essence of soul music, and gleefully pumps it back into the audience's ears and feet.
As part of the bass players’ union I must give a special mention to Guy Freeman who was excellent as bassist Derek, had some wonderful ‘meaty’ runs which made me yearn to be back on stage again. If only I could dance and sing like him.
L-R Michael Mahony, Stephen O'Riain, Guy Freeman - Credit Ellie Kurttz
Eventually, The Commitments became a feel good show, but to get to that moment the band will drag you through the hell of being in a group, offer you the glimmers of hope that early success can bring, slam you onto the dance floor to destroy your dreams, and finally pick you back up for a well deserved encore that lifts the emotions and energy, yet has you pining for what could have been.
You can buy tickets to The Commitments at mayflower.org.uk
Here is Nigel Pivaro’s interview.
And, on a personal note, some of my life as a musician was captured in Eamon Nancarrow’s very funny memoir, Holywood Star: The Life and Times of a Rock and Roll Misadventurer.
It's a very well observed read about life as a musician in early 80’s Northern Ireland and I was delighted to be part of his journey. So once you have seen The Commitments, have a read of Holywood Star.
