‘Soaring vocal renditions of rock and pop songs that still resonate today.’

Another jukebox musical that captivates audiences, ‘Just for One Day: The Live Aid Musical,’ offers a twenty-first-century perspective on the events leading to the 1985 Live Aid, a benefit rock concert aimed at raising awareness and funds for the Ethiopian famine. The concert was organized by Bob Geldof (who was present at this opening Toronto performance) and Midge Ure.

The musical’s storyline surrounding the events leading to the actual concert (viewed or heard on the radio by 1.5 billion) is fictional.

Marsha (Kelly Agbowu), Suzanne (Melissa Jacques), Jim (Ashley Samuels), and Amara (Rhianne-Louise McCaulsky) come together to understand the impact of Live Aid on their lives. Young student Jemma (Fayth Ifil) studies Live Aid in her college history class, eliciting the audience's laughter regarding the connection between 1985 and history. We also meet Bob Geldof (Craige Els). Jemma challenges Bob and the others to explain what happened during the events leading up to Live Aid so that genuine change can be learned from and applied to the world she knows.

Directed by Luke Sheppard, who focused on illustrating how music unites the world, John O’Farrell’s book and script feel somewhat flimsy. Character development is minimal, as the characters remain static throughout the musical. They primarily exist to advance the story and provide a sense of cohesion. It is the music and songs that audiences have come to hear and experience. They will not be disappointed, as this opening production delivers excellent concert-quality sound, thanks to Howard Hudson's lighting and Gareth Owen’s sound designs.

The soaring vocal 80s renditions of mega-hits under Patrick Hurley’s tip-top musical direction and Matthew Brind’s supervision, arrangements and orchestrations range from George Michael’s ‘Last Christmas’ (in competition with ‘Do They Know It’s Christmastime?’ that initiated the journey to Live Aid) to Queen’s ‘We Will Rock You’ and ‘Bohemian Rhapsody,’ as well as Geldof’s ‘I Don’t Like Mondays.’ Choreographer Ebony Molina magnificently stages ‘I’m Still Standing,’ featuring Julie Atherton’s Prime Minister Margaret Thatcher and Els’s Geldof, with the ensemble positioned in a way that makes the standoff between them breathtaking.

Some of Andrzej Goulding’s video and projection designs from Ethiopia poignantly pierce the soul of everyone. There are also some impressive projections of the various singers on the back wall that remind the audience that we are in a concert stadium setting, watching the show thanks to Soutra Gilmour’s set design of concert lighting at the top of the show.

Nonetheless, there are outstanding performances in certain one-dimensional portrayals of the characters dressed in stunning retro outfits from the 1980s, thanks to Fay Fullerton’s costume designs featuring bright pastels.

Drawing from my undergraduate studies in History, Julie Atherton vividly captures the blunt essence of British Prime Minister Margaret Thatcher in 1985. For some reason, I still picture ‘Mrs. T’ (you’ll get the reference when you see the show) with her stunning gray hair. Atherton has blond hair, but she uses it to her advantage as she and Geldof’s ‘Mr. G’ (again, you’ll get the reference when you see the show) in ‘I’m Still Standing.’

Craige Els effectively reveals the idiosyncrasies of Sir Bob’s direct and sometimes crude expletives, allowing the audience to know—and even respect—him for being a man of his word. He will enlist various artists to perform at Live Aid, even if he has to lie initially. Tim Mahendran’s concert promoter, Harvey Goldsmith, is all bluster and hot air. Jake Small is a prince of a fellow as John Kennedy, who encourages Bob to start a charitable trust.

Still, throughout the production, I questioned this show's purpose. Sure, I understand—music brought the world together in July 1985—but there must be more to it than that.

And there is.

It stems from the audience's laughter at how 1985 is classified as History in some classes at the university and college levels.

Jukebox theatre musical extravaganzas like ‘Just for One Day: The Live Aid Musical’ must serve as important ‘historical’ connections for young people eager to learn how music connects and unites us, regardless of who we are or where we live.

For that reason alone, it’s worth visiting the show.

Running time: approximately two hours and thirty minutes with one interval/intermission.

‘Just For One Day: The Live Aid Musical’ runs until March 15 at the CAA, Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333.

‘Just For One Day: The Live Aid Musical’ by John O’Farrell and by permission of the Band Aid Charitable Trust

Directed by Luke Sheppard
Musical Director: Patrick Hurley
Choreography: Ebony Molina
Music Supervision, Arrangements and Orchestrations: Matthew Brind
Set Design: Soutra Gilmour
Costume Design: Fay Fullerton
Lighting Design: Howard Hudson
Sound Design: Gareth Owen
Video & Projection Design: Andrzej Goulding