Jeff Wayne’s Musical Version Of War Of The Worlds – The New Generation: Alive On Stage!

Jeff Wayne’s monumental progressive rock version of H.G. Wells’ 1898 novel War of the Worlds was originally released as a two album set in 1978. It went on to become a best-seller around the world, spawned video games, DVDs and live tours.

In 2011 Wayne announced he was going to reinterpret his original compositions with new production techniques. This version, called The New Generation, began touring the UK and Europe in 2012 and was eventually filmed at the O2 Arena, London. It starred Liam Neeson (in holograph), Ricky Wilson (Kaiser Chiefs), Marti Pellow (Wet, Wet, Wet), Will Stapleton (Jettblack), plus Jason Donovan, Kerry Ellis, Lily Osborne and Michael Falzon.

The Shows Must Go On screening was dedicated to Falzon, who died of cancer earlier in the year. It was a fitting tribute to this charismatic performer. He played a new character William Rowland, and also the NASA controller, Jerome Marvin Krauth, who gets blasted by the fighting machine onstage behind him at the end of the show.

Donovan, who had previously played the Artilleryman, was now playing Parson Nathaniel, with West End star Kerry Ellis as his wife.

Behind the orchestra there were three LED video screens with images originally produced for the 1998 computer game screened on them. A giant fighting machine with tripod legs was lowered during the invasion and the second act featured an arched bridge across the front of the stage with industrial wheels that suggested Wells’ dark Victorian era. One of the most impressive effects was when the earth was covered in a crimson blanket with red-crawling roots invading everything. It effectively conveyed a gothic nightmare. Other effects included real heat rays, a levitation trick after Beth (Ellis) is killed during the ‘Spirit of Man’ sequence, and leaves falling on the audience during the show’s hit, ‘Forever Autumn’.

Neeson was journalist George Herbert and the holograph image of him worked extremely well, with the onstage performers reacting to it. Ellis was particularly good as the pastor’s wife, with a melancholic ache in her voice that suited the character. Donovan writhed with angst as if demonically possessed by evil, as Nathaniel, whilst Wilson gave one of the best vocal performances as the Artilleryman.

Wayne’s control of the orchestra, which included bassist Herbie Flowers and guitarist Chris Spedding, both part of the original album, was masterful.

Andrew Lloyd Webber is just a beginner when it comes to repetitive themes, easily outclassed by Wayne in this opus. Written back when rock bands were exploring beyond the 3-minute duration of a pop song, the music sounds very seventies, and sits somewhere between Vangelis and the Moody Blues.

The staging was epic, being part theatre and part rock-concert. An impressive production!

Peter Pinne