Brighton Rock (2004)

BRIGHTON ROCK
Music by John Barry
Lyrics by Don Black
September 20 – November 13, 2004
Almeida Theatre
London, England

PART 1: BACKGROUND & REPORT

While Hans Zimmer was the composer that introduced me to the joys of film music, John Barry was the one that made me a lifelong fanatic and admirer of all music “behind” the screen.

But John Barry was more than that. He was the first composer that stopped me in my tracks and described, in purely musical terms, exactly how I was feeling. And he did this without saying a single word- just the deep and penetrating sounds of the orchestra.

His music could pick me up when I was down, lift me up when I was high, and evoke past memories with such vivid clarity that my life experiences became timeless.

How often can this ever be said to describe the effect of music?

My first opportunity to see John Barry live in concert was on April 28, 2001. I was all set to see him conduct selections from his newest album, ETERNAL ECHOES, at the Royal Albert Hall but the concert was inexplicably cancelled a month before the show. To say I was disappointed is a major understatement.

My second chance came when it was announced that John Barry was premiering a new musical, BRIGHTON ROCK, in London. As I now had a steady-paying job, I bought my tickets (yes, plural!) without hesitation and hurriedly organized “shift swaps” with my colleagues so that I could amass enough consecutive days off to spend a month in the UK!

I attended two preview shows of BRIGHTON ROCK, which needless to say, were incredible.

This musical had it all: the sassy brass from GOLDFINGER to represent the time and atmosphere, the naive, but beautiful love theme for the tumultuous relationship between Pinkie and Rose, and the bittersweet finale to cap off the rather downbeat ending. All this through the inimitable sound of John Barry.

PART 2: MUSICAL MERCH

I don’t recall anything being sold at the venue except for the playbill which you can see selected pictures of below:

PART 3: MEETING JOHN BARRY & DON BLACK

By sheer luck I’d gotten word that John Barry himself would be attending a special press night. Seizing the opportunity, I quickly changed my travel plans to ensure I would be in London that day.

Together with a small mob of crazed fans and autograph hunters, I stood in the cold outside the Almeida theatre waiting for Barry to arrive. As we were waiting, a few familiar faces passed by: Jonathan Pryce, who at the time I knew only from THE ADVENTURES OF BARON MUNCHAUSEN, and Michael Winner, director of the original DEATH WISH.

Not long after, Don Black- John Barry’s longtime lyricist- showed up with his gorgeous wife. I was pretty star-struck, but politely asked him to sign my sheet music for THUNDERBALL.

John Barry soon rolled up in a chauffeured black car sitting in the front passenger seat with his family in the back.

I was immediately struck by his piercing gaze. He seemed so deep in thought and totally focused; exactly what I had imagined from a composer whose music had always cut so directly and deeply.

Barry rarely wrote music that was “busy,” leading many to complain that his music was boring and overly simple. But that is precisely what made him the best: he could express, with the simplest of sounds of the orchestra, every emotion with direct and broad strokes. His music was often tinged with longing and sadness, but at the same time, exuded a pure and timeless beauty.

But back to meeting Barry, I finally worked up the courage to approach him and ask for a photo. In my nervousness, I hadn’t realized that my digital camera was set to movie mode, so no flash fired – I embarrassingly asked for another shot to which he quipped, “can’t you get a camera that works mate?” I almost died there and then! 😅

I finally got my shot and had Barry sign the sheet music to BORN FREE, the soundtrack for which he won two Oscars. The music now reads: “To Alain, John Barry”

Such an amazing moment that I will never, ever forget.

(in hindsight, I have no idea why I didn’t ask John Barry to sign “Thunderball” since Don Black had already signed it… I guess I was so star-struck that I just couldn’t think straight!)

PART 4: MUSIC FOR WEDDINGS

As a side note, it’s kind of funny – I’d always planned to use Barry’s music on my wedding day. I’d even mapped out an entire playlist for each part of the wedding. But when I finally did get married I didn’t use a single piece by Barry! For years I often wondered why…

In writing the above paragraphs I think I’ve now realized why Barry wasn’t with me at my wedding: his music is so deeply tied to specific moments and feelings in my past that I couldn’t possibly have applied it to my wedding, the newest and most important chapter of my life.

For my actual wedding I used an eclectic mix of soundtrack music by the likes of Georges Delerue, Michael Giacchino, John Powell, and Joe Hisaishi. This was music that my wife and I shared and loved, so it only made sense that we use their music at our wedding.

When I leave this world and my vast collection of John Barry soundtracks is left to my son, I hope he finds a moment to sit down, take in the music and truly understand the kind of emotions his father felt and lived through Barry’s bittersweet and timeless music.

PART 5: OVER TO YOU

Did you also go to this musical? How did you like it?

And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.