Whenrock'n'roll meets theatre ...

The stageshow Heathcliff,starring Sir Cliff Richardand basedon the book he co-wrotewith FrankDunlop, began its UK tour at Birmingham'sNational Indoor Arena on October16 . The show, basedon EmilyBronte's Wuthering Heights, stars HelenHobson as Catherine,playing opposite Sir Cliff - billedas plain'Cliff Richard'on the show's publicity- and there are a few, well, developmentsof the originalplot. Like,pirates and stuff. It's beautifullyproduced, with multiple projectionsadorning the set, a quadraphonicsound system and a fluid lightingdesign by Andrew Bridge.Production directoris Dick Parkinson,with costumedesigner Jo Vanek,lyricist Tim Rice,director Frank Dunlop, composer John Farrar,production music director Mike Moranand orchestratorSean Callery . Putting WutheringHeights onto the stage has beenCliff Richard'sdream for manyyears. Mike Lethbysaw the show and talkedto the productionteam at the NIA

allowingproduction rehearsals and restrict­ thinkingthan any of their of their more conspicuous anniversarytour in 1990 - originallyfielding a PArig ed previewsat Earl'sCourt 2, the show,with recenthigh-profile jobs with Oasis,Pink Floyd, or their basedaround Turbosound TMS-3s. Prior to that, the musicby JohnFarrar and lyricsby Tim Rice, annualrun of majorfestivals. artist had operatedhis own soundrig. opened with a three-weekseason at the As FOHengineer (and co-designer of the Heathcliff Colin Norfieldhimself has actuallyhad 24 years National Indoor Arena in Birminghamon soundsystem with Mike Loweand fellowBRP regular with the artist, back since what he calls "the days FOctober 16. It will go on to play the Edinburgh John 'JJ' James)Colin Norfield puts it: "This show is before touring PAs",and back when he workedfor Playhouse,the NIA again for a short run and part theatre and part rock'n'roll." And then some. OrangeMusic, who had one of the first PAhire com­ ManchesterPalace Theatre, before coming to London Startinga high-profileshow at the NIAin Birmingham panies - out with the Four Tops,Temptations and in early Februaryfor a seasonat the Labatt'sApollo and then goingon to playtheatre venues - after pro­ RichieHavens on eight-weektours of Europe.Thus in Hammersmith,which runs throughto July1997. duction rehearsalsin the even-moredifferent envi­ the three menbring a wealthof experienceto the pro­ THE SOUND OF HEATHCLIFF rons of Earl's Court 2 - was, most would agree,not duction. ForBritannia Row Productions, this is a tour which exactlythe audiopro's dreamticket. "A Cliff tour camealong ," he recalls." I remember has probablyentailed more heart-searchingand re- Brit Rowhas workedwith Cliff Richardsince his them saying 'it's not a rock'n'roll show,you know, leavea bit of spacefor Cliff'. He's greatto workwith, a real pro, and I don't think you'd find anyonewith moreenthusiasm; he reallyspurs you on. He's a per­ fectionist;he'll do anythingyou want to try and make it betterand he's alwaysstriving." This is a quiet show,Norfield adds, partly in the interestsof vocalclarity and partlyin viewof the fam­ ily nature of the audience."Youcan only mrke it as loudas the quietestthing, and dialogue is very impor­ tant in a musical. "On a rock'n'roll showyou mix the bandfirst and then get the vocalsover the top, but herethe vocals haveto comefirst. It's very differentto workingwith him on a rock show,it 's scenery,it's set, it's chore­ ography.I'm trying different ideasbut the vocalsare all-important.The other thing is that there's no hand­ held mics: all the radio mics are in their beardsand so on, so again,levels ar .e critical." Despitetheir pedigreein pure rock, BritanniaRow do numberamong their theatre musicalcredits such productionsas Blood Brothersand Hot >t p29