Brian
McCullough
Many
thanks to Jayne for this review and picture
The
Longest Review In Theatrical History For The Greatest McCullough Show Ever!
The StageWest Theater in Mississauga, Ontario, on Monday, June 21, 1999,
debuted an original creation, a uniquely special tribute to Roy Orbison,
written by and starring our own Brian David McCullough of Amherst, Massachusetts.StageWest
is an elegantly romantic dinner theater. Tiers of gracefully curved
booths in burgundy and paisley brocade are separated by carpeted aisles
and brass rails.
The mauve and gold-trimmed walls soar to a vaulted ceiling, striped with
a myriad of multi-colored
spots focused on the raised stage. Pre-show rainbow
lights glance across an array of guitars, darting from keyboard to cymbals,
creating the illusion that the instruments themselves are as restless with
anticipation as the audience, most of whom are festively, almost formally
attired.
(I believe,
personally, that it is a compliment to the cast of any show when
the audience dresses for "an occasion." It implies appreciation and
acknowledgment of the enormous effort and emotional investment involved
in the production long before it is ever seen by a ticket-holder.)
At eight o'clock band members Brian Wilson (lead guitar), Johnny Driscoll
(guitar), Paul "Paco" Danesi (bass), Mike Lerner (keyboards), and Marco
Spadafora (drums) assumed their places in the center of the bow-shaped
stage.
From the wings Nevin Grant, a Toronto radio personality, made his entrance
and explained to the crowd of nearly four hundred that they were about
to participate in a surprise, live-radio tribute to Roy Orbison who was
due momentarily for what he believed was to be a rehearsal session for
an upcoming tour, promoting his recently recorded album.
(In actuality, of course, the album, ultimately titled "Mystery Girl,"
was released posthumously as Roy died of a heart attack, December 6, 1988,
before he embarked on that tour.)
Nevin Grant was excellent, his professional ease as the interviewer drawing
the audience into their roles as "surprise party guests," exactly as Brian
foresaw it when he wrote the script in one night at Myrtle Beach barely
a month before the show was to be presented!
Thus, before he ever stepped on stage, Brian already had scored a coup!
The idea of using a known local radio entity as the program m.c. and involving
the theater goers as participants was a brilliant concept. Brian's
phenomenal
memory for details of Roy's own interviews in that softly spoken, self-deprecating
style familiar to all his fans, combined with a gift for duplicating Roy's
speech patterns and inflections and gentle wit, brought the "Big O" back
to life for a packed theater of completely awestruck fans (I would
say "Orbison" fans, except that several persons told me during the intermission
that they were McCullough fans who had come to see him again, having attended
one of his past "Tribute" performances there.)
The audience was primed, the band was grinning, and The Man stepped into
the "recording studio" from a door to the right, directly in front of where
I sat with Brian's mother, his daughter Amanda, and Fan Club Coordinator
Pat Glynn. His first tentative smile gave no hint that this was the author
of the play. This was Roy Orbison, arriving for a rehearsal, puzzled
by hundreds of smiling faces and a burst of applause.
Nevin broke the news to "Roy," announcing that his plans for a tour warm-up
were being altered somewhat and that he, Nevin, and the audience wanted
to know more about Roy's life and the history behind some of his countless
hit songs, as well as to pay tribute to him as a performer and as an individual.
Turning to the crowd, the announcer said, "You'll notice he hasn't said
a word yet." Well, I've written half a novel and he still hasn't!
However, his first response in Roy's own intimate voice was hypnotic.
My friends,
during
the entire performance, those four hundred or so spectators were utterly
silent whenever Brian spoke. Not a cough nor a murmur nor a tinkle
of glassware were heard throughout that theater. I will tell you
about the music itself, but this was such a remarkable piece of writing
and acting that I am impelled to dwell upon that aspect of the show first.
The announcer had a prepared script, of course. The musicians had
charts. Brian's "script" was his knowledge of Roy's life and personality
traits, his incredible ability to retain details he has read about
Roy and heard from Roy himself in broadcast or published interviews.
We all know Brian's astonishing ability to reproduce Roy's voice when he
sings and his uncanny physical resemblance in costume, but this was a reincarnation!
Brian was Roy that evening! He recounted personal
incidents
and answered dozens of questions spontaneously and in detail with Roy's
own soft Southern accent and mannerisms in an almost mystical recreation
of the man. It was a brilliant acting performance, perfect in every
nuance.
But, yes, he sang too! Interspersed with the questions from the host
in the first half alone Brian gave us ten of Roy's most popular early numbers,
beginning with "Only the Lonely," a breath-taking rendition that swept
the audience into a trance from which they would not emerge for an
hour and a half.
Commenting in his role as Roy, Brian joked that he was glad the next number
was not the only song for which he was ever to be remembered. Oddly
enough, "Ooby-Dooby" is a litmus test by which "Legends" judges Orbison
wanna-bes! Well, Roy's own mother wouldn't have known that wasn't
her son. (I think it's one of the most all-time ridiculous songs
ever recorded, right on the heels of "Splish-Splash" which must have Bobby
Darrin cringing in his grave every time he hears it.)
"Blue Angel" started on a rocky note when somebody bobbled the intro, but
Brian turned it into a chuckle by saying, "I told you we were rusty on
some of the old ones." Bathed in a luminous fuschia light,
he then
proceeded
to perforate the ceiling with a marvelous delivery, "don't yoooouuuuu worry
your pretty head," and then holding that final note until the audience
exploded into applause.
The ovation barely subsided before it immediately rose again as he slipped
effortlessly into "In Dreams," the one that always results in smudging
my notepaper. (Brian really tests the waterproof mascara ads ever
time he sings, "Too bad that all these things can only happen in our dreams....."
I haven't found a brand yet that doesn't transform me into a panda when
I hear that song; and it was a killer that night!)
Changing the pace in scarcely a heartbeat with no compassion for women
blotting their runny make-up, the band jumped into "Pretty Woman" and Brian
observed that there was room in the aisles if anyone felt like "shaking
a leg" as long as they didn't collide with a waiter. Well, shake-a-leg
they did! Couples danced on the sloping aisles while the rest of
the audience clapped and spotlights flashed rhythmically to the beat.
That crowd was partying! It was a celebration!
In another mood transition "Roy" responded to Nevin's comments about the
grief he'd endured, the deaths of his first wife and two of their sons
within a very short time in the mid 1960s. He seemed almost embarrassed
that his sorrows should be the focus of more sympathy than the same events
in the lives of less public figures, "like most of you out there tonight."
Rolling fog swirled around him as he spoke sincerely about his tragedies
and his present happiness, lending a rather spiritual essence to the moment.
Then, commenting that he'd prefer to sing than talk for a while, the man
-- whoever it was! Roy? Brian? -- astonished the audience with
possibly the best performance of "It's Over" he's ever done. (I guess
I say that
every
time, but it's so powerful that I never shall become accustomed to its
shining beauty and drama.) The audience, who had been completely
still, responded with whistles and screams and shouts. I wonder if
Brian is
even
aware of the sheer force of emotional feedback when it happens that way.
Ah, and then another of my favorites -- "Blue Bayou." Evidently
I'm not alone. It was another crowd-pleaser, judging by the
reaction it received. Almost apologetically, "Roy" explained that a full
cast of back-up singers had not even been auditioned yet, and asked permission
to do some "stripped-down" numbers. Well, he gave a stunning performance
of the classic "Crying" that was received with cheers! (Probably
one hundred nine per cent of the female fans say, "Oh, Briannn... that's
MY song!") He curled hair, eyebrows, and toenails this time.
(I missed the hand-holding that is part of his usual Tribute shows, but
he compensated for it.)
The final number before intermission was greeted with enthusiasm the moment
the music began, as soon as the audience realized what he was about to
sing. They had already been dazzled and stupified by one incomparable Orbison
recreation after another, combined with an indescribably realistic dramatic
portrayal of the man. Brian showed "mercy" (like that?), allowing
the people time to absorb what they were witnessing by taking a break after
his dynamic version of "Running Scared." It's redundant to say in
yet another review that he nailed it, but he did! Nevin had to raise
his voice to be heard over the continuing applause and cheering as the
first half of the show closed.
Ten
flawless presentations, people! And that was only the first half!
Score:
Brian McCullough - 10 - anyone else silly enough to go head to head with
him - zero.
Intermission
Interviews.....
Within a couple of minutes, wandering the lounge area adjacent to the
theater, I overheard enough "Do you believe that?" comments to realize
some one-to-one questions were in order. Giddy with excitement
and pride, I had no qualms about flashing my fan club button at total
strangers and asking what they thought of the show.
I'd left my notepad at the booth and was not expecting to do interviews,
so the names of the anonymous and unanimous respondents are not recorded
for posterity. However, out of twenty-five or thirty persons
I approached as a reviewer for the Brian McCullough Fan Club, I heard nothing
but, "Unbelievable!" "Wonderful!" "He's marvelous!" Almost
invariably comments were added that they were fascinated by the interview
portions, not only the details they were learning but the completely authentic
manner in which Brian was carrying off the role.
Most had come as Roy Orbison fans probably; but several said, "Oh, we've
seen Brian McCullough before! We came especially to see him again!"
My favorite response was from a man who said, "He's taken me back years
in my life. I can't believe how he hits those high notes. I
never thought I'd hear that voice again."
Beaming with satisfaction and justifiable glee, I scurried back to the
theater and watched with the others as Roy reappeared, more formally attired
in... well, umm... attractive black leather pants and shirt, no longer
"surprised."
He began with another amazing interview session, relaxed, speaking easily
and at length in Roy's voice, as though the words were his own, chuckling
and establishing a delightful rapport with the crowd.
He opened the second musical portion with a beautiful song Roy recorded
with The Traveling Willburys that superbly displayed Brian's control and
range, ending in a magnificent blaze of power, "You're not alone any more,
any more, any more!" (I hope he adds this one to his shows more frequently!
It truly is a dynamic piece of work!)
The audience were with him all the way. I've never seen such an appreciative
crowd at any show, not only Brian's. Those people were happy!
They were involved and relishing every minute of it! When Brian jumped
into "You Got It," the room was vibrating with foot-tapping and more back-up
singers than he probably realized! It was one more terrific bit of
the real Roy.
"I Drove All Night....to make love to you." Whew! I'd hate
to think how many of those women would have blushed if asked how they'd
feel about
that
one being dedicated to them. It's a smoothly seductive song, another
of
my favorites that Brian doesn't do often enough. Lordy, lordy!
"Is that
all
right, is that all right?" he asks! "Oh, yeah!" bobbed a couple of
hundred
female heads!
At this point Nevin and Brian engaged in another extended Q. and A.
session,
covering a variety of topics in a candid, improvisational style that
further
perpetuated the impression that this was Roy. The audience listened,
laughed, and seemingly wallowed in the realism and intimacy Brian projected.And
then....
"I'm
Falling".... words fail me here. I've depleted my supply of
superlatives. Tears, lots and lots of tears! Brian simply overwhelmed
us
all,
his voice cascading through the room; but before we could catch our
collective
breath, he had everyone laughing again withhis wry
introduction to "Mean Woman Blues" and was rewarded with another round
of cheers and applause, shrieks and whistles. (It was the first time
I've ever truly appreciated that song, to be honest. It has a very
difficult octave transition and is a complicated piece of music to perform.
If you've only thought of it as a humorous change of pace, really listen
the next time.)
The
lovely, poignant "Leah" is one more I never tire of hearing, the last
words
of a pearl diver singing to his lover as he searches for one more gift
to
give her. Brian's gift to us was his performance, pure, fluid magic.
Then
"Roy" said he'd never truly understood the popularity of the next
number,
but he had the audience clapping and chair-dancing all the way
through
"Sweet Dreams, Baby!" The band was right on the money in this
one,
and Brian sounded as though he was just gearing up, not nearing the end
of a ninety-minute show!
Nevin
Grant asked how he'd like to be remembered, and "Roy" replied
that
he hoped he would have an impact on someone's life. Well, he did
-- on yours and mine and most importantly on Brian's. Every time
Brian sings, Roy is alive again. Nevin reminded us that Roy's sadly
premature death at the age of fifty-two deprived another generation of
his music -- but because we have Brian, we still have Roy.
A
hushed crowd sat spellbound as Brian appropriately sang "Life Fades
Away,"
still strong, still in absolute control of the room. While the band
played
a few bars of "Running Scared," the star of the evening descended the few
steps at the end of the stage and kissed his mother's cheek. June
McCullough had every reason to be the proudest woman in the world at that
moment.
But
the people weren't ready to let go! After he waved to the audience
and disappeared through the doorway, the applause continued to resound
through
the theater, and the band launched into a reprise of "Pretty Woman," bringing
him back for an encore, wrapping up a positively triumphant event.
I've
tried in less than five million words to describe one of the most
astounding
shows that Canadian audience will ever be privileged to see.
With
some luck all of you and many thousands of others will have the same opportunity
in the future. Plans are in the works for Brian to take his
original
production, "A Surprise Tribute to Roy Orbison," on the road,
performing
it in theaters around the country over the next several months.
But shows
need financial backers! Theaters must be rented, musicians must be
hired! Those of you who have seen Brian in concert know he's the
best in the business. If you want this extraordinary, memorable event
to be
repeated
where you can have the immense pleasure of seeing it yourself, prove your
appreciation for this incomparably gifted performer. Encourage him
in his goal of doing a road tour of "Surprise" by sending him a note of
support and a contribution to the production cost. Be a part of something
phenomenal! You'll be rewarded with a spectacular show and the satisfaction
of knowing you helped share Brian with countless other Orbison fans --
who will become McCullough fans for life. There's no one in his league.
Jayne.
Brian and Jayne
To join Brians fan club: click here and print out the form
A
word from Martin about Roy Orbison impressionists:
I
am sure that all the Roy impressionists will agree with me that No one
can ever replace Roy the man, the songwriter, the father - the one adored
amd revered by Millions over many decades. Some purist fans don't believe
in Roy impressionists - others do.
What
Roy Impressionists do is spread the songs and image to many people who
would never have got the chance to see the real Roy Orbison. They are making
that dream of seeing Roy perform again come true for a few hours and I
think that is an excellent thing. We are not talking of the person who
gets up in a bar and sings the odd Roy song karaoke style - but actually
assuming the persona of Roy and creating a show. Not many people are capable
of doing this and I think they are brave to do it.
Good
luck to them ----- Mercy!!!!
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