THE TIME HAS COME
THE LYRIC, HAMMERSMITH was the venue for the birth of a stunning new musical. ‘THE ONE’ has been written by the unique partnership of Peter Gallagher and Simon Henderson - one a successful working actor and director and the other a musician, composer and record producer. It had been performed on only one previous occasion, at a London Drama College, and although the first draft of the script and a student experimental production, it still prompted THE STAGE to say,
‘…THE SCOPE OF (THIS SHOW) FAIRLY BEGGARS DESCRIPTION. THERE ARE MORE IDEAS HERE AND ORIGINALITY THAN IN MOST OF TODAY’S MUSICALS PUT TOGETHER…’
41 years from today, we meet a journalist MICHAEL TOWNLEY, without a story to write and his deadline looming. It is a deadline the like of which he is not at all used to - magazines are a thing of the long distant past and a commemorative collectors edition of this archaic art form is about to be published - MICHAEL is on the verge of missing his ticket to posterity. His nurse fiancee, meanwhile, has stumbled across a man in her care, STEVE MORGAN, who was once known as ‘The One’ and is instrumental in the story MICHAEL is attempting to write. MICHAEL persuades SARAH to go in and get STEVE’S story and we are therefore taken back to the year 2023 as STEVE dictates to the nurse, as if it were happening in front of us.
We see STEVE’S explosive rise to fame, the effect he has on those around him and eventually the entire world, all of whom know that they are standing on the edge, but all of who are equally desperate for the saviour they believe must come. As the years have rolled by, the desperation has become more and more obvious until they are prepared to grab at almost anything to relieve their consciences. STEVE MORGAN will neither confirm nor deny that he is ‘The One’ they have waited for - he seems not to know himself - and the cynics would try to convince the believers that he is merely pandering to their deepest fears of abandonment in a world which they know will soon breathe it’s last unless someone can deliver the answers. Eventually we see his final moments of freedom as his purity of vision and hopes for a better world are seen as the most dangerous of threats to the bureaucratic system of the day. We follow him as the powers that be infiltrate his supporters in an attempt to breed unrest, turn every trick they can to discredit him and yet still he emerges unscathed - loved by all who come into contact with him and especially by one LISA SUMMERBY whose life will never be the same again.
PRESIDENT LEONARD SHARMAN, a mockery of a man who is hiding his (medical) immortality secret from the world, has no option but to try STEVE for every crime he can fabricate the evidence for, and send him to some remote spot where his word can no longer be heard. It would simply be too dangerous to kill this man - his following is truly global and larger than that of any political or religious body. The world is behind STEVE, but when the very fabric of truth they are fed is being manipulated by a man so evil that he murders for entertainment, what chance would even a Messiah have?
But this is all in retrospect, remember, and we must live in hope that the story being written by MICHAEL will be enough to free STEVE and perhaps give back to the world the only remaining chance it ever had. And there is a prophecy to fulfil - ‘After the lost generation, from the tree of evil will come the seeds for the new Genesis….’
Whether STEVE MORGAN is just a kind man helping people who need something to believe in, or whether he is more than that, even a Messiah, is purely a matter for each member of the audience to decide for themselves, it is never stated. What is stated is that the world has reached a time when a little kindness is needed, a time to stop persecuting innocents, a time to believe in generosity….a time to start again.
THE ONE……… THE MUSICAL…… THE TIME HAS COME
THE ONE is set 20 and 41 years in your future, from the date you are watching it. In this way, it is always just far enough away to be fiction and yet just too close for comfort. It is a show for the new millennium and the new mindset we all need if our planet is to continue cradling us. What you see has not yet happened, but may. We are in danger of unwittingly causing it through our own actions. This story could well be your tomorrow.
The musical has been re-written and has grown substantially since the showcase and now incorporates interactive cinema screens around the stage area. It will therefore be the largest show ever seen by way of linked film footage and live action. It will not, however, be the most expensive show ever seen as footage can be one off and generic.
DRAMA COLLEGE SHOWCASE
“…The famous stage school signed off in great style with the world premiere of this musical, the scope of which fairly beggars description. There are more ideas here and originality than in most of today’s musicals put together, and it’s all the work of Peter Gallagher…who combines the roles of author, leading man, director and…headmaster since the retirement of Rona Knight. As an embryo Orson Welles cum Noel Coward, not forgetting the musical score with Simon Henderson - more than a touch of Lloyd Webber - future drama pupils are likely to be in good hands….Making all due allowances for the limitations of a college show, there appears to be considerable potential for this look into the future…”
ERIC BRAUN - THE STAGE
A JOURNALIST, AFTER SEEING THE LYRIC HAMMERSMITH SHOWCASE, TOOK THE TIME TO WRITE AND SAID…
“…I am writing to let you know what a wonderful evening I had..…you and your team did an amazing job. The main thing to come out of the evening was the songs : I found myself humming them long after the show (and still do!)……Each song was different, original and thought provoking which, when mixed with the amazing storyline, made for a thoroughly entertaining evening……I have played the CD I received to many of my colleagues and feedback has been great. Some want to know where they can get hold of copies….….I would far rather see an intelligent show like this with a great musical score than I would some of the pap that’s on offer in the West End. I’m proud to have been at the birth!…”
ANDREW BALKIN - HEAD OF ENTERTAINMENT - THE INFORMER GROUP
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