This fall The Musical Box is taking their production of the Genesis tour for 1973’s Selling England By The Pound (hereafter SEBTP) to Europe once again. Also a series of these shows are booked in Canada next April 2016, including one night for them to stage the Foxtrot show. I’ve seen The Musical Box many times over the last 5 years, including Foxtrot, SEBTP, and The Lamb Lies Down on Broadway.
The performances are striking in their accuracy, transporting this viewer and those in the audience to a time long ago, when to many listeners, Genesis owned the English progressive rock mantle. The experience of seeing this band is something better than tribute. They actually recreate these shows down to the set design, including slides, costumes, and props, and very faithfully perform the live music itself, with the same interpretation the band employed during the shows from the era.
The SEBTP album and tour represent the most uniquely British, pastoral output of the band. Between the “a cappella” opening of “Dancing With the Moonlit Knight” to the majestic “Firth of Fifth” and melodic refrains of “The Cinema Show” this is where the band really hit their stride. The Musical Box capture the live experience deftly, and hearing the work in it’s live format, complete with visuals, and Peter’s stories, explain what all the fuss was way back in those days. It was even grand to see them wind their way through “The Battle of Epping Forest” usually dismissed by the actual members of Genesis as a bit of a mess.
I talked to one of the founders of The Musical Box and their Artistic Director, Serge Morrissette about these shows and their plans for next year and beyond:
DH: Is there anything we should know about the most current version of these shows? Are there new technologies to aid in the production, or other factors?
For this tour, there is no technical advance that comes into play – we still use old equipment – it’s like a moving museum on stage. The only thing that might change is to stage the “black” show. We’ve been doing the “white” show with the white sets behind the musicians and have done the “black” show less often. Back during the original SEBTP tour when Genesis returned to North America for a second leg of the tour the set list was the same, but they changed the sets and the background was totally black. Visually it makes a difference. The black show has some different slides, but it’s not as nice visually overall because the black curtain does not react to the lights. The white fabric reacts to the lights more effectively. I’m sure it was done on purpose in the beginning, because when they put the sets and arranged the lights over it, they realized it was nice. One example where the black show is better is during “Watcher Of The Skies” which is more dark – it’s a dark song and fits perfectly, while in the white show its like you are in the cloud! If we haven’t been to a venue in the past they usually take the white show because it’s the most spectacular visually. But if we are returning and want to make the presentation different, the black show is available, so we offer it to the promoters there.
In addition to these dates, there are going to be a lot of U.S. shows in February and March. It’s going to be a pretty extensive list of venues, which is surprising. From the beginning we always plan a year in advance. After the last tour of SEBTP/Foxtrot we were wondering if there would be demand for the show again. When the demand is shrinking we select a different tour to present. We thought we would change the shows for 2016 but this U.S. tour will be the biggest we’ve ever done. I don’t understand this phenomenon exactly because it’s the same two concerts again, but for some reason promoters want to buy it so that’s fine with us.
[Ed: in our view these shows are so fantastic and theatrical, many fans will return to see the same concert recreated again and again – just as one might a play or film. Doug saw The Lamb show three times!]
DH: Fans are aware there were occasions where Peter Gabriel was raised from the stage at the end of “Supper’s Ready.” Has Denis done that and how many times did Gabriel actually do it? [Denis Gagne is the lead singer, playing the part of Peter Gabriel]
We have done the flying effect a few times. Genesis did the effect twice, once in London and once in New York City. The thing is, to do that they wanted to do more than one night in the same place because of the installation – it was not a one-night proposition. They had to install the gear, and make sure it was working, and adjust the sets so that the wire can’t be seen. When they did London it was 5 nights – for them at the time the most important series of concerts they had done. They wanted to add something spectacular so they arranged the sets so there was nothing in the middle but a black curtain. You could not see the wire. They continued in New York City, which was also a main venue and something big for the states. It’s about the same for us – we need a stage that can support that effect, so we have done it only as a special event at a larger venue for multiple nights.
DH: I was struck by how effective the simple staging for Foxtrot was – with just a few bits of stagecraft compared to SEBTP.
It’s true. At the beginning Mike Rutherford once told me you put a white curtain on stage with some black lights, and it hides the back line equipment and creates a unique atmosphere… and it’s cheap! It’s surprisingly simple and creates a unique atmosphere.
DH: You’ve most frequently staged the Foxtrot and Selling England By The Pound tours. Would you go back to Nursery Crime?
The thing about Nursery Crime is back then the show was only 45 minutes long because Genesis was typically the opening act, or featured with other bands. We would have to do a short show, or combine say Trespass and Nursery Crime so you would have songs repeated. It’s not a matter of interest but more the constraint we have on doing a complete show.
DH: Any plans to present The Lamb Lies Down on Broadway again? Did your license to do these shows expire?
We don’t have plans to do it again. We have done it a few times. On the first attempt it took two years to get the rights. It had never been done before. There are some “grand” rights – it’s a type of legal contract – developed to protect musicals, operas, things like Phantom of the Opera, Cats, etc. When you have a concept like Pink Floyd’s The Wall, or Genesis’ The Lamb, it’s a story with music, and characters, and things like that. The Lamb is protected by these grand rights. You need a license for the music, which is easy, but also for the story, which is extremely difficult. You have to make agreements with multiple parties as to the value of the music, and story. After that agreement, you have the lawyers draw up a contract, etc. Subsequent tours took about a year to arrange this paperwork, mainly to adjust the terms. It has never been a matter of not allowing us to do it, just about the terms of the contract, which covers two years at a time. We might do it again but we have no plans just now.
DH: What was your involvement in using the repaired slide show for the Genesis Lamb DVD? [Ed: The Musical Box invested significant effort to re-sequence the slides for The Lamb Lies Down on Broadway tours, and Serge actually did the work to prepare these for the official Genesis Box Set which contains a DVD of The Lamb in 5.1 surround sound, with the slide show visuals during playback. It’s fantastic and worth the price of the whole set.]
I spent an afternoon with Mike Rutherford and Tony Banks at the farm looking at the slide show. It was in 2008 and at that time we were doing the slide show exactly as David Lawrence [original projectionist for the Lamb tour in 1975] had shown us based on his memory and also as we could see in bits of amateur film. Part way into it Tony said “let’s stop. You are replicating what we did, but it’s not what we want. We want the dissolves to come at the right time with the image” and I knew exactly what he meant. Sometimes the guys did not get the slide show right. So Tony said some sequences were wrong and I agreed to change it. I made the adjustments, and sent those back, and they agreed or gave me changes. So that was really fun – to listen to the Lamb with Mike and Tony – Mike said it had been 15 years since he heard the album. Tony had been doing the remixes, so he was more recently familiar. It was an incredible experience.
The main problem with Wind & Wuthering is being able to keep to our main objective, which is the exact recreation of the show. Trick of the Tail was pretty easy because it was basically the Lamb show with a few adjustments in terms of size, while Wind was really an arena size show – designed for a much bigger stage. It’s the main limitation; a stage like that would not fit in smaller venues, 1,000 seat theaters, and I’m not sure there would be demand to fill arenas, even though it would be fun to do it. They stopped doing slides and film for Wind because at the time they would have needed more powerful projectors for the larger screens. That’s a problem, as you need more depth, you could burn film, and things like that. That’s when they started to add more laser effects along with other changes.
DH: It was also the last time they had any staging right? There were the flowers that popped up on each side of the stage.
Exactly, after that they did the mirrors for the …And Then There Were Three tour, and after that the custom lighting and that’s another level of effort. Once I was talking to Tony Smith about the evolution of the stage at the time. He said that the reason why they had the moving lights developed is because when they did the show with the mirrors, they needed a lot of spotlight operators – it was a manual lighting effect. At that time they had to use the local union guys in each city. So at the last minute in the afternoon they had to train eight guys on spots to be able to do the show and it was a nightmare for them. So they wondered if there was a way to avoid that – something like a robot to operate the lights. They developed the moving lights after that, which was a major evolution in lighting.
We have the same problem with our tours – about half the venues don’t have a crew, so we can use ours who are trained. The other half we have to use their people – so for example we have one guy at the follow spot, and we teach the operator in the afternoon if that’s required. So for each role we have a double, and the result is not always good when it’s not our crew, though it doesn’t go wrong that often.
DH: What is The Musical Box planning next, after April? How long can you keep this up?
You know, we started back in 1993 just for fun – it was a weekend. Now it’s been 22 years, and we have never thought more than a year in advance, not because of our interest but because we have to gauge the general interest of the audience. We are going to do it as long as we can. We are lucky to have the involvement and support of Genesis. The main advantage of a production like ours is we can change musicians as we recreate the original productions. We never wanted to focus as much on the people as on the productions. Denis is very good, very disciplined and dedicated – it would be difficult to fill that key role if he stopped performing. He keeps in very good shape, and in control of his vocals, so as long as he can do that we don’t have to worry. We don’t have any plans to stop. As long as there are people who want to see it, we will continue.
DH: Make plans to catch The Musical Box this fall, or early next year. You will be happy to like what you know!