Brian Boydon music
The new musical based on the songs of Take That, Never Forget, opens next month and looks likely to set up residence in the West End. The timing couldn't be better: during their early to mid-1990s heyday, the band sold 20 million records. Telephone helplines were set up to counsel distraught fans when they split.
Their comeback, 10 years on, could see Take That becoming even more popular. The new album, Beautiful World, has sold millions, their live dates sell out in seconds and in December 2006 they became the only band to have topped the UK single, album, DVD and download charts simultaneously.
Never Forget, then, should be a handy ancillary earner for the band - as well as keeping their profile sky high. And the band seemed to be behind the musical. The producers of Never Forget first got in touch with chief songwriter Gary Barlow and his record company, EMI, three years ago. The response from both parties was "extremely positive" and there was no problem getting a licensing agreement signed so that Take That's songs could be used in the musical. For Gary Barlow, the musical would be a celebration of Take That's many hits. For EMI it would mean free promotion of Take That's music.
When, during the musical's pre-production, it was announced that Take That were reforming - albeit without Robbie Williams - it seemed like a bonus for all concerned. Renewed interest in the band would increase the box-office of the musical and the musical would draw attention to the band's back catalogue.
Last week when the cast of Never Forget was unveiled and the tickets went on sale, a curious message was published on Take That's official website. It read: "There have been reports in the press today about a 'Take That musical'. The band would like to state categorically that this production is being undertaken with neither their involvement nor their endorsement."
The producers of Never Forget were perplexed and angered by such a volte face. Hadn't Barlow told them that he absolutely wanted the musical to happen? Hadn't all concerned signed a licensing agreement to release the songs? Something had happened in the interim and that something was the renewal of Take That as an ongoing business concern.
Back in 2004 when everyone was so gung-ho about the musical, Take That were just a piece of musical history, and the solo careers of four of the five members had been over almost before they had started. No one expected the Take That reunion to do so well.
It is one thing, however, to stage a musical about a band who are no longer touring or recording - as is the case with the Abba musical Mamma Mia - but there appears to be a commercial problem when you stage a musical about a band who are still very much active in the charts on the live circuit.
The last two big musicals about still-active acts - Tonight's The Night (based on the songs of Rod Stewart) and Our House (based on the songs of Madness) underperformed at the box-office. The thinking seemed to be - why would people go to see an imitation show, when the real thing is still touring?
However, by suddenly distancing themselves from the musical, it would appear Take That feel threatened by a bunch of stage-school singers and dancers doing their songs. In the marketplace Take That compete in, no one likes younger competition.
And they're getting bitchy too. "The musical has the smell of the end-of-the-pier about it," Gary Barlow is reported to have said.
Take That vs Take That The Musical could become the boyband equivalent of Blur vs Oasis.
