The summer of 1985 changed the face of music forever. When Bob Geldof spearheaded the Live Aid concerts in London and Philadelphia, audiences around the globe tuned in to witness rock royalty unite to combat famine. Now, four decades on, that landmark event has been reimagined for the stage in a production that’s poised to capture hearts all over again. JUST FOR ONE DAY – THE LIVE AID MUSICAL, fresh from its phenomenal success at the Old Vic, is heading to the West End with a star-studded cast, a brand-new run of dates, and a story that continues to reverberate through music history.
It’s not every day you see a brand-new musical break ticket-sale records, but that’s exactly what happened when JUST FOR ONE DAY made its debut at the Old Vic. Written by John O’Farrell and directed by Luke Sheppard, the piece took on the ambitious task of dramatizing one of rock’s most legendary benefit concerts. The result? A show that fuses the emotional resonance of charity-driven music with a behind-the-scenes peek at how Live Aid came together, featuring timeless hits by Queen, U2, David Bowie, Madonna, and more.
The critics were quick to sing its praises. WhatsOnStage was among those applauding the production, describing it as “rocking in all the right ways.” Meanwhile, thrilled theatregoers raved about the blend of humour, heart, and unstoppable anthems that capture the generosity of spirit behind Live Aid. Part biography, part immersive concert, and all soul, JUST FOR ONE DAY cemented its status as the Old Vic’s fastest-selling musical and signalled a new era for shows built around philanthropic milestones.
Now that it’s taken the Old Vic by storm, JUST FOR ONE DAY is gearing up for its official West End debut at the Shaftesbury Theatre. Previews kick off on 15 May 2025, with an opening gala slated for 13 July—a date chosen to coincide with the 40th anniversary of Live Aid. This alignment of history and celebration underscores how deeply the show aims to honour the original concert’s legacy. Fans can secure tickets for performances booking up to 10 January 2026, offering a generous window to witness the spectacle.
Before it makes waves in London, however, the production will embark on a limited engagement in Toronto from 26 January to 16 March 2025. This transatlantic move affirms the story’s global resonance; after all, Live Aid was never just a local event. The concept of harnessing star power to fight global famine resonates just as strongly today, and Toronto theatregoers will get to experience that energy firsthand. The short run in Canada could also help shape final tweaks before the big West End unveiling.
One of the most hotly anticipated elements of this new run is the casting—much of which has now been confirmed. At the forefront, Craige Els reprises his role as Bob Geldof, presumably channelling the raw passion of a man who was instrumental in orchestrating a multi-venue charity gig that spanned continents. Geldof’s intensity and single-minded drive form the backbone of the story, and audiences who caught Els at the Old Vic have praised his portrayal as both uncannily accurate and deeply moving.
Accompanying Els is a formidable ensemble, including:
Rounding out the company are Kerry Enright, Evan Fox Harrison, Esme Laudat, Eddie Mann, Jaye Marshall, Lukin Simmonds, and Dyd Wynford, each poised to embody a slice of 1980s rock culture. Whether they’re representing famous musicians, stagehands working behind the scenes, or fans swept up in the monumental wave of Live Aid mania, this ensemble will form the beating heart of the show’s lived-in authenticity.
With a show tackling music as iconic as Queen’s Bohemian Rhapsody and Bowie’s Heroes, it takes a seriously talented creative team to transform that epic soundscape into a fully formed stage musical. Fortunately, JUST FOR ONE DAY has no shortage of expertise. Luke Sheppard, returning to the Shaftesbury after his award-winning run with & Juliet, brings his flair for dynamic storytelling. As a director, he’s well known for blending high-energy choreography with poignant character arcs, and Live Aid’s blend of stadium rock and heartfelt activism is right up his alley.
On the musical side, Matthew Brind takes on supervision, arrangements, and orchestration duties. His skill at weaving classic tunes into a coherent narrative style has been widely lauded, and if early reviews from the Old Vic are anything to go by, fans can expect a goosebump-inducing experience that does justice to the original recordings without slipping into mere tribute act territory. Choreography is by Ebony Molina, while Soutra Gilmour handles set design, Fay Fullertonleads costume design, and Howard Hudson manages lighting. Sound design comes courtesy of Gareth Owen, with Andrzej Goulding on video and animation. Casting is by Stuart Burt, ensuring every performer is meticulously chosen to balance star presence with the show’s deeper emotional beats.
Unlike many musicals that revolve around well-known discographies—Mamma Mia! or We Will Rock You, for example—JUST FOR ONE DAY is unique in grounding itself in a historic charitable event. Instead of a single artist’s back catalogue, we have an array of pop and rock legends. Instead of a fictional storyline, we get a tapestry of real-life drama, culminating in one of the most influential philanthropic gatherings in music history.
The stakes are also raised by the fact that ten percent of all ticket sales will be donated to the Band Aid Charitable Trust, ensuring the original spirit of Live Aid continues long after the curtain falls. This philanthropic angle not only honours the show’s subject matter but also resonates with modern audiences craving entertainment that has a tangible social impact. If you needed another reason to see it, supporting a good cause might just tip the scales.
One might wonder how a 1985 concert—albeit one featuring some of the biggest names in music—continues to captivate audiences today. The short answer is that Live Aid changed the conversation around what musicians could achieve when united by a cause. It wasn’t just about stardom; it was about harnessing influence to address urgent issues. That’s a sentiment that modern benefactors and celebrities still grapple with, and the magnitude of that moment continues to inspire. For younger theatregoers who may not have been around in the ’80s, JUST FOR ONE DAY serves as an enthralling history lesson—a testament to the power of music, unity, and relentless idealism.
There’s also the undeniably brilliant soundtrack. In weaving together hits from Bowie, Madonna, Queen, U2, and more, the show taps into an era that continues to resonate on radio playlists and social media tributes. Even newcomers to the ’80s vibe will find themselves humming along to these anthems, which have transcended generational boundaries.
Before hitting the Shaftesbury Theatre, the production stops off for a limited Toronto run—a clear sign the producers believe the show has international appeal. Toronto audiences are famously discerning, and the city is a hub for major pre-Broadway or pre-West End tryouts. If the show can wow them, it stands a strong chance of replicating that success in the more competitive West End landscape. This short engagement allows the creative team to fine-tune the staging, pacing, and audience interaction—ensuring that by the time the cast sets foot on the London stage, they’re delivering a polished, unforgettable performance.
Additionally, the presence of producers like Mirvish Productions—co-producing the show alongside heavyweights like Sonia Friedman, Kevin McCollum, and the Ambassador Theatre Group—underscores the level of commitment and resources behind it. No doubt, the team is eyeing potential expansions or tours if the West End run meets expectations.
At the end of the day, JUST FOR ONE DAY is more than just a musical about a legendary concert. It’s a tribute to the synergy of artists who came together for something far bigger than themselves. It’s a reminder that music, at its best, has the power to unite people across borders and generations. In an age where global crises can sometimes feel overwhelming, a theatrical event celebrating communal triumph feels especially resonant.
If you’re a fan of musicals, an ’80s music enthusiast, or simply curious about how a single day in 1985 captured the hearts of millions, this show is likely to strike a chord. Whether you catch it in Toronto or await its arrival at the Shaftesbury, brace yourself for a performance that blends nostalgia, activism, and the raw joy of live music—wrapped up in a production that just might make you feel, even if just for one day, that anything is possible.
Forty years may seem like a lifetime ago, but the echoes of Live Aid still ring in popular culture. JUST FOR ONE DAY harnesses that echo, reminding us how art and philanthropy can converge to achieve lasting change. With a cast of first-rate talent, a host of unforgettable tunes, and a share of ticket sales going to the Band Aid Charitable Trust, this musical is poised to make its mark not just on the stage, but in the real world as well.
For theatregoers, the message is clear: if you want to relive (or discover for the first time) the magic of Live Aid—complete with big hair, bigger attitudes, and the unstoppable force that music can be—then circle 15 May 2025 in your diary. That’s when the curtain rises on a show that dares us all to believe in the power of unity, whether on stage, in a stadium, or, indeed, across the entire globe.
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Check out the EAT Concert (East African Tragedy) held at the Myer Music Bowl on 28th January 1985. It was broadcast nationwide with the largest line up of Australian talent in history, and hasn't been topped since. The Ethiopian fund raiser was the created after I made contact with the cream of Australia's concert entrepreneurs, Michael Gudinski, Zev Eizik, Glenn Wheatley, plus other, all of whom got behind the project.
Channel Nine broadcast the concert nationwide,together with a telethon. $1.3m was raised, all went to the Red Cross.
Midge Ure headlined the concert. Geldof appeared live via satellite during the telethon, as did Ken Kragen, Quincy Jones & Harry Belafonte from LA.
I visited Geldof and the Band Committee in London in early April 1985 to secure Australia's role in Live Aid. This became Iz for Africa and raised $8.5m
In September of that year I arranged for myself and Geldof to meet with Bob Hawke in Canberra, where we were able to secure the use of 2 Hercules aircraft to distribute goods in Ethiopia.