November 22, 2024 • 14 mins
Next year, the Auckland Philharmonia will perform an incredible one-night-only performance of ‘Gene Kelly: A Life in Music’.
The show is a mesmerising trip down memory lane, with a combination of film clips, stories and live performance highlighting the legendary dancer, director and choreographer Gene Kelly – who celebrated and popularised dance within mainstream cinema.
Leading the orchestra, is musical conductor extraordinaire Neil Thomson, who has worked with orchestras across the world.
He's currently Principal Conductor and Artistic Director at Orquestra Filarmônica de Goiás (Philharmonic Orchestra of Goiás).
Thomson told Jack Tame he has a personal connection with this show, having done a many of the films live with symphony orchestra around 10-15 years ago.
“I was booked to do Singing in the Rain at the Albert Hall,” he said, explaining that it was the first time the film had been done in that format.
“About a month before the show, I got this email and the title was ‘From Mrs Gene Kelly’,” he revealed.
“And I had this very friendly note just saying she was going to be introducing the show, and it would be nice to meet me, and everything.”
Thomson says that he and Patricia got on rather well, and began to work together more often, leading to this very show highlighting the extent of Gene Kelly’s musical talent.
“The films have been absolutely scrubbed up,” he told Tame.
“You’ve never seen prints like it. I mean, it’s fantastic, they’re so clean. The sound is so clean.”
Tickets for all shows at the Auckland Arts Festival are available at www.aaf.co.nz/
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Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Tame podcast
from News Talks eDV.
Speaker 2 (00:13):
Joessey in the rain, what a glororious speed and I'm.
Speaker 3 (00:22):
Game, I'm laughing at cloud.
Speaker 2 (00:26):
So dark and the suns in.
Speaker 1 (00:32):
My heart for love left us storm Clouds.
Speaker 2 (00:39):
Chase glonyw Yellan, Good morning, Welcome to News Talk's ed Vy.
Jack Tame with you through the twelve o'clock. Next year,
the Auckland Philarmonia Orchestra is going to perform an incredible
one night only performance of gene Kelly, A Life in Music.
The show is a mesmerizing trip down memory lane with
a combination of film clips, stories, and live performance, highlighting
(01:00):
the legendary dancer, director, and choreographer Gene Kelly, who celebrated
and popularized dance mainstream cinema. Leading the orchestra as musical
conductor extraordinary Neil Thompson. Neil has had all sorts of
amazing jobs. He's worked in concert halls and with orchestras
around the world. He actually did a similar live show
Titanic in Auckland and twenty eighteen, and Neil is currently
(01:22):
the principal conductor and Artistic director at Orchestra Philharmonica Jigoyas,
the Philharmonic Orchestra of Goyas in Brazil, and he joins
us from Brazil this morning, Calda, good morning, good morning.
It is great to be Yes, well, good afternoon. Yes,
it is a bit of a bit of a head
spin when we're going from Brazil to Auckland. But of
(01:43):
course you are very soon going to be coming from
Brazil to Auckland. And so tell us first of all
a little bit about why tell us about gene Kelly
A life in music.
Speaker 3 (01:53):
Well, my connection with the show is very personal because
earlier in my career I did a lot of these
movies live with symphony orchestra. About ten fifteen years old,
Go and I was booked to do Singing in the
Rain at the Album Hall. It was the first time
Singing in Rain had been done live a symphony orchestra.
(02:15):
And about a month before the show, I got this
email from the title was from missus gene Kelly, and
I thought, what's what's this? This is interesting? And I
had this very friendly note just saying that she was
going to be introducing the show and it would be
nice to meet me and everything, and so I was
expecting this woman in her eighties, you know, to turn up,
(02:39):
and then there was this very glamorous woman in her
late fifties who I met at the albut Hall and
we became friends. We got on well, I got We
got on well really from from the off and we
did Singing in the Rain in Dublin. We did it
also another show in London, and Patricia told me that
(03:00):
she'd been thinking about making a show which really showed
Genes the range of his work, you know, and he
was if you only have to listen to him sing,
he was one of the most innately musical people that
you've ever that one could I even talk like I've
met him. It's interesting, that's that's something I'll talk about,
(03:25):
one of the most instinctive. There's not a sound that
comes out of his mouth or a move that he
makes isn't musical. So she wanted it to be something
that highlighted this, you know, Geen Kenny and music. So
it's basically two and a half hours of clips from
various films and TV programs across the length along the
length of his career. The films have been absolutely scrubbed up,
(03:50):
so you've never you've never seen prints like it now.
I mean, it's it's fantastic. They're so clean, the sound
is so clean, and what is important is that the
music is the original orchestrations that were used in the
movies which have been reconstructed. This might not seem like
such a big deal, but when you know that, when
one chief executive of MGM arrived, I think in the seventies,
(04:13):
that would be wrong. He decided that basically the library
where all the music from all these great musicals was
was taking up space. So now it's landfill under a
golf course summer in California. So all these scores and
the orchestral parts were destroyed. So my friend and old student,
John Wilson, who's made really a career out of doing this,
(04:35):
has reconstructed all these scores to their original glory. And
he had to do most of it just by seeing
little sketches on manuscript paper, but by listening to the recordings.
I mean, it's an extraordinary sort of labor of love.
So this film is very special for that because it's
really authentic. You know, the clips look fantastic and it's
(04:58):
the original orchestrations. So this show was in gestation for
many years. I think there was a the things of
getting the rights to the movies when any anytime you
do something with film music, you spend more time speaking
to lawyers than you do to musicians. And that's just
the way it is. So it took Patricia a long
(05:18):
time to get it into shape. Then we did the
premiere of it must have been before the pandemic in
Scotland in Glasgow and Edinburgh. Then the year later in Dublin.
Last year we did three shows in Seattle, and we've
just done two shows in Vancouver last weekend, in fact,
last Saturday, last Friday and Saturday was in Vancouver. So
(05:41):
and now we're coming to New Zealand.
Speaker 2 (05:44):
Yeah, that is that is remarkable, Neil. So I'm going
to ask you a bit more about about Jane and
the kind of relationship you feel with Jane. In a moment,
can you just just talk to us about how the
actual mechanics of the show works. So from from the
perspective of someone in the audience, the orchestra is playing
music which is perfectly timed to the projections on screen, right, but.
Speaker 3 (06:07):
They projected the film and the orchestra is playing live
and then it's my problem to make sure it's synchronized.
And then in between each clip, Patricia talks about the films,
talks about the clips. But I think what is wonderful
is that she she has so many stories about Gene
that people come away to feeling that they know him
(06:29):
a little bit. And I mean, really, now, I've done
this show so many times, I feel like I've worked
with him, and when I when I talk about him,
I call him Gene, which could sound sort of very pretentious,
but it's completely un self conscious. I feel I know
the man. And this is wonderful. It's very it's it's
very rare to have that sense of, you know, with
(06:50):
a person who's no longer with us, to have that
personal collection. And this is what takes away from it.
Speaker 2 (06:56):
It is amazing that you can form that kinection. I
suppose it's the kind of magic of the arts, isn't it?
And and especially when as you described, the process involves
a certain amount of reverse engineering. Right like you, you
are going back and unlike a composer who would be
writing something afresh and writing something from scratch, it's taken
(07:18):
that meticulous attention to detail, to listen to every quaver
and semiquaver, every single instrument, every every pause, every coder,
and work out how the whole kind of jigsaw fits together. Like,
give us a musicians perspective, How would that compare to
a regular composing process.
Speaker 3 (07:39):
Well, I mean, for a for a start, you're you're reconstructing.
So even if you were a composer, you're not putting
your own voice into it. You're reconstructing someone else's. It's
a recreative process rather than a creative process. Because if
you're a composer and you're writing a symphony, it's going
to be your voice. But as in the recreation process,
(08:01):
you're trying to find the essence of somebody else's voice.
And that's what's so fascinating to He's reconstructed a lot
of the movies. He reconstructed that the Wizard of Oz,
and he said he spent like six hours over three
bars listening with his ear up against the speaker, trying
to work which instrument was playing.
Speaker 2 (08:19):
Which note, surely, surely AI for this, now, Neil, come on,
there must be some technical solution.
Speaker 3 (08:27):
Is AI compositions that? I mean, maybe in the future
they'll be good. That's terrible.
Speaker 2 (08:31):
Yeah, so so for you flying in young like you
say you've been, you've been around the world recently. How
does it work with the Philharmonic. You just have to
hope that they've been doing their homework and you fly
into Auckland and basically you sit down, you turn on
the screens and you find out.
Speaker 3 (08:48):
I mean basically. I mean, if I remember from the
last time you have you have a rehearsal with walks
clearly to go through everything. Then you'll have a rehearsal
on the day of the concert when you run everything
with the film. But I mean, and I know this, Boks,
I remember this socks. They're very good, they're very quick,
very nice. So I'm not I'm not worried about it
at all. My only worry as myself because to synchronize
(09:09):
with the film, even though I've done it seven or
eight times, it's if you're half a second out or
you know, it doesn't sink so and people notice in
a way, if you do your job perfectly, nobody notices
you're there. But if you're not together with the film,
oh yeah, there's a conductor. There's a conductor there, you know.
Speaker 2 (09:29):
So that's a very good point. Sorry to interrupt, you.
It's a very good point because if you were, if
you were conducting an orchestra regularly, no one notices if
you are going slightly faster or slower than you should be.
And if you are conducting an orchestra for say a ballet,
well we can always play in the bellerinus, right, But
it's all on you. It's all on Niel. If you're
(09:53):
everyone knows that.
Speaker 3 (09:53):
Neils Off I think you said. He always goes into rehearsal.
He says, so what do you want today? Too fast
or too slow?
Speaker 2 (10:00):
So that's the works very good. Hey, hey, Neil, tell
us a little bit about your story. How did you
end up in Brazil of all places.
Speaker 3 (10:09):
It's the other part of my career is I was
a professor at the Rock College of Music for fourteen
years and teaching is something that I absolutely love and
I still do mostly master classes. And I did in
two thousand and five of two thousand and six a
workshop at the Rock College of Music, and that it
was a summer school, and there was a guy from
(10:32):
Guyania was one of the students. And he said to me, oh,
we was keep in touch and must come and conduct.
We have a little we have an orchestra there, and
you know, and I didn't hear anything for like six
or seven, yeah, six years, and then out of the blue,
I got an email, would you like to come and
conduct this new uct We've just started a new professional orchestra.
And they gave me two concerts and it went very well.
(10:55):
There was a good connection between the orchestra and me
and the chief executive, and the orchestra said, how would
you like to be our new principal conductor? I said, okay, yeah,
I would like that very much. So it was it
was one of those chants meetings that led that led
to this.
Speaker 2 (11:12):
Yeah, how do you find it? How how's the life?
You know, having having held other positions around the World
War what, what's the life like living in central Brazil.
Speaker 3 (11:23):
Yeah? It's very hot and it's very dry, that's for sure,
which makes problems for the instruments of the musicians, so
they suffer a little bit with that. What is wonderful
about goy Ass go Ass is the sort of Texas
of Brazil. It's a big cattle state and Guyana, I
guess you could call the Nashville of of of Brazil.
(11:44):
It's the home of Brazili and there's something called certain Asia,
which is Brazilian country and western and it's huge here.
I mean, these, these people are there, you are absolutely huge.
There millions and millions and millions of followers. So go
Ass was only really known for certain Asia. So when
I came, everything was possible because everything was new. There
(12:06):
was no in some powder. You've got a history of
classical music and you can only oh, you can't play
this composer, you have to play this, you have to
do this and that. The audience is very slightly older,
middle class, very middle class. And my job in Brazil,
all my concerts are free. So it's the democratization, democratization
of classical music. And this is wonderful to see our
(12:28):
public go from students to old people. The demographic is
very wide. And when I came, people said to me,
you can't do concerts longer than sixty minutes. You can't
play this composed of people will be bored. You've got
to play popular stuff. I said, no, I'm going to
I'm gonna do this, show your public some respect, and
we did in July a Bruckner Symphony seventy five minutes.
(12:49):
This would have been unthinkable that ten years ago that
a public would have sat through. I mean when I
came on, I took my bow and I thought when
I turned around at the end, there's going to be
like three people left in the theater, and it was
still full, you know, And that for me, that was
really a sense of classical music not dying. You know,
in Europe we're very pessimistic about this. All custom music's dying?
(13:11):
Is that? Not in Brazil, it's not. You know, every
city has a little orchest. It can be a social project,
it can be an amateur orchestra, it can be an
orchestra in the church. But there's a there's an audience
here for pastor music. You've just got to find a
way to build it and to communicate it. So from
that point of view, I can play pieces that they
could never play in some power Oreo because the audiences
(13:31):
are more conservative and more traditional. So everything is possible here.
Speaker 2 (13:39):
Well, look, Neil, we are so excited to have you
come to New Zealand. It does sound like an amazing show.
So look, have a wonderful little break over the Christmas
period and yeah, we look forward to seeing you very.
Speaker 3 (13:51):
Soon in March. Great that is very much that.
Speaker 2 (13:54):
Is Neil Thompson. We're going to have all the details
for gene Kelly a life and music up on the
News Talks. He'd be website. So, like I said, it's
playing for one, not only March fifteenth, twenty twenty five.
Even saying twenty twenty five still feels weirday. It's going
to be the Auckland Town Hall and tickets for all
shows at the Auckland Arts Festival are available at www
(14:15):
dot a a F, dot co dot nz AAF Auckland
Arts Festival. I think you work that out.
Speaker 1 (14:23):
For more from Saturday Morning with Jack Tame, listen live
to News Talks B from nine am Saturday, or follow
the podcast on iHeartRadio
You're listening to the Saturday Morning with Jack Tame podcast
from News Talks eDV.
Speaker 2 (00:13):
Joessey in the rain, what a glororious speed and I'm.
Speaker 3 (00:22):
Game, I'm laughing at cloud.
Speaker 2 (00:26):
So dark and the suns in.
Speaker 1 (00:32):
My heart for love left us storm Clouds.
Speaker 2 (00:39):
Chase glonyw Yellan, Good morning, Welcome to News Talk's ed Vy.
Jack Tame with you through the twelve o'clock. Next year,
the Auckland Philarmonia Orchestra is going to perform an incredible
one night only performance of gene Kelly, A Life in Music.
The show is a mesmerizing trip down memory lane with
a combination of film clips, stories, and live performance, highlighting
(01:00):
the legendary dancer, director, and choreographer Gene Kelly, who celebrated
and popularized dance mainstream cinema. Leading the orchestra as musical
conductor extraordinary Neil Thompson. Neil has had all sorts of
amazing jobs. He's worked in concert halls and with orchestras
around the world. He actually did a similar live show
Titanic in Auckland and twenty eighteen, and Neil is currently
(01:22):
the principal conductor and Artistic director at Orchestra Philharmonica Jigoyas,
the Philharmonic Orchestra of Goyas in Brazil, and he joins
us from Brazil this morning, Calda, good morning, good morning.
It is great to be Yes, well, good afternoon. Yes,
it is a bit of a bit of a head
spin when we're going from Brazil to Auckland. But of
(01:43):
course you are very soon going to be coming from
Brazil to Auckland. And so tell us first of all
a little bit about why tell us about gene Kelly
A life in music.
Speaker 3 (01:53):
Well, my connection with the show is very personal because
earlier in my career I did a lot of these
movies live with symphony orchestra. About ten fifteen years old,
Go and I was booked to do Singing in the
Rain at the Album Hall. It was the first time
Singing in Rain had been done live a symphony orchestra.
(02:15):
And about a month before the show, I got this
email from the title was from missus gene Kelly, and
I thought, what's what's this? This is interesting? And I
had this very friendly note just saying that she was
going to be introducing the show and it would be
nice to meet me and everything, and so I was
expecting this woman in her eighties, you know, to turn up,
(02:39):
and then there was this very glamorous woman in her
late fifties who I met at the albut Hall and
we became friends. We got on well, I got We
got on well really from from the off and we
did Singing in the Rain in Dublin. We did it
also another show in London, and Patricia told me that
(03:00):
she'd been thinking about making a show which really showed
Genes the range of his work, you know, and he
was if you only have to listen to him sing,
he was one of the most innately musical people that
you've ever that one could I even talk like I've
met him. It's interesting, that's that's something I'll talk about,
(03:25):
one of the most instinctive. There's not a sound that
comes out of his mouth or a move that he
makes isn't musical. So she wanted it to be something
that highlighted this, you know, Geen Kenny and music. So
it's basically two and a half hours of clips from
various films and TV programs across the length along the
length of his career. The films have been absolutely scrubbed up,
(03:50):
so you've never you've never seen prints like it now.
I mean, it's it's fantastic. They're so clean, the sound
is so clean, and what is important is that the
music is the original orchestrations that were used in the
movies which have been reconstructed. This might not seem like
such a big deal, but when you know that, when
one chief executive of MGM arrived, I think in the seventies,
(04:13):
that would be wrong. He decided that basically the library
where all the music from all these great musicals was
was taking up space. So now it's landfill under a
golf course summer in California. So all these scores and
the orchestral parts were destroyed. So my friend and old student,
John Wilson, who's made really a career out of doing this,
(04:35):
has reconstructed all these scores to their original glory. And
he had to do most of it just by seeing
little sketches on manuscript paper, but by listening to the recordings.
I mean, it's an extraordinary sort of labor of love.
So this film is very special for that because it's
really authentic. You know, the clips look fantastic and it's
(04:58):
the original orchestrations. So this show was in gestation for
many years. I think there was a the things of
getting the rights to the movies when any anytime you
do something with film music, you spend more time speaking
to lawyers than you do to musicians. And that's just
the way it is. So it took Patricia a long
(05:18):
time to get it into shape. Then we did the
premiere of it must have been before the pandemic in
Scotland in Glasgow and Edinburgh. Then the year later in Dublin.
Last year we did three shows in Seattle, and we've
just done two shows in Vancouver last weekend, in fact,
last Saturday, last Friday and Saturday was in Vancouver. So
(05:41):
and now we're coming to New Zealand.
Speaker 2 (05:44):
Yeah, that is that is remarkable, Neil. So I'm going
to ask you a bit more about about Jane and
the kind of relationship you feel with Jane. In a moment,
can you just just talk to us about how the
actual mechanics of the show works. So from from the
perspective of someone in the audience, the orchestra is playing
music which is perfectly timed to the projections on screen, right, but.
Speaker 3 (06:07):
They projected the film and the orchestra is playing live
and then it's my problem to make sure it's synchronized.
And then in between each clip, Patricia talks about the films,
talks about the clips. But I think what is wonderful
is that she she has so many stories about Gene
that people come away to feeling that they know him
(06:29):
a little bit. And I mean, really, now, I've done
this show so many times, I feel like I've worked
with him, and when I when I talk about him,
I call him Gene, which could sound sort of very pretentious,
but it's completely un self conscious. I feel I know
the man. And this is wonderful. It's very it's it's
very rare to have that sense of, you know, with
(06:50):
a person who's no longer with us, to have that
personal collection. And this is what takes away from it.
Speaker 2 (06:56):
It is amazing that you can form that kinection. I
suppose it's the kind of magic of the arts, isn't it?
And and especially when as you described, the process involves
a certain amount of reverse engineering. Right like you, you
are going back and unlike a composer who would be
writing something afresh and writing something from scratch, it's taken
(07:18):
that meticulous attention to detail, to listen to every quaver
and semiquaver, every single instrument, every every pause, every coder,
and work out how the whole kind of jigsaw fits together. Like,
give us a musicians perspective, How would that compare to
a regular composing process.
Speaker 3 (07:39):
Well, I mean, for a for a start, you're you're reconstructing.
So even if you were a composer, you're not putting
your own voice into it. You're reconstructing someone else's. It's
a recreative process rather than a creative process. Because if
you're a composer and you're writing a symphony, it's going
to be your voice. But as in the recreation process,
(08:01):
you're trying to find the essence of somebody else's voice.
And that's what's so fascinating to He's reconstructed a lot
of the movies. He reconstructed that the Wizard of Oz,
and he said he spent like six hours over three
bars listening with his ear up against the speaker, trying
to work which instrument was playing.
Speaker 2 (08:19):
Which note, surely, surely AI for this, now, Neil, come on,
there must be some technical solution.
Speaker 3 (08:27):
Is AI compositions that? I mean, maybe in the future
they'll be good. That's terrible.
Speaker 2 (08:31):
Yeah, so so for you flying in young like you
say you've been, you've been around the world recently. How
does it work with the Philharmonic. You just have to
hope that they've been doing their homework and you fly
into Auckland and basically you sit down, you turn on
the screens and you find out.
Speaker 3 (08:48):
I mean basically. I mean, if I remember from the
last time you have you have a rehearsal with walks
clearly to go through everything. Then you'll have a rehearsal
on the day of the concert when you run everything
with the film. But I mean, and I know this, Boks,
I remember this socks. They're very good, they're very quick,
very nice. So I'm not I'm not worried about it
at all. My only worry as myself because to synchronize
(09:09):
with the film, even though I've done it seven or
eight times, it's if you're half a second out or
you know, it doesn't sink so and people notice in
a way, if you do your job perfectly, nobody notices
you're there. But if you're not together with the film,
oh yeah, there's a conductor. There's a conductor there, you know.
Speaker 2 (09:29):
So that's a very good point. Sorry to interrupt, you.
It's a very good point because if you were, if
you were conducting an orchestra regularly, no one notices if
you are going slightly faster or slower than you should be.
And if you are conducting an orchestra for say a ballet,
well we can always play in the bellerinus, right, But
it's all on you. It's all on Niel. If you're
(09:53):
everyone knows that.
Speaker 3 (09:53):
Neils Off I think you said. He always goes into rehearsal.
He says, so what do you want today? Too fast
or too slow?
Speaker 2 (10:00):
So that's the works very good. Hey, hey, Neil, tell
us a little bit about your story. How did you
end up in Brazil of all places.
Speaker 3 (10:09):
It's the other part of my career is I was
a professor at the Rock College of Music for fourteen
years and teaching is something that I absolutely love and
I still do mostly master classes. And I did in
two thousand and five of two thousand and six a
workshop at the Rock College of Music, and that it
was a summer school, and there was a guy from
(10:32):
Guyania was one of the students. And he said to me, oh,
we was keep in touch and must come and conduct.
We have a little we have an orchestra there, and
you know, and I didn't hear anything for like six
or seven, yeah, six years, and then out of the blue,
I got an email, would you like to come and
conduct this new uct We've just started a new professional orchestra.
And they gave me two concerts and it went very well.
(10:55):
There was a good connection between the orchestra and me
and the chief executive, and the orchestra said, how would
you like to be our new principal conductor? I said, okay, yeah,
I would like that very much. So it was it
was one of those chants meetings that led that led
to this.
Speaker 2 (11:12):
Yeah, how do you find it? How how's the life?
You know, having having held other positions around the World
War what, what's the life like living in central Brazil.
Speaker 3 (11:23):
Yeah? It's very hot and it's very dry, that's for sure,
which makes problems for the instruments of the musicians, so
they suffer a little bit with that. What is wonderful
about goy Ass go Ass is the sort of Texas
of Brazil. It's a big cattle state and Guyana, I
guess you could call the Nashville of of of Brazil.
(11:44):
It's the home of Brazili and there's something called certain Asia,
which is Brazilian country and western and it's huge here.
I mean, these, these people are there, you are absolutely huge.
There millions and millions and millions of followers. So go
Ass was only really known for certain Asia. So when
I came, everything was possible because everything was new. There
(12:06):
was no in some powder. You've got a history of
classical music and you can only oh, you can't play
this composer, you have to play this, you have to
do this and that. The audience is very slightly older,
middle class, very middle class. And my job in Brazil,
all my concerts are free. So it's the democratization, democratization
of classical music. And this is wonderful to see our
(12:28):
public go from students to old people. The demographic is
very wide. And when I came, people said to me,
you can't do concerts longer than sixty minutes. You can't
play this composed of people will be bored. You've got
to play popular stuff. I said, no, I'm going to
I'm gonna do this, show your public some respect, and
we did in July a Bruckner Symphony seventy five minutes.
(12:49):
This would have been unthinkable that ten years ago that
a public would have sat through. I mean when I
came on, I took my bow and I thought when
I turned around at the end, there's going to be
like three people left in the theater, and it was
still full, you know, And that for me, that was
really a sense of classical music not dying. You know,
in Europe we're very pessimistic about this. All custom music's dying?
(13:11):
Is that? Not in Brazil, it's not. You know, every
city has a little orchest. It can be a social project,
it can be an amateur orchestra, it can be an
orchestra in the church. But there's a there's an audience
here for pastor music. You've just got to find a
way to build it and to communicate it. So from
that point of view, I can play pieces that they
could never play in some power Oreo because the audiences
(13:31):
are more conservative and more traditional. So everything is possible here.
Speaker 2 (13:39):
Well, look, Neil, we are so excited to have you
come to New Zealand. It does sound like an amazing show.
So look, have a wonderful little break over the Christmas
period and yeah, we look forward to seeing you very.
Speaker 3 (13:51):
Soon in March. Great that is very much that.
Speaker 2 (13:54):
Is Neil Thompson. We're going to have all the details
for gene Kelly a life and music up on the
News Talks. He'd be website. So, like I said, it's
playing for one, not only March fifteenth, twenty twenty five.
Even saying twenty twenty five still feels weirday. It's going
to be the Auckland Town Hall and tickets for all
shows at the Auckland Arts Festival are available at www
(14:15):
dot a a F, dot co dot nz AAF Auckland
Arts Festival. I think you work that out.
Speaker 1 (14:23):
For more from Saturday Morning with Jack Tame, listen live
to News Talks B from nine am Saturday, or follow
the podcast on iHeartRadio
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