Teenage Kicks - A Play by Paul Hodson

Based on the life of John Peel, 'Teenage Kicks' is an inventive play written and directed by Paul Hodson, with Kieron Forsyth as John Peel capturing the self-deprecating wit and dry humour with a toned delivery, James Doherty as John Walters his irascible producer, and Daniel Curtis as Susan - the tea-boy, and other roles.

Concentrating on the studio shenanigans of the 'Master and Dog' relationship of Peel and Walters, J.W. - "I quite like Lulu - I might give her a session", 'Teenage Kicks' makes for a frothy cappuccino of drama and repartee. A non-too-chronological play is formed - J.P. the macrobiotic teetotal hippy who finds John and Yoko's 'Two Virgins' "Innncredible!!" while Walters finds Yoko "...like a caterwauling Cougar with a spear up its' arse", the doey-eyed epiphany that Pig is the woman he wants to marry and his love for Liverpool F.C. provide a 70's time line.

J.P. wins the Melody Maker award for best DJ in successive years - the same paper that awards Emerson, Lake and Palmer the best Artists award - to which J.P. retorts after some Dom Perignon Champagne - "ELP - what a bunch of c**ts". Inventive drama comes with the wigged raver who's spotted a fat old bald bloke in the DJ booth then twigs, he may be 300 years old but he's John Peel, cool - "like Boodha" and takes on his advice to walk through the storm, with head held high.

"Evening layabouts and ne'er-do-wells", "From me - goodnight, and good riddance", a young lad is tucked in bed with his tranny, a large sandwich board and blanket forming his bed - ready to tune into the show, his world has suddenly opened up, admitting that "at times he does play shit". Drama comes with songs from artists Peel exposed as they dig for tunes, but it's the studio politics that prove pivotal, Walters fighting off the BBC board upstairs as Peel discovers punk and reggae, losing his prog-rock devotees and listener ratings. J.P. counters a dedication to a chap who requests The Grateful Dead with the rejoinder "...and here's the Buzzcocks - "...you're an orgasm addict...". 

A moving close on the funeral from the eyes of a dedicated fan touches on a collective sadness, followed by Peel in heaven playing Haydn - "And this one's for God - It was good to meet you again Bill Shankly, no offence to the real God", shrugging off the harpists, finding there's a clause in the eternal resting place that means only vinyl is permitted, and that St Paul is a fan of Phil Collins. The final songs find theatre bridging as the audience sing 'You'll Never Walk Alone' in accompaniment to the Kop Choir - perhaps we need to be thankful for the reminders, for as John Walters points out - "When Peel hits puberty, we're all in trouble".