Brixton Calling is electrifying audiences at Southwark Playhouse Borough with a captivating musical that unfolds the fascinating tale of how Simon Parkes bought an old cinema and transformed it into the renowned Brixton Academy (or O2 Academy Brixton, if you want to be formal about it!). This stage adaptation is drawn from his memoir, Live At the Brixton Academy, written by Alex Urwin, featuring the talented Max Runham and Tendai Humphrey Sitima in the lead roles as Parkes and his partner in… well, some questionable antics, Johnny Lawes. The production is a vibrant mix of loud music and unforgettable anecdotes from Parkes’s time running the Academy from 1983 until 1997. Yet, it faces Parkes with personal reflections on those wild years.
“Back then, I enjoyed promoting artists, but this feels a bit more personal. It’s exciting but nerve-wracking,” reflects Parkes. “Being objective is tough, but so far, I think it’s funny, clever, and spot on—it truly was a comedy of errors running the place.”
How Parkes end up at the helm of the Academy is an adventure in itself, showcasing his knack for hustling and quick thinking, which would come in handy as he dealt with various characters from artists to gangsters looking for their cut. Originally hailing from Lincolnshire with “a very privileged background,” Parkes made the leap to London for an accountancy course at Southbank Polytechnic. In his twenties, he became a passionate live music fan and stumbled into the incredible opportunity when someone asked him if he’d like to purchase a music venue—which sounds like an extraordinary plot twist as it stands.
Upon stepping into the Academy, he instantly fell in love with its design, particularly the sloped floor that allowed everyone to see the stage, unlike a past experience where he had to sprint down a Hammersmith Palais aisle just to get a glimpse of Debbie Harry—only to be ejected. It was during these humorous moments that he purchased the Academy for a mere £1. Yes, really!
Parkes elaborates, “The brewery initially priced the venue at £120,000, which was a hefty sum especially back in the 80s. Being only 23 and broke, I crafted a rough business plan, speculating how beer sales would translate to concerts. My outlandish offer? A pound with a ten-year beer deal instead!” Surprisingly, they agreed.
However, the cultural context was still steeped in negative perceptions surrounding Brixton, which Parkes was initially oblivious to. “Coming from rural Lincolnshire, I wasn’t clued up about its troubled reputation, but I quickly realized there’s a passionate community here willing to fight for their home after opening up the Academy. That’s when I met Johnny Lawes.”
Max Runham and Tendai Humphrey Sitima, who deliver multiple roles in addition to their leads, are earning rave reviews for their stunning performances, which even include live instrumental sections. Remarkably, Parkes himself doesn’t have a left arm beneath the elbow, just like Runham. Parkes shares, “I was born this way, a leftover from the Thalidomide era, and Max’s experience mirrors mine. I envy his guitar skills—I intend to take lessons after this!”
It’s fascinating that Parkes’s life story served as the inspiration for this musical. After experiencing a serious health issue and spending a month in intensive care, a friend suggested he document his captivating journey at the Academy with writer J.S. Rafaeli helping him dictate stories through chemotherapy.
His adventure brims with astounding anecdotes—from organizing Arthur Scargill’s Christmas Party featuring The Clash to the Artists Against Apartheid concert headlined by Public Enemy with Winnie Mandela. He remembers the vibrant shifts through punk, rave, grunge, and Britpop—all while managing threats in a cash-heavy nightlife scene. “By the ’90s, we were netting a million pounds monthly in dealer interactions, attracting a notorious crowd!”
Through every up and down, running Brixton Academy felt worthwhile, as it earned ‘Venue of The Year’ recognition throughout Parkes’s last decade. More importantly, it became a beacon for artists and an integral piece of the local community.
He recounts, “I stumbled across a YouTube chat with Snoop Dogg and Dr. Dre reminiscing about their Brixton gig—they were surprised to find so many black people in London. For them, nearly 30 years prior, the Academy represented the real vibe of London.”
According to Parkes, Urwin lobbied for permission to adapt his life into a musical, and he candidly shares his thoughts: “What they’ve done is legitimately clever. Theatre is new territory for me, but the talent of Alex and these actors has impressed me greatly. It’s flattering, yet I’m understandably nervous.”
With ticket sales soaring like Nirvana’s concerts, Brixton Calling is just getting started! It’s heartening to watch Parkes, a London native who melded the worlds of music and politics in unforgettable ways, achieve this recognition while supporting countless bands and dazing thousands of fans along the way.
Curious about his favorite slice of history making it into the show? “We once hosted the Alternative Miss World contest—basically the biggest trans celebration ever when all was said and done. We mirrored the Miss World competition down to a tee. It was colossal, taking place in 1985 and 1986—way ahead of LGBTQ+ acceptance nowadays. That part is a hysterical highlight in the performance.”
“We navigated a constantly evolving society and politics during the vibrant musical transformation of the ’80s and ’90s. People can expect to walk away with an authentic understanding of what that time felt like and how we got the venue started. It was pure chaos, but undeniably, a thrilling era to be alive in!”
Running until August 16, southwarkplayhouse.co.uk
