Having lived through the 1970’s as a teenager I was eagerly awaiting New Dawn Fades, a show I’d heard so much about. I’d seen Joy Division a number of times, including at the, now legendary Bowdon Social Club, where they payed to tiny crowds in 1979. Tony Wilson famously counted the money out on a snooker table at the back of the hall and one of the gigs was recorded for posterity by the sadly departed Malcolm Whitehead.
What I saw tonight was a powerful portrayal of the life of Ian Curtis, the band that surrounded him, and a quirky time dilation that allowed historical elements from the history of Manchester to be woven into the story. The play triumphed on every level, elevating this production to a very special place in theatre history, where music and drama combine beautifully, to create the perfect hybrid of performance, art and theatre.
Writer and Co-Director created the story back in 2013, when he was offered a book deal with Schuster & Schuster. When that deal fell through he decided to turn it into a play, debuting at The Manchester Fringe Festival in 2013. The snippets of Manchester history, combined with the story Joy Division and Ian Curtis ensured the play went down in history, alongside Sex Pistols’ gig at the Lesser Free Trade Hall as a ‘be there’ moment. Few attended, but those who did, including Rowetta from The Happy Mondays and our own John Robb, applauded the play’s ‘spellbinding’ nature, and its emotional affect on the audience.
The current iteration, which saw Tin Orb take over in 2023 sees Lauren Greenwood, who plays Curtis’ wife Debbie, co directing a new cast, including multi role actor-musicians, and the astonishingly talented Josh Lonsdale in the role of Ian Curtis.
Gorman himself plays Granada TV presenter Tony Wilson in magnificent style, mimicking his mannerisms and eclectic style perfectly, right down to the hand gestures and self deprecating acceptance – ‘You can call me Anthony, you can call me Tony, but please don’t call me tw*t’. Gorman narrates the tale from his lectern, bouncing into the affray when the story requires it, from the formation of Factory records, discovering Joy Division, then a little known local punk band called Warsaw, signing them and putting them in the hands of former Buzzcocks producer, the madcap and pharmaceutically driven, Martin Hannett, (who twiddled the controls at the heart of the Factory machine), to create their first album, Unknown Pleasures – ‘a f*cking masterpiece’, setting the band on the road to stardom.
The action in fast paced, punk, and very funny, as Wilson grapples with four young lads from Salford and Macclesfield, determined to make names for themselves. Supporting actors Kivan Dene and Nicholas Eccles, both masters of the quick change, rotate, hilariously through the main protagonists of the day, including Sir John Dee, Friedrich Engels, Gus Gangrene from The Drones, Pete Shelley from Buzzcocks and Wilson’s fag addled ‘Prestwich Accountant’, who Eccles reportedly bases on Bernard Manning!What ensues is a perfectly choreographed swank through ’70’s Manchester. I say choreographed, because the actors move beautifully on this small stage, (They’d just played The RNCM, where they were introduced by Peter Hook himself, so it was amazing to see how they’d handle a smaller space) weaving in and out of each other, with a knowing wink here, and a shake of the hand (towards Wilson) there; the play melding into an intoxicating mash-up of music and drama, each scene exploding with energy.
The first half concludes with a powerful rendition of Shadowplay – Lonsdale taking on hauntingly accurate vocal duties for the first time. The play continues to tell the tale of a man falling apart – a failing marriage, feelings of inadequacy, his adultery, and life on a very shaky road, blighted by epilepsy, the strong drugs taken to control it, and a confused band, who had no idea of the complexity of a man who was careering out of control.
The play is enhanced by the stark realism achieved on-stage, and the authentic ’70’s costumes, from Bernard’s tie and jumper, Hooky’s leather jacket and Debbie’s flowery dress. No level of detail is left out, with the stage littered with original 1970’s equipment, the ARP Omni synthesiser used on Love Will Tear Us part, the white Vox Phantom VI replica guitar, and the Vox amps and speaker cabinets.
The play is a beautiful crafted and emotional homage to a hugely influential and talented band. It is considerably lifted by frontman Josh Lonsdale who embodies the spirit of Ian Curtis, from the windmill arms, to the subtle bass baritone voice used to great effect on the three semi-live track performed tonight. Gaz Hayden plays the part of Peter Hook to perfection and Lauren Greenwood, who also Co-Produces New Dawn Fades, counters the aggression on stage with her delicate, yet powerful portrayal of a wife not only upended by Ian’s chaotic life with the band while struggling with epilepsy, but by his adultery with the never seen Anneke Honore.
The run continues on the fringe of The West End on the 27th, 28th and 29th of October and ends in Leeds on the 30th and 31st of October.
I can’t praise New Dawn Fades highly enough. Whether you are a fan of the band, or a hardened theatre goer, there is something for everyone in this polished piece of perfection from this talented troupe of Northerners!
~
**Stop Press**
The play has just been confirmed for three dates at Salford’s influential Lowry Theatre on the 2nd, 3rd and 4th of march 2026. Do not miss it!
Remaining dates
27/28/29 OCT London, The Bloomsbury Theatre*
30/31 OCT Leeds, City Varieties Theatre
2/3/4th March Salford, The Lowry
*Joy Division Equipment & Ephemera Exhibition!
New Dawn Fades is on Twitter, Facebook and Threads and this is their Website
Read other reviews of New Dawn Fades on Slap Mag and Glos.info
★★★★★ Tony Clark 26 October 2025
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