21st century boy My journey towards Marc Bolan began when I was a Spider From Mars. We were in competition with Marc, though he and Bowie had been very close. Let's say it was a healthy rivalry born out of mutual respect. Then, when I moved to Putney in the 90s, my route to work took me past `The Tree' on Barnes Common, the site of Bolan's fatal car accident, which had become a kind of shrine. This sparked an idea to erect a more permanent memorial, and pulling in a good deal of favours, I was able to work with the PRS for Music Members' Benevolent Fund ­ to which Marc's estate had contributed handsomely ­ who raised the money for a marble obelisk. I had to make a speech at the unveiling ceremony in September 1997 to commemorate 20 years since his death, and realised my fascination with Marc's life had become an obsession. I was hooked. I became an avid researcher of the Bolan legend. By September 2007, the month of the 30 yearanniversary Shepherds Bush Empire concert which I arranged, my relationship with Brian Dunham, chief of Wizard Publishing for 20 years, had become a creative partnership. Brian's dream of a musical became a reality in the form of 20th Century Boy ­ The Musical. We began work on the book with TV screenwriter Colin Giffin in January 2008, and soon realised that there was far too much in Marc's short life to fit into a two and a half hour show that also featured songs and big production numbers. Marc Bolan's short and glittering life continues to be an irresistible attraction for 21st century writers and producers. First, PRS for Music's Writer Director Nicky Graham tells the story of bringing Bolan to the West End stage while overleaf, Bolan's biographer, Mark Paytress is working on a film script After tryouts, criticisms, re-writes, and re-thinks, we had achieved enough competence to contemplate dipping our hands in our pockets to prepare a workshop for investors. Usually this consists of a group of actors in an empty room reading from a script for the benefit of the money people, but this time we took a bold step and chose to stage a mini version of the whole show. This costly experience involved a cast, a director, a theatre, a lighting company, a sound company, costumes, props, a film crew, three days of rehearsing and two full days of dress runs. And of course the Showcase itself. Mad, yes, but we ended up with a DVD which has proved invaluable for investors and co-producers who couldn't attend to get the feel of a full production. None of this would have been possible without the rights to the music. We secured these well in advance, but not without trips to New York and countless conversations extolling the virtue of the script and our choice of songs. Then began the long slow process of pulling in money, choosing the right director, auditioning and of course the relentless work on the script, which doubtless will continue until long after opening night. Key to all of the above is the actor to play the star himself. We have our favourite, second favourite and so on ­ the run will require some changes after six months. At the time of going to press our schedule is to start rehearsing in July 2010 and to open in the Bolan Final 4.indd 43 7/12/09 15:10:15