You can call Clive Nolan many things, but one of them would not be a one trick pony. Playing for bands as diverse as Pendragon, Arena, Shadowland, Caamora and Strangers On A Train, Nolan fits seamlessly into whatever role he is playing. In addition to his many progressive rock endeavours, he has also formed a theatre company to assist in bringing his West End/Broadway-style musicals to the stage, as he has done in both Europe and South America with She and Alchemy. Following in the footsteps of those rather fine musicals is The Mortal Light. While there are subtle elements of Nolan’s work with his bands, make no mistake – The Mortal Light is a full-on, no holds barred Broadway extravaganza, complete with dialogue and sound effects.
The Mortal Light is a commitment if you are a serious listener. Clocking in at nearly two and one half hours, Nolan’s musical is a treat not only for the ears, but for the eyes as well. The expansive package contains the complete lyrics and dialogue, beautiful artwork, photographs, and an interesting explanation of how the musical came to be. Should that not be sufficient, there are an additional two discs of demos and “off cuts” that were accumulated during the four years it took for this work to come to fruition. Unlike most concept albums, The Mortal Light tells a coherent and detailed story. Without giving too much away, it centers on Professor Samuel King (performed by Nolan) and his group of friends who set out to save the world from an ancient evil goddess who is planning to take over the planet. There are plot twists and surprises along the way, all of which add up to a rather enjoyable tale.
The musical opens with church organ and choir as a couple leave their wedding party for the honeymoon. Prog sensibilities and joyous orchestration meld with vocal lines and spoken dialogue as the protagonist, Professor King, bids farewell to his newly wed friends, only for another friend to bring him the news he has been expecting. An underground society has infiltrated governments worldwide and is now plotting to reveal itself, led by the evil Makaria (Laura Piazzai). A proper instrumental Overture ensues, featuring lush orchestral parts abetted by horns, woodwinds and electric guitar conjuring up a sense unease. Dark and threatening strings prominently underscore an exposition of the story of Makaria in Demigod. The unsettling strings continue through Prophecy, but acoustic guitar and harp reflect the bright hope that an artifact called The Mortal Light can be used to defeat Makaria. Magician uses classic music hall sounds for rollicking good fun, and the rock elements finally come to the fore in the epic piece, Decisions. Proggy time changes add intrigue to Cavalry while pulsing synths back the choral elegance of Fade. One of the finer solo vocal turns comes courtesy of Fr. Caleb (Ryan Morgan); accompanied by church organ and heavy-handed drums, Guardians builds to an emotional crescendo. Not to be outdone, Unbowed is a synth strings ballad that allows the Professor’s love interest, Eva (Gemma Ashley) to imagine a time when someone else will face the danger while they live a peaceful, loving life. Act One ends with Makaria anticipating the arrival of Professor King accompanied by a malevolent, triumphal vibe, insistent percussion and a vaguely Middle Eastern flavour.
Act Two begins with Port, flutes and choral voices evoking travel on the sea. Confession relies on traditional rock instrumentation, interesting chord changes and a fantastic melody for a short and powerful song. Light-hearted mischief enlivens Crime, and sweeping, rolling string charts conjure a storm at sea on Thunder. Harpsichord and theremin add a spooky vibe to Witch before the music goes into overdrive, leading into the percussive sense of danger in Portal. Things slow down a bit for another love song, Wings, before the tension builds once more for Threat. The Middle Eastern motif returns as Makaria welcomes the Professor into her lair in Arrival, then gives way to a collision of rock band and strings in Seduction, a powerful song of hubris and bravery. The tension continues to grow during Tovenaar as Makaria is forced to face The Mortal Light in the form of a brother she thought to be dead. The confusion of Siege is reflected in the drums, followed by one character’s redemption in the tender piano ballad, Trust. The massive choirs and orchestral buildup of Convergence lead into the climactic Explosion. Rather than a rousing, feel good choral finale, Nolan delivers a stirring orchestral piece as the characters celebrate their success with spoken word.
Clive Nolan provides ample evidence throughout The Mortal Light for why he should be considered a major force in contemporary music, regardless of genre. He excels as both lyricist and composer, not only in a rock context, but in the narrower confines of writing music for the stage as well. All the traits of a top notch West End/Broadway composer are here, from the orchestration, to the character development, to the evocative vocal lines. This is progressive music in the sense that it takes on a sometimes stuffy genre, gives it a polished rock sheen, and is not afraid to colour outside the lines, all while remaining respectful of tradition. The Mortal Light rewards the adventurous listener with treasures at every turn. Highly recommended.
TRACK LISTING
DISC 1: Act One
01. Wedding (5:19)
02. Overture (1:41)
03. Demigod (6:33)
04. Prophecy (4:22)
05. Magician (6:06)
06. Decisions (10:28)
07. Cavalry (5:53)
08. Fade (5:11)
09. Escape (3:32)
10. Guidelines (4:26)
11. Conversation (1:44)
12. Guardians (4:21)
13. Promise (1:36)
14. Unbowed (3:37)
15. Makaria (5:16)
DISC 2: Act Two
16. Port (3:33)
17. Confession (3:41)
18. Crime (3:41)
19. Spy (3:54)
20. Thunder (2:55)
21. Agreement (4:42)
22. Witch (7:31)
23. Portal (4:31)
24. Wings (3:25)
25. Threat (1:44)
26. Satisfactory (1:46)
27. Justice (4:36)
28. Arrival (2:02)
29. Seduction (6:50)
30. Tovenaar (4:13)
31. Siege (2:46)
32. Trust (2:28)
33. Convergence (1:18)
34. Explosion (0:56)
35. Sunset (2:42)
Total Time – 139:36
MUSICIANS
Clive Nolan –Keyboards, Orchestration, Percussion
Scott Higham – Drums
Arnfinn Isaksen – Bass
Mirko Sangrigoli – Guitar
CAST
Clive Nolan – Professor Samuel King
Gemma Ashley – Eva Bonaduce
Robbie Gardner – Tom Worthy
Natalie Barnett – Lady Agatha Gill
Ryan Morgan – Father Caleb/Tovenaar
Andy Sears – Lord Henry Jagman
Laura Piazzai – Makaria
Guy Barnes – William Gardelle
Verity White – Dr. Josephine Kendrick
Additional Numerous Chorus and Orchestra Members
ADDITIONAL INFO
Record Label: Crime Records
Country of Origin: UK/International
Date of Release: 15th February 2026
LINKS
Clive Nolan – Website | Facebook | Clive Nolan Musicals (Facebook Group) | Bandcamp | YouTube | X | Instagram
