Andrew Lloyd Webber’s 80s classic returns to London for the first time, in a new fully immersive production directed by Luke Sheppard. Guillermo Nazara shares his views on the show, to let us know if this caravan of roller-skating numbers based on the adventures of Thomas The Tank Engine actually manages to keep itself on the rails.
“Crazy, can you believe him – he’s crazy. Love him or leave him – he’s crazy, going crazy!”, sings the group of cool engines, as their oxidized frenemy rolls down the ramp while giving us a swirl (and two, and three) of his ocher-coated space cadet costume. He’s supposed to be a locomotive, though – but his appearance bears a closer resemblance to what Robert Zemenick predicted 2000s fashion would look like (he got a point with Lady Gaga, though). Whatever the case, one can’t help but wondering if this tune, not featured in the show until the 1992 London revamp, may have been Webber and Stilgoe’s way of poking fun (and maybe, some finger in particular) at the fact that, much in the manner of the Lord-Baron-(and every title in the British glossary)’s previous threscapades, everyone believed the idea to be an inevitable train wreck (no pun intended).
The success of Starlight Express over the decades can neither be denied or ignored. Like it or hate it, the piece has been a massive hit in almost every place where it’s been performed – from the still record-setting 18-year original run in the West End, to the custom-built venue German production, where it’s been playing uninterruptedly (pandemic omission permitted) since 1988. If you’re curious to know what the plot is about, well, you may find the most accurate treatment in Family Guy. If you want to find out the point of it, the best response to your query may come in the form of Trevor Nunn’s reply to the 1984 reviews: it’s not intended to be intellectual, it’s supposed to be entertaining. And with that mindset on, you can really see not just the light, but true brilliance at the end of this tunnel.
Directed by Luke Sheppard, the London revival of Lloyd-Webber’s all-things-80s megamix has made a safe comeback to its home station. Staged at the Troubadour Wembley Park, a locale that already proved its unparalleled immersive possibilities in the 2022-23 montage of Newsies, Sheppard’s approach is probably the closest example that musical theatre has to offer, at least in this city, to a Vegas show. Replicating some of the key factors that made the Apollo Victoria counterpart (and every subsequent production) an icon in the theatrical catalogue, this version genuinely takes the enveloping concept to the next level by raising a whole breathing universe around its audience – submersing us into an alternate, retrofuturistic reality steamed up by its overpowering sense of wonder.
Designed by Tim Hatley, the show’s aesthetics do not come as an overpromise in any terms of spectacle. It’s visually stunning. From the jaw-dropping dash of its overall look to the meticulous intricacy of every detail and surprise (and trust me, there will be quite a few of those), its staggering set (delivering a perfect mixture of practical effects with state-of-the-art technology) is, in all fairness, the ultimate treat to both the trained and untrained eye – surrounding us with a world of such tangible fantasy, the only honest comparison would come from hopping on a 2-hour ride on the latest Disney E-ticket attraction.
Beautifully lit by Howard Hudson, creating a constant stream of textures that flaunt bountiful versatility and precision, the sumptuous vibrancy of his proposal blends in unbroken concord with Andrzej Goulding’s dream-awakening animations – enhancing those inescapable childlike thrills this show, in every aspect of its delivery, demonstrates absolute expertise at striking.
The illusion is once again boosted by the impeccability of its convoy. Regaling us with astonishing physical renditions and boasting astounding vocals, the cast has glided its way into the London scene as, most likely, one of the strongest that are currently in display. Among them, Tom Pigram gives a galvanizing portrayal as the baffling nemesis Electra, while Jade Marvin makes one of the most memorable impressions in the role of Momma by brandishing her immaculate singing technique. However, the biggest praise goes to Jaydon Vijn as Hydra, oozing exceptional magnetism, attitude and enchantment in what results as an utter homage to his personage’s motto: when it comes to his participation, it’s never a matter of it, but a matter of when.
Playing its cards with extraordinary perspicacity by relying on a sturdy fusion of flashiness and nostalgia (even if you haven’t listened to its score before, if you’re a Lloyd-Webber fan, you’ll be pleased that the gumbie cat has sneaked it into the soundtrack standing on some Steinmanized tyre tracks), Starlight Express makes up its viewers’ hearts by winning them over with a neon-coloured jaunt of beguiling sound, compelling imagery and, all in all, utmost enjoyment. You won’t leave the theatre feeling transformed (despite the characters’ likeness to Optimus Prime), but you will certainly exit taken by a sentiment of amazement that very few other pieces (at least, in this manner) are able to transmit. Unlike its adversary, this recount may not have sufficient shocks to be considered a live wire, but the production itself does have more than enough stamina to set everybody around it on perpetual fire.
All pictures credit to Pamela Raith.
Starlight Express plays at London’s Troubadour Wembley Park Theatre from Wednesdays to Sundays. Tickets are available on the following link.