Andrew Lloyd Webber’s iconic musical Starlight Express has rolled back into London for the first time since its original production, now celebrating its fortieth anniversary. This new production dazzles audiences at the Troubadour Wembley Park Theatre, transformed into the Starlight Auditorium, bringing fresh energy and innovative updates to a beloved classic.
Surprisingly, one of Lloyd Webber’s most famous musicals originated from a desire to adapt Reverend W. Awdry’s ‘The Railway Series’ into a cartoon. When that fell through (the stories later introduced millions of children to Thomas the Tank Engine), Starlight Express was born.
The story, heavily updated for this new production, remains a testament to the imagination of children. When a youngster falls asleep, their toy train set comes to life, and thrilling races ensue. Rusty (played with gentle charm by Jeevan Braich), an old steam engine, is written off in favour of newer stock like Electra (Tom Pigram). There’s a touch of romance between Rusty and Pearl (Kayna Montecillo), but the main action is in the race sequences, with the audience cheering on the underdog.
Starlight Express is infamous for its roller-skating cast, and while the skates return, the cast zips through the audience at what feels like a slower pace than before. The Troubadour Wembley Park Theatre has been transformed into a playground for this show. Tim Hatley’s spectacular set design, featuring intricate tracks and immersive elements, honours the original while incorporating modern updates. LED screens and projection mapping enhance the vibrant world of racing trains.
The technical aspects are a marvel. Howard Hudson’s lighting design uses state-of-the-art technology to create a kaleidoscope of colours and laser effects that reflect the energy and pace of the races. The set isn’t the only thing modernised; the competition between countries is replaced by a focus on different engines. There’s a new character in Hydra (an impressive Jaydon Vijn) and new songs like “Hydrogen,” replacing “Rusty and Dustin.”
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There’s a gender switch for the ‘villain’, with Al Knott as Greaseball, allowing for a same-sex romance with Dinah (Eve Humphrey). The child, known as Control, is played alternately by boys and girls. At the press performance, Cristian Buttaci was a sensational Control, handling complex dialogue, singing, and dancing without missing a beat.
The score, with music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, features new orchestrations that elevate the original sounds. However, the number of characters can be confusing, despite Sabrina Cuniberto’s brilliant costume design. At times, Starlight Express becomes more bewildering than completing a delay-repay claim, and so, younger audiences might focus more on the thrilling races than the actual story.
Director Luke Sheppard brings a sense of occasion, awe, and wonder to every scene. The Starlight Sequence, where the auditorium transforms, is magical and genuinely goosebump inducing.
While the plot can be all over the place (you might start to question if there actually is one), the audience at least appreciates the jokes about cancellations and delays. You might not always understand what’s happening, but you’ll have fun watching it all unfold.
It’s a little like a truncated Eurovision song contest, you might hear the odd decent tune, but really, you’re only watching for the camp costumes and surreal staging, and it’s that which makes you want to choo-choo-choose this magical experience for your theatrical bucket list.
