Total Eclipse arrived at the London Coliseum with the promise of celebrating Jim Steinman’s bombastic legacy. But as the minutes ticked by, my attention drifted to the ornate ceilings of the Coliseum, perhaps the most memorable spectacle of the night.
Total Eclipse opens with a thrilling, almost deceptive promise. The English National Opera orchestra, under Jack Bennett, bursts with energy, capturing the very essence of Steinman’s work. For a fleeting moment, Steinman’s signature energy fills the room. But that grand opening quickly fades, replaced by a long stretch of mediocrity, numbing repetition and, at times, a frustrating sense of emptiness.
Steinman’s music soundtracked my childhood. My father was a fan, and I arrived expecting to reconnect with those classic songs I still hear every now and then. Lack of familiarity was not the problem. Judging by the steady stream of audience members sneaking out midway, and the one who fell asleep right next to me, I was not alone in finding the show numbing and unable to carry its weight.
The concept of Total Eclipse itself is flawed. A song finishes, the singer leaves the stage, and another takes their place, sometimes with an introduction, sometimes without. This structure creates the feel of a song competition or a talent show, rather than one continuous concert experience.
First off, the songs are endless. Steinman’s originals are lengthy enough, but this production drags them out even further, repeatedly recycling the same musical phrases. Instead of inventive reprises or fresh interpretations, the show simply wears the audience down with monotony and fatigue.
To be fair, the singers were talented, but Zoe Birkett truly stole the show and finally got the audience on their feet, clapping and genuinely feeling the music. Rob Barron’s piano performance was breathtaking, the only act that truly held my attention. The composition was thoughtful and captivating, and the execution stood out in an otherwise forgettable night.
The direction felt purely technical, focused on cueing lights, stage design and song order, without any real attempt to weave the songs into a coherent whole. Each number stood alone, leaving the show fragmented and emotionally disconnected. The lighting was serviceable but uninspired, doing little to enhance the mood or drama. As for the sound, the mix was muddy and the excessive reverb often swallowed strong vocals, while high notes were harsh and uncomfortable. A tighter, more creative approach to transitions, dynamic lighting design and a refined sound mix would elevate the entire production and allow the performers’ strengths to shine.
Total Eclipse is a celebration of Steinman’s marvellous and truly timeless works. It aims for nostalgia and grandeur, but too often feels dated and bland. While the show occasionally brushes against the theatrical excess and emotional power that define Steinman’s legacy, it ultimately fails to sustain that momentum. The energy fizzles, and the production never quite delivers the immersive, electrifying experience that such an iconic songbook deserves.
