Starlight Express The Musical: 40 Years in The Orbit

 Dedicated to the 40^th anniversary of the first original production of the musical Starlight Express

The 40^th anniversary of the West End production of Andrew Lloyd Webber’s musical Starlight Express didn’t go unnoticed this year. The journalists and musical theatre critics brought back the tagline – “the fastest musical in the Universe.” That is exactly how the spectators from different continents and various parts of the world remembered this fantastic show, which has no analogs today. After all, its cast members move around on roller skates throughout the whole show! And it is not people who compete in speed with each other, but steam locomotives, diesel locomotives, electric locomotives, and wagons of various purposes (including freight) and classes of service.  Moreover, express trains also have different “citizenships”: USA, Great Britain, France, Italy, Germany, Russia, and Japan. Their number and composition varied in different productions.  In this current German production, the British Express carries a self-explanatory name – Brexit, and the Russian trans-Siberian Express – Turnov, is deprived of the right to represent its country with an unfurled flag.

The literary basis for the musical was the book of children’s stories by Wilbert Awdry The Railway Series Books, where the main character is Thomas the Tank Engine. The plot which tells of the life of toy trains was not complicated: Rusty the engine falls in love with the glamorous carriage Pearl and must compete for her favorable attention with his rival – the diesel locomotive Greaseball, and to do this, Rusty must win the race.

This rock musical by Andrew Lloyd Webber was replete with bright, catchy tunes in various musical styles. Thus, for example, Greaseball sings rock-n-roll: according to the authors’ idea, he imitated Elvis Presley.  The creative team, consisting of Andrew Lloyd Webber [music], Trevor Nunn [director], Richard Stilgoe [lyrics], and choreographer Arlene Phillips, managed to create a show that quickly gained popularity among English audiences.   The performances continued for eighteen years, at that, only once did the show undergo significant revision (1992).

The musical Starlight Express premiered on Broadway in 1987. The production differed significantly from the West End version, both in terms of the storyline and songs, as well as the duration and “the spectacle” aspect of it all. It was not very well received by the critics or the public, but, nevertheless, survived more than over seven hundred and fifty performances.

Since then, there have been more than a dozen new productions, including those adapted for numerous tours in the UK, USA, and other countries. The most notable of them was the German one. The lyrics by Richard Stilgoe were translated by Sabine Grohmann and Wolfgang Adenberg. The director and choreographer – Arlene Phillips and the set and costume designer – John Napier, staged a new version of the show in the German city of Bochum, taking the Broadway version as the basis. In 1988 a special pavilion for the musical Starlight Express – the Starlight Halle, was built in Bochum.  The project was included in the Guinness Book of World Records for the incredible speed of construction of the building. Since then, the musical has been running here regularly, almost daily. Initially, the racing tracks had a U-shape to them, but in 2003 during interior reconstruction – they acquired a Y-shape. Major changes to the production itself were made twice – in 1992 and 2018; they were related to the technical updates and fresh opportunities, as well as some of the new songs, characters, and performers that were introduced into the show.

The crowd of spectators, which counts over one and a half thousand people! – are surprisingly quick to take their seats, located along the tracks with rails and sleepers depicted on them. On which trains and carriages will chase each other for the following two and a half hours. On the back wall, we see three-dimensional images of arched structures that depict either the base of the viaduct or the façade of the railway station. Above it is the screen on which images of the glass dome of the station, cranes used to load cars, as well as rushing clouds, and moving crowns of trees and bushes are projected, creating the sensation of constant movement.

Before the start of the show, there is a suspended track hanging from the ceiling at approximately human height from the floor, along which toy train models from different historical periods run at different speeds:   a train with several carriages, a diesel locomotive, an electric locomotive with a set of various carriages. From above comes the voice of a Boy playing with his railroad. Mother calls her son to sleep in a tired voice and sings him a lullaby “Starlight Express” and the fairytale dream begins: the toy trains float upward and performers in appropriate costumes appear on stage. The Boy introduces the locomotives and various train cars to the audience. The show features more than twenty-five performers and several professional roller skaters. All performers sing “live” and without exception, they all move about on roller skates. After the presentation of all the express trains and locomotives, the competition begins for the title of champion or the fastest engine.  At that, Greaseball makes fun of other locomotives’ efforts to be the coolest and win the race.  Greaseball only fears the electric locomotive – Electra. The spark of mutual attraction ignites between Rusty and Pearl (the first-class observation car), but the beautiful Pearl agrees to join Electra in the first race. Rusty, heartbroken, decides not to participate in the World Championship. Instantly, Mama or Momma McCoy– the veteran of previous races, decides to take Rusty’s place, eager to maintain the steam locomotive’s reputation in the race.  Nevertheless, Rusty becomes a participant in the following race, thanks to Mama’s support, overcomes any obstacles, the main one of which is the betrayal of the vile and corrupt break truck Caboose, who does everything possible to arrange for Rusty’s fall and remove him from the ranks of competitors. It seems to be the end and the complete failure of steam engines.  But out of nowhere, the legendary Starlight Express appears in the sky: a myriad of shining white and blue stars circle above Rusty, carrying him along with them, inspiring him. The Boy also encourages him by shouting: “Hurry, Rusty! Hurry!” In the end, Rusty wins the race and gets the girl – the heart of the beautiful Pearl now belongs to him.

It’s not just the roller skating that leaves a lasting impression. Of course, it’s cool and unprecedented that the performers are skating, acting, singing, and dancing all at the same time.  You won’t come across this anywhere else in the world of musical theatre. But the “fabulousness” of what is happening is ensured largely thanks to the lighting [Ron Sinclair] and set [John Napier] designs: the metal truss of the railway bridge, which serves as a transforming stage, contains more than a hundred lighting fixtures, creating the very fairy-tale world into which the musical immerses the spectators.

How all this beauty was created and how it all works on stage as well as why the show has been attracting new spectators over the past thirty-plus years – we were able to discuss all of it and more, all technical and production peculiarities, with the performers of the roles of Mama – Reva Rice, and Dustin – Léon Ohrling, as well as with Meinolf Müller – the artistic director of the theatre in Bochum.

Reva Rice’s life has come full circle with the musical Starlight Express: she originated the role of Pearl on Broadway, played the role on West End, as well during the North American tour of the show, and in the Las Vegas production, she also played the role of Velma Kelly in Chicago on Broadway, and then after working in such shows as Smokey Joe’s Café, The Color Purple, Fosse and Spamalot, among many others, she returned to Starlight Express in the Bochum production and created the character of Mama. Reva is a two-time Broadway World Awards winner and the two-time nominee for the Helen Hayes Award. She is considered the “veteran” of the show.

Léon Ohrling, on the other hand, is a young performer who has recently joined the cast. Originally from Sweden, after graduating from the Royal Academy of Music in London, Léon performed in such famous musicals as Rent, We Will Rock You, and Once Upon a Mattress. Léon joined the cast several months ago and has just completed the rehearsal process.

Both Reva and Léon were excited to share what the production of Starlight Express means to them.

Lisa Monde: What does this show mean to you? What is so unique about your experience in the Bochum production?  Which character are you playing now? 

Reva Rice: I’ve been with this show for a long time. Starlight Express has a very sentimental value in my life because it was the first show that I ever did on Broadway. Also, interestingly enough, my mother’s name is Pearl, and my grandmother’s name is Pearl. I played Pearl on Broadway and in other productions of the musical too. So, for me – it holds that historical, special place in my heart. This musical taught me how to sing because I wasn’t a singer when I first started doing Starlight, but I was always a skater. I played Pearl from 1986 till 1994. I think it was the last year I played Pearl. Then I continued being Pearl in the US, on West End, during the first National Tour, in Las Vegas and now I’m here, in Bochum. I always wanted to perform the show in Bochum because the set is one of the best sets in Starlight’s history and to be able to come here and skate the set and learn the language… It’s also wonderful to see young people come into the cast and embrace the show and the athleticism of it: especially this cast, the athleticism that they brought to the show from the very beginning is truly amazing. To be able to skate on these sets that they created is a challenge even for professional skaters! Now I’m playing Mama/ Momma McCoy – it’s come around full circle for me. I don’t mind telling people my age: “I’m in the senior-citizen age” and for me to still be able to do this at this age – I’m very thankful to be Momma McCoy!

Léon Ohrling: It’s been a wildly different experience for me. I was aware of Starlight Express before, but I didn’t know that it was still running in Bochum. So I went to an audition and got cast. And then I arrived, and what I found here exceeded all of my expectations, it was mind-blowing!  Nothing is like what I imagined it would be – it’s much more grand and much more amazing. I mean, I’ve enjoyed the rehearsal process, but it’s truly a show like no other! In the musical I play Dustin – I can relate to my character – he’s all about kindness, he just thinks the best of everyone and that’s a skill that I try to incorporate in real life personally.

LM: During the rehearsal process, you must be working with so many people! I guess you start with the skating practice, right?  Then you also have the director, the choreographer, and the music director… The rehearsals consist of several stages, is that right?

LO: Yes. I think yesterday we did the Finale and a lot is happening in the Finale, all over the stage: we have three different levels, plus the ramps. We work with the roller-skating coach’s assistant, the skating coach, the choreographer, the assistant choreographer, the associate director, the music director… So, there are usually at least seven people working with the cast simultaneously – they are spread out all across the set, teaching and choreographing different parts of the show, and then out of this cacophony a scene is born, we somehow put it all together and then we run it from the top.  At that point, everyone should know what they’re doing. Amazingly, it works! And in the end, we have a show!

LM: In Starlight Express your characters are all trains! You have very elaborate costumes, big headpieces, and roller skates to work with! Do your costumes “make the character?”

RR: The skates become your point shoes, your tap shoes, your ballet shoes if you will.

LO: Yes, the roller skates have become a tool, almost. For example, apart from playing Dustin I also cover another character in the show. And so, for each character, I will skate differently, I will use my skates differently depending on which character I am playing.

LM: Obviously, the Bochum production of Starlight Express is in German. Does everyone speak German in the cast?

RR: No. We just have amazing dialect and language coaches who drill and drill and drill the phonetics with us.

LO: I feel like I’ve cheated a little bit because my mother comes from a region of France where they speak German. So, I can understand quite a lot of German, but we still had to work a lot on the proper pronunciation.

LM: It’s one thing when you speak German, but it’s a whole different story when you have to sing in German. Would you agree?

LO: I don’t know about you, Reva, but I feel like the first time I sang in German, it felt like the vowels sat differently in the mouth. My singing technique had to change a little bit.

RR: I had to get used to not “crushing my vocal cords together” when I would sing, in such words as ‘licht,’ for example, where you have that soft “ch” sound. Sometimes the sound falls to the back of the hard palate when it needs to stay a bit more forward, otherwise, it creates too much pressure on the vocal cords. You have to discover where the placement of German sounds feels “natural” to you as opposed to just being phonetically correct.

LM: Many people think that German is not the easiest language to sing in. But I disagree. I love singing in German!

RR: Well, I think every language is beautiful, it depends on what your ear is used to. It’s really interesting trying to sing something in Asian languages, for example, because they don’t have as many consonants.

LM: Both of you know the show in the original English and now you’re performing it in German. When the musical gets translated, it changes a lot and sounds different. But the opinions on the matter of translation differ: some people say the musical may sound better in the original language, even if the translation is amazing, and some feel like certain shows sound better after being adapted into another language.  I personally love Starlight Express in German. Which version do you like the most? 

RR: I would want to sing in my own language because I can immediately relate to it all better. But the translators have done a wonderful job, I think, translating the show for the German audiences!  People love it.

LM: What about the costumes – some of the costumes you are working with are very heavy….

RR: Well, the two of us are the only characters that have to wear fat suits in the show.

LO: That’s true. The first day I had to wear the costume from the opening number and then yesterday I was in my Dustin costume. It is heavy. It’s the heaviest I think of all the costumes, but it wasn’t as bad as I expected. When you’re watching the show, the performers on stage look like Transformers, they are quite literally “larger than life.”

LM: When I watched the musical, I was so impressed! I can’t imagine how one can perform in such complicated and heavy costumes and skate at such speed while singing!

LO: And, you know, we skate all around the set and do some jumps even. It’s very hot performing in those costumes, especially during the summer season.

RR: Some of the helmets that we put on during the races are about a foot and a half to two feet long. There’s a little window to see through, but it’s literally a football helmet that you’re wearing. When I first started doing the races with the helmet, I was terrified, but now I wouldn’t race without it. I feel very safe in the helmet.  So, the costumes are a huge part of our character development process. John Napier, our costume and set designer- extraordinaire, is still with us. He created some wonderful designs, and I have to say, the German influence on the costumes and the wigs was amazing. When I first came to see the show, the first thing that jumped out at me was how well they maintain the costumes and wigs here. So, hats off, and kudos to the German production that keeps this show looking so fresh and vibrant every single day.

LM: In musical theatre, several main components make the show, and the most important ones are the music and the book, the story being told. But in this show, I believe there is something else that should be noted… What makes this production of Starlight Express work and what makes it so special?

LO: I think it would be too easy to assume it’s the skating… I feel like that’s such a small part of it, it’s just a tool to make the show what it should be. The production here in Bochum, the spectacle of it, and the music merged together give me the chills. It’s not just because of the amazing tech design, with lasers and the incredible lighting, but because the show has been running for so long, the production keeps changing things, and they’re constantly investing in the theatre. Tech-wise, for example, we have the 360-surround sound. So when Rusty is going around the track singing, the sound travels with him.

RR: It’s a theatrical event. It’s a rock concert. It’s a gospel revival. It’s a sporting event. You name it. And the way the set is designed, the audience is so engulfed in the set! You can literally feel the breeze of the races.

LM: This production of Starlight Express can most certainly be considered a full-on immersive theatre experience… Which musical is next on your bucket list? And here’s a trick question – which musical do you think would be great to do on roller skates?

LO: You’ve already crossed everything off your bucket list, haven’t you, Reva?

RR: Yes, I’m in the bucket. (laughs) But a show on roller skates… I don’t know what other show could go on roller skates.

LO: I think it would be so cool to stage some fight choreography on roller skates but not in a musical that exists. I think a musical based on an anime on roller skates would work. Something like Avatar: The Last Airbender, Naruto. As for the existing shows, the Little Mermaid or Lion King would probably be good on roller skates.

 

Meinolf Müller, the artistic director of the Starlight Halle, shared some of his extensive knowledge and secrets. He’s been with the show since its premiere in 1988…

Lisa Monde: How would you explain the success of this show?  The musical has been running for 35 years already and there is an unfading interest in it. So many people come to see the show. Why do you think it’s so viable?

Meinolf Müller: I think because it’s a show that is meant for all generations. Unlike many other shows. Little children are enjoying it and their grandparents are enjoying it as well. Because there’s a lot of action in the show. Often women purchase tickets to musicals and are fans of the genre. With this show, men are also enjoying it, because it’s a show full of action, full of breath-taking moments, that our great cast is fully responsible for. So, I think that’s the main reason – we address people from all generations. And secondly, we always keep working on the show, perfecting it. We implement little changes every year, and a lot of people return after a while to see “how it looks nowadays” and that also brings many spectators back, which is another reason for the big success that we have.

LM: Now, how was the decision to build the Starlight Halle, this whole theatre, made? Why in Bochum?

MM: Well, when this new musical theatre era began, I think in Germany we had Cats... Cats opened two years before us. That was the only long-running production at the time. And then the mayor of Bochum and his team heard about that success, and they decided to contract The Really Useful Group and Andrew Lloyd Webber. They found a producer who was willing to do the show in Bochum. Which was, of course, a huge risk at the time, but the people in power of the city of Bochum helped us: they supported us, built the theatre, and were able to cover the production costs. And as we know now, 36 years later, it was the right decision and Starlight Express is a huge success!

LM: The structure of the building looks unbelievable. Incredibly, the Starlight Halle has been around for thirty-six years! It was designed in such a way that the spectators can become part of an immersive theatre experience…

MM: Exactly. So, the immersive shows seem to be a very modern thing, but actually, we started it thirty-six years ago. That’s exactly what we’re doing here. People are sitting in the middle of the “action!” It’s truly a unique show.

 LM: Who came up with the design project of this theatre in Bochum? Who is the creator of Starlight Halle?

MM: Well, the first producer of this show here was Friedrich Kurz. He also produced Cats in Hamburg at the time. And then Kurz, of course, knew Andrew Lloyd Webber and his team.  Later, John Napier was asked to build the set, and it was his idea to build the tracks around the stage. So everything fell into place.

LM: How long did it take to build the theatre?

MM: Another world record! It took a bit over a year.

LM: Wow, that’s impressive! I mean, we have buildings in New York that are not even close to the Starlight Halle and it’s taking forever to build those.

MM: The idea that John Napier was going to build the set in which the audience would be “included,” and therefore the spectators would become involved in the story as well, was great.

LM: This show is the definition of the “living and breathing” production, constantly changing, and that’s how it should be. However, there are so many musicals out there in the world that don’t change much. They keep doing the replica productions and the actors who join the cast are supposed to do what the previous performer in a role did. But in your show, it’s different. There were so many changes and so many adjustments made to the show: with the new songs being added, some songs being removed, characters changing, characters being removed… Who decides to make these changes? Is it coming from the authors? Or the director? From what I understand – the changes have been taking place throughout the 36 years of the show’s existence and are still happening…

MM: Yes, they are. It’s a mixture. Sometimes it’s us who have an idea and then we normally contact Arlene Phillips [the main director and choreographer of the show] first. If she approves, then she approaches Andrew. Sometimes it’s Andrew himself who has an idea, or, like a few years ago when his son wrote a beautiful song – we implemented it into the show. So, the changes and amendments come from different sources, but we’re all constantly working on this show together, which makes it so interesting.

 LM: The musical is being performed in German.  I’ve heard the show in English before many times, but I honestly love it in German. I think Starlight Express sounds more playful in German, the translation is stunning. I believe you used to have one special day when you did the show in English or with English subtitles, is that right?

MM: Yes, that event was called One Night Only. We thought it was a nice idea when we did it, and it was a lot of fun, but to be honest, it was much more work than we thought it would be because some of the lyrics had to change and there was a lot of work for the cast especially – learning all of the material in both languages. Many members of the cast were familiar with only the German version and had to learn the English lyrics on top of that. It was all too much.

 LM: The cast performed the whole show in English for one night only then?

MM: Yes.

LM: Got it. You have a lot of tourists coming in to see the show. I bet most of the tourists don’t speak German. How do they feel about seeing a show in German? What do you think?

MM: Well, the majority of our spectators do speak German. They come from various parts of Germany. Even our neighbors from the Netherlands understand German. But because this show is such a visual thing, with all the races and special effects, you get the story anyway, so the language doesn’t matter.

LM: Indeed. But have you ever thought of incorporating the subtitles? I recently saw the musical Notre Dame de Paris, it was a revival that came to the US and the show was performed in the original French, even though there was a translated English version that played in London in the past. The original French version of Notre Dame was performed at the Lincoln Center, and they had the English subtitles projected onto the screens on both sides of the stage. Some spectators appreciated it. To me personally, it was distracting. But some people who didn’t speak French appreciated the fact that there were subtitles available to them.

MM: To be honest, we never thought of that. I mean, sometimes we do have screens with lyrics on the sides -it’s the so-called “sing-along shows” that we do, where the audience is invited to sing along and then they can see all the lyrics – which is always great fun. We organize the sing-along nights every two years.

LM: Is there a full video of the production in Bochum available online?

MM: No. We thought about it once, but we decided against it. I think it’s often children who urge their parents to buy a ticket and come see the show: if they like it, they come back again and again… But when they can just watch it at home – that might prevent people from buying another ticket. And when you see the show live it’s such a different experience! There are so many things going on, that you feel like you must watch it several times to be able to perceive it all. You can’t replace the live event that we present here with a DVD or video.

LM:  How do you see the future of this production?

MM: Well, this theatre is owned by the city of Bochum. It’s not our theatre. And just recently, a few weeks ago, we extended our rental agreement for the next ten years. So that’s the plan. I don’t see why the show would close. The audience loves it. And meanwhile, people who came here as children, are parents themselves now and are bringing their children with them to see Starlight Express.

LM: I hope the show keeps “rolling” for many years to come. Perhaps you will end up in the Guinness Book of World Records again for being the longest-running musical in the world!

MM: Could be… Who knows?

LM: I have to ask: are there a lot of accidents that happen during the rehearsal process? From what I understand, many performers have never skated in their life before. 

MM: We’ve had some minor accidents, not only during the rehearsal process. They occur later as well, during shows. Sometimes it’s due to the roller skates: people fall, but it is never anything major. Safety is very important to us. I mean, the stage management and the technicians are all responsible for the safety of our performers. We have to keep the show as safe as possible.

LM: What is the most difficult part of the show to maintain?

MM: Currently it’s the technical aspects of it: the set was built thirty-six years ago, and sometimes you have to replace parts that aren’t even available anymore. That is somewhat of a challenge that we must work around. But our costume department is great! I mean our tailor shop is in the building of the theatre, downstairs. They do it all themselves. And some of the materials they used in the beginning aren’t available anymore, but they are so good, they always find proper replacements. So, that’s not an issue here. But technical things can cause problems sometimes, like even a simple little screw or a little valve here or there, that doesn’t exist anymore because it was installed so many years ago. But we always find solutions. So, I’m optimistic that we can solve any issue that we’re faced with.

LM: When it comes to the choreography of the show, I know that Arlene Phillips created the original choreography and then she did the choreography for the show in Bochum. How different is it? How did it change?

MM: Arlene made a few things a bit easier because at some point, I think, Andrew also thought perhaps the show was too much about dancing, and we wanted to concentrate a bit more on the storytelling – that’s why some things have been simplified a little, but it’s still fantastic choreography. Arlene created a lot of the choreography, it still looks the same as it was in 1988. Only several musical numbers were simplified.

LM: Are there any plans in the future to implement new technology into production? Since, obviously, technology is ever-evolving. Nowadays, videography is very popular in musical theatre – we have video projections that become part of the storytelling.

MM: We did that in 2018, six years ago, we implemented video projections, which was a new touch. We invested a lot of money in the new sound equipment, our old equipment wasn’t up to date anymore: people who go to concerts, for example, are used to a much better sound. So, we did that, and we replaced the conventional lighting with new LED panels. So, we are always looking, trying to be aware of what’s going on, and what is new on the techno market.

 LM: The show is running non-stop. How many shows are you doing per week?

MM: Seven shows a week throughout the year and eight shows during school holidays because, as I said, it’s a perfect show for children and when they have school holidays, we add one more show on Tuesdays to our schedule.

LM: So, you have the main cast and then you have understudies and swings? How many performers total do you have in the cast of the show?

MM: We have forty-six people in the ensemble, and we need twenty-six on stage during the show. Those are the main cast performers, of course. And then there are understudies and swings for every role. Sometimes we have ten understudies for one role, so if something happens during the show, we’re normally always covered and ready to replace them immediately.

LM: What do you think is the most challenging part for the performers in this show?

MM: I think it’s learning. The skating class is the most challenging thing. Because there are ups and downs for everyone and to have to find a way to deal with the “downs- ”  is tough. Because everyone has their good days and their bad days – that’s a lesson our cast members learn for life. I think it’s the most challenging time, especially in the beginning. Sometimes there are blisters on their feet, and their legs hurt from too much skating, but it gets better and easier in time.

LM: Do the creators of the show – Andrew Lloyd Webber and Arlene Phillips, come to see the show often?

MM: Arlene is here regularly, I would say she is here at least five times a year or perhaps even more. Andrew hasn’t been here for a while. There was a visit scheduled but he was sick on that day so then just his wife and his children came. But Andrew is also very interested in what we’re doing, and if his time allows, he comes over, watches the show and talks to the cast and that makes everybody super happy!

LM: I think it’s wonderful and it’s probably a dream come true for Andrew Lloyd Webber too. Knowing that your show lives on for generations, for years and years and years to come, that such a high-quality production only keeps evolving and getting better, and has a successful life of its own… that’s amazing.

MM: Yes, and it is probably not the best show that he has ever written, but it seems to be the most successful show, which is lovely! Makes us proud.

LM: When it comes to the lighting and the sound designs, I’ve heard from the actors that the sound is a 360-surround sound, and it was also just recently implemented in the show. The “traveling sound” is fantastic. I’ve also noticed the beautiful drones that float around Rusty in one of the scenes. Who designed that? Did those additions come from a different lighting and sound designer rather than those who worked on the Broadway production?

MM: No, it was actually John Napier who was the head of everything. He got in touch with this company in Switzerland that provides us with drones. And John told them which choreography the drones needed to follow. And we’re just about to change that, actually. The drones’ choreography will be different now and Arlene Phillips will work on the choreography in that scene with us again to match the drones’ updated movement. So, as you can see, we’re always working, keeping it fresh.

LM: How will the drones’ choreography change in the scene?

MM: Well, we have twenty-nine drones, and they are flying around Rusty in the Magic Scene and now the way they fly is going to be different. They won’t be just fairy lights; the drones will come into the shape of a train and then disappear. It’s going to be spectacular.  You need to see it to believe it!

            Coinciding with the 40^th anniversary of the musical Starlight Express, a “completely new and updated production” (directed by Luke Sheppard, &Juliet) opened in London at the Troubadour Wembley Park Theatre this summer. With Andrew Lloyd Webber’s blessing, a new creative team led by the veteran of the project – Arlene Phillips (as the creative dramaturg) worked on the show. Taking the 2018 Bochum production as the basis, the crew worked to create new meanings in the old story. The main one of which was the transformation of the steam engine Rusty from a backward one, powered by coal, into “the engine of the future- ” powered by hydrogen fuel cells. A locomotive with a hydrogen engine – is the latest achievement of engineering and design, which has already been brought to life, but does not have an established name yet.  Perhaps it’ll be called “Rusty?” It would be symbolic, to say the least. The other changes concerned the reimagining of the characters and their gender identities. Thus, Greaseball, having become a female character, does not resemble Elvis Presley anymore, but Pink. Electra – portrayed by a woman, pronouns they/them, clearly carries a reference to Lady Gaga. And the Boy- Control, is a child actor, who rides around the stage on a scooter. The express trains have lost their affiliation with any specific countries. Many lyrics have been changed. The music score has been significantly revised and modernized to attract the interest of a new generation.  In particular, there is a new song Hydrogen, performed by Hydra – the new character who helps Rusty win the race. New singles by the London cast will be released in November.

The design of the costumes has changed (costume designer Gabriella Slade, Six): now, according to the creators, they are designed “to embody the spirit of the train more than look like a train.” Innovative ideas, expressed in the costumes, give rise to associations with superheroes from Disney’s Marvel Comics and other popular characters from various fashionable shows. Needless to say, the scenery has been updated too (set designer Tim Hatley, Back to the Future), and is shaped like a steam engine; the stage rotates and transforms, rises, tilts, and drops. The complex lighting design and expensive equipment add to the futuristic feel of the spectacle, and the audience being seated in close proximity to the performers makes the show extremely immersive.

      Whether these innovations will be included in the Bochum production – time will tell. But given the fact that the production is secure for the next ten years and the German team is keeping pace with the progress – anything is possible.  It is also known, that the British producers are in the process of developing a version of the musical using the fashionable 360 technology. Be that as it may, forty years ago the musical  Starlight Express turned a new page in the history of the development of musical theatre as a genre introducing us to mega-musicals, clearing the path for the following grandiose projects, the first one of which was the musical The Phantom of the Opera.

No matter how Starlight Express is transformed by technological innovations, technical capabilities of the theatre venues, or the cultural code of our time, it is doomed to remain a bright satellite in the orbit of musical theatre.