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Starlight Express In the 1980s, Broadway was smothering with the British invasion and its "mega-musical" concept, which was met critically for the most part with a cold shoulder. These were musicals that had lavish sets, costumes, effects, and were simply mammoth in scope and size. Cats, Les Miz, Phantom, Miss Saigon, and of course Starlight Express ... many critics sharpened their teeth attacking these musicals for not having depth, true plot, and of course characters that had meaning or purpose. How many have commented on the helicopter, the chandelier, the oversized trash, a massive barricade, and so on? Starlight Express first opened in London in 1984, playing 7,046 performances. For Broadway, it opened at the Gershwin theater with an 8 million dollar budget. The musical roller skated to 761 performances, and it seemed both tourists and the Gotham citizens refused to fall for this spectacle. Fast forward now to a "new" Starlight Express from Dallas Summer Musicals, which has arrived at the Music Hall in Dallas. In this incarnation, Andrew Lloyd Webber has changed and updated his score with the assistance of David Yazbek, the young composer who earned a Tony Award nomination for his delicious score for The Full Monty. Songs have been cut from the original score and topical ones added - in styles such as rap, country & western, and slight jazz. For the most part, the score works; unfortunately, the rap portion of the show comes off like a cheap amusement park number. There are a couple of really solid, good original numbers, such as "U.N.C.O.U.P.L.E.D," "AC/DC," "Light at the End of the Tunnel," "Pumping Iron," and the title song. As in other Webber shows, the music from the title song is repeated throughout the evening. It should be noted that there is even a megamix thrown in, as in the revival of Joseph and the Amazing Technicolor Dreamcoat. Sadly, the loud, thunderous music provided in this production often drowns out the singers. You simply cannot comprehend the lyrics for the majority of the evening. Whatever subtext, characterization, and plot is explained in the lyrics was completely lost on the evening I saw the show. Visually, though, the production is magnificent. This all-new production fuses state of the art technology. The impressive set, centered around a "half-pipe", and an unrivaled lighting and special effects system with more than 1,400 color, pyrotechnic, laser, and optic effects combine to transform the roller skating performers into wildly careening trains, each with its own personality. This production also features another new element - 3D film sequences. The problem is, if you are sitting on the sides, the effect looks slanted and not thrusting toward you as 3D is supposed to achieve. But it still is a very festive effect. John Napier's costumes are impeccable in design, color, and detail. Little train wheels are attached to the sleeves and roller skates of the characters. Fabric and other materials are used to create costumes that resemble actual trains and are a feast for the eyes. My personal favorite is Electra's blue, red, and white glittery costume. Napier's scenic design of metal ramps, arches and scooped sides adds to the concept of being placed in a train race. Rick Belzer's lighting design uses a dazzling, breathtaking array of colors that bathe the stage in abundance. There are literally hundreds of lighting instruments hanging above the company, all throwing hundreds of colors onto the set. Wait until you see what he created for the starlight express sequence! To find a cast that can sing, dance, act, and roller skate must have been hell, but this cast fulfills every one of those elements. The entire group is tiptop, but there are a couple who deserve special kudos: Dustin Dubreuil is fantastic as Electra, the narcissistic train that will do anything to win the race. Dubreuil gives a swaggering, vain, and hilarious performance with the best entrance of the night. Katie O'Toole is Dinah, the dining car. She gives a warm, yet very humorous rendition of her country & western ballad, "U.N.C.O.U.P.L.E.D." She is a sweet treat within the cast. Dennis Legree sings with a booming, baritone voice that adds grandeur to his solos as Poppa, the oldest train who runs on steam. Jeremy Kocal portrays Red Caboose. He is costumed in shiny, bright red with apple red cheeks and tufts of blonde curls peekabooing from underneath his hat. But when he smiles and shows that this caboose is actually evil, he looks like a Baby Jane gone bonkers and deranged. Kocal delivers a solid performance. Drue Williams as Greaseball is all macho stud with a swaggering attitude as the train that has won before. With his towering black shellacked hairdo and over the top ego, he is terrific in the role. Though Starlight Express may not be near the caliber of some of Lloyd Webber's other musicals, this is still a quite exciting and enjoyable production. It does not lift the art of musical theater to new heights, nor is it a very dramatic piece. But for an evening of incredible visual delights and some exceptional performances, Starlight Express does what it sets out to do - provide a great evening of theater. Starlight Express plays through August 17 at Dallas Music Hall in Fair Park. Call 214-631-ARTS for tickets. For more information, visit www.dallassummermusicals.org Starlight Express |
