|
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
Music by Andrew Lloyd Webber
Lyrics by Richard Stilgoe
Additional Lyrics by David Yazbek
Scenic & Costume design by John Napier
Lighting design by Rick Belzer
Directed and Choreographed by Arlene Phillips
--John Garcia
|
