Forty years after its West End debut, Andrew Lloyd Webber and Richard Stilgoe’s “Starlight Express” returns to London in a breathtaking immersive production by Luke Sheppard. The entire venue is now dedicated to this spectacular show, featuring a foyer adorned with disco balls and a fully transformed auditorium.
A massive racing track, designed by Tim Hatley, winds through the expansive space. Two semi-circular ramps descend to form a ring around part of the audience, extending to the seats behind. Sitting trackside, I experienced the thrill of actors zooming past on roller skates at exhilarating speeds.
This is just the start of an awe-inspiring, high-tech spectacle. The central stage includes a revolve, a rising platform, and a giant skate ramp. Cameras capture the races and project them onto big screens, while planets descend from the ceiling, resembling a large mobile in a child’s room.
A major update in this production is the onstage character of Control, the child who imagines the entire story. The toy trains come to life with Control’s personality influencing the show—from strict rule adherence to a sense of wonder that drives the fantastical narrative, though they are less enthusiastic about the romantic elements.
The revised plot remains delightfully zany. Trains race in pairs, with engines teaming up with coaches. Rusty, an old-fashioned steam engine, is mocked by the aggressive diesel engine Greaseball and a sleek German electric train but competes to impress Pearl, his dream girl first-class carriage. He is inspired by a believe-in-yourself spirit, the Starlight Express.
Despite the low stakes (winning or losing doesn’t change much), the show focuses more on its vibe than its drama. A new character, a hydrogen truck named Hydra, adds to the mix, though this production isn’t about serious discussions on energy futures.
The cast delivers high-energy performances. Jeevan Braich and Kayna Montecillo are endearing as Rusty and Pearl, while Jaydon Vijn’s Hydra impresses with immaculate spins, and Eve Humphrey brings humor to Dinah the dining car’s Tammy Wynette-style break-up number.
Gender changes in some roles balance the show better. Al Knott’s competitive Greaseball is now female, and Jade Marvin’s Momma (formerly Poppa) brings powerful vocals to her blues solo and the climactic number “Light at the End of the Tunnel.”
Lloyd Webber’s eclectic score—blending rock and roll, doo-wop, country, gospel, and electronica—is enjoyable, though the post-Hamilton era makes the dated rap element cringeworthy.
Gabriella Slade’s retro-futuristic costumes evoke both armored Marvel superheroes and the queens of “Six,” with cool features like smoke emanating from the steam characters’ backpacks. The cast’s impressive skating skills are even more remarkable given the costume weight, requiring a high level of fitness.
Ashley Nottingham, along with creative dramaturg and original choreographer Arlene Phillips, delivers a variety of dance styles, from hip-shaking swing and kick lines to funky street dance. The race marshals, performing upside-down flips off the ramp on scooters, are a highlight.
This technologically advanced production features an enormous lighting rig, with Howard Hudson’s phenomenal display of LEDs, lasers, and twinkling stars seamlessly integrated with Andrzej Goulding’s video projections. The only downside is the overpowering sound, which occasionally drowns out the actors.
Overall, “Starlight Express” is an extraordinary blend of stadium concert and theme park ride, promising a long, successful run in its dazzling new home.
“Starlight Express” is at the Troubadour Wembley Park Theatre until June 8, 2025. Book tickets on London Theatre.
