5,796 posts
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Post by mrbarnaby on Jul 14, 2024 19:52:55 GMT
Anyone know where I can collect booster seats for the kids? Ask someone FOH when you get there? |
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1,188 posts
Member is Online
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Post by mattnyc on Jul 14, 2024 20:26:30 GMT
Anyone know where I can collect booster seats for the kids? Ask an usher inside the theatre. Kids next to me got some the other day when the mother stopped on, walking by. |
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Post by fungus on Jul 17, 2024 9:52:20 GMT
Update: I've moved our tickets from the back of the First Class Carriages to Row N. Hopefully this gives the kids a better view...and also saves me a fair bit of money as we were refunded the difference in ticket price.
Looking forward to seeing it. Saw it about 6 times at the Apollo when I was young, and then a couple of times since when it toured.
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8,096 posts
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Post by alece10 on Jul 17, 2024 17:31:15 GMT
I went to see Starlight 3 weeks ago on the hottest day of the year and it appears when I go again on Friday its going to be the same. At least the metropolitan line has air con as does the theatre.
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Post by lotster on Jul 17, 2024 19:42:49 GMT
Sorry if this has been discussed and I've missed it, but have any of you been to the Starlight Express themed menu restaurant at/near the theatre (Studio Five)? Any good? Also, any other good restaurants you can book pre show? Thanks
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Post by danb on Jul 17, 2024 19:50:32 GMT
We went to Boxpark before. Many different food outlets all under one roof round the corner from the theatre. We had delicious pizza.
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8,096 posts
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Post by alece10 on Jul 18, 2024 5:45:46 GMT
Sorry if this has been discussed and I've missed it, but have any of you been to the Starlight Express themed menu restaurant at/near the theatre (Studio Five)? Any good? Also, any other good restaurants you can book pre show? Thanks The couple sat next to me when I was there said they had just eaten in the theatre restaurant and said it was excellent and were raving about it. |
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Post by osdtdg on Jul 18, 2024 5:49:20 GMT
Update: I've moved our tickets from the back of the First Class Carriages to Row N. Hopefully this gives the kids a better view...and also saves me a fair bit of money as we were refunded the difference in ticket price. Looking forward to seeing it. Saw it about 6 times at the Apollo when I was young, and then a couple of times since when it toured. Can i ask what the contact email address may be? I had a quick poke around and couldn't find one; or were you in contact via phone? |
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Post by shownut on Jul 18, 2024 6:46:39 GMT
Finally caught the show last night.
As a former cast member of the London production (several years with the show) 'Starlight' is obviously close to my heart. I went in hoping for the best, knowing that much of the show had been altered and, having a wholly new creative team, would likely not resemble the long-running production from the Apollo Victoria.
What I didn't expect was this absolute hatchet job that made it unrecognizable from any previous iteration of the show.
I cannot understand the removal of nearly all of the characters (with the exception of a few) in favour of new characters with no development, no personalities to speak of, and names/concepts that are mostly indecipherable. The costumes were silly and looked impossible to move in, much less skate in. This might be why the choreography was one of the weaker elements of the show....and I use the term 'choreography' lightly. It pretty much came down to arm movements while doing 'step-touch, step-touch' from the knees down. I guess the lack of danger or actual exertion of energy will ensure the cast can stay mostly intact for 8 shows a week. But while I think there is less risk of injury here, the risk of boredom setting in is far higher.
Performances were ok given what the cast had to work with.
Of the many revisions, the score suffers the most with too many songs from the original either cut or replaced with material that ranges from substandard to just plain awful. "A Lotta Locomation" dropped in favour of a dud like "I Am Me" is one shining example. The change from Poppa to Mama (which started in Germany) is an ill-conceived move. Vocally it is quite dull. Instead of a male voice reaching for the rafters, you have a female voice forced to sing in the basement. It doesn't work, especially during the 'Starlight Sequence' which, though beautifully lit, had absolutely no emotional pull whatsover. Done/sung correctly, there wouldn't be a dry eye in the house.
Design-wise it was ok, but what was with the planets popping and out? It looked silly and ill-concieved. The space itself is well used but could use crowd control at the interval. It was a scrum trying to move from the toilets back to the FOH with folks barely being able to move.
I cannot fathom how or why, Arlene Phillips, who remained with this show as dramaturg and was the backbone of the original production, didn't find a way to restore a bit of heart and soul into the show. It was a crime to have her in the building and not allow her to at least co-create some of her original choreography or, for that matter, direction and character development which she oversaw during the 18 years of the original run and other International productions.
Two stars from me. It had a decent opening but after "Rolling Stock" it was downhill from there.
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Post by watsonjm on Jul 18, 2024 10:48:56 GMT
Does anyone think or know if the Bochum will do another English show? I didn't even know it existed till joining the forum and would love to see the original show again.
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Post by d'James on Jul 18, 2024 11:26:51 GMT
Does anyone think or know if the Bochum will do another English show? I didn't even know it existed till joining the forum and would love to see the original show again. I mean, it’s nowhere near the original show any more. The costumes are more like the originals but not as good. However, the spectacle of the theatre is an experience in itself, although lessened since 2018 IMHO. |
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Post by watsonjm on Jul 18, 2024 11:28:55 GMT
Does anyone think or know if the Bochum will do another English show? I didn't even know it existed till joining the forum and would love to see the original show again. I mean, it’s nowhere near the original show any more. The costumes are more like the originals but not as good. However, the spectacle of the theatre is an experience in itself, although lessened since 2018 IMHO. Yes get that (just been reading the thread on the international board) but from everything i've read/seen its closer to the new London version |
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287 posts
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Post by singingbird on Jul 18, 2024 16:07:25 GMT
I also finally made it to see this last night. It was my first trip to this theatre and I thought it was interesting and ironic to attend a theatre converted from a TV studio, when years ago so many TV studios were converted from theatres. It's also weirdly pleasing to know I'm watching a show about trains in the same spot where they once filmed the sitcom On the Buses.
As for the show itself - is it possible to both dislike and enjoy something simultaneously?!
The show has had its heart - and what little depth it ever had - leeched away. The set feels underwhelming. The orchestrations sounded less inventive and dynamic than they once were - Rolling Stock especially was very underpowered. The characters feel blander and less distinctive. The races are shockingly slow, and totally undynamic. There feels like a lack of focus on them being trains - it feels like a lot of abstract colourful space-age robots. Rusty's journey has less jeopardy - he doesn't even need convincing to race on behalf of Momma, so that sense of a personal journey is much diminished. The commenting on him 'whistling' was a step too far even for a liberal lefty like me (it never even occurred to me before that the whistling could be equated with wolf whistling - it's just a romantic symbol of him being a steam train). Act 2 picked up somewhat but Act 1 just felt really flat to me. Having Control as part of the on-stage action really diluted a lot of the magic and often fell flat. I still don't buy Electra singing One Rock and Roll Too Many - the three main engines have distinctive musical vernacular and this is a Greaseball-style song through and through, not an Electra one.
And yet, and yet, I came out happy. I don't know why. The score is still incredibly ear worm-y and, although neither I've Got Me or I Do are as dramatically apposite as songs they've replaced, they're still both catchy as anything. The sparkly lights during Starlight Sequence were weirdly affecting. And the whole show was a bit like a puppy coming up and licking you - just sort of impossible to dislike. As someone who grew up on the OLC and has followed the show at an affectionate distance ever since, I do enjoy the modular nature of the score - the way it's built of a set of bricks that change position and yet still make pleasing shapes. I find it weird when we suddenly get a couple of minutes of between song recitative that is exactly the same as it was in 1984, amidst lots of stuff that's been reworked, but I love tracing the patterns in it - so I hope we get a new full recording.
I know I'm not the target audience. Maybe children will find it more satisfyingly sensory than I did. I feel like it needed yet more care, and a whole lot more physical presence, as well as all the digital and lighting stuff, to make it a truly immersive experience. It needs to be meatier, tougher, faster and louder. But somehow I still enjoyed it. Go figure.
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3,325 posts
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Post by Dr Tom on Jul 18, 2024 16:41:00 GMT
Scott Hayward as Rusty and Ashlyn Weekes as Pearl at the matinee today. They pair so well together. No pinned up notices, but they updated the screen cast list.
I sat on a Platform seat for the first time. So interesting to see this from further back. I was on the skating aisle as well with lots of legroom. Also a perfect seat for Asher fans (who isn’t?). The strap pulled across to keep people out of the skating aisle just wouldn’t stay attached, so the poor usher gave up at the end. I blame Asher for his vigorous jumping and dancing (joke).
Some minor slips, nothing major.
Air conditioning on full too. Plus, my first time seeing Dante Hutchinson on as a Marshall. He has the best hair out of all of them.
A usually quiet Thursday matinee audience, generally older, so it was great to hear a kid near me yell “Come on Rusty”.
That’s Platform 1 tried. Platform 2 still to go.
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1,481 posts
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Post by steve10086 on Jul 18, 2024 18:19:05 GMT
Finally caught the show last night. As a former cast member of the London production (several years with the show) 'Starlight' is obviously close to my heart. I went in hoping for the best, knowing that much of the show had been altered and, having a wholly new creative team, would likely not resemble the long-running production from the Apollo Victoria. What I didn't expect was this absolute hatchet job that made it unrecognizable from any previous iteration of the show. I cannot understand the removal of nearly all of the characters (with the exception of a few) in favour of new characters with no development, no personalities to speak of, and names/concepts that are mostly indecipherable. The costumes were silly and looked impossible to move in, much less skate in. This might be why the choreography was one of the weaker elements of the show....and I use the term 'choreography' lightly. It pretty much came down to arm movements while doing 'step-touch, step-touch' from the knees down. I guess the lack of danger or actual exertion of energy will ensure the cast can stay mostly intact for 8 shows a week. But while I think there is less risk of injury here, the risk of boredom setting in is far higher. Performances were ok given what the cast had to work with. Of the many revisions, the score suffers the most with too many songs from the original either cut or replaced with material that ranges from substandard to just plain awful. "A Lotta Locomation" dropped in favour of a dud like "I Am Me" is one shining example. The change from Poppa to Mama (which started in Germany) is an ill-conceived move. Vocally it is quite dull. Instead of a male voice reaching for the rafters, you have a female voice forced to sing in the basement. It doesn't work, especially during the 'Starlight Sequence' which, though beautifully lit, had absolutely no emotional pull whatsover. Done/sung correctly, there wouldn't be a dry eye in the house. Design-wise it was ok, but what was with the planets popping and out? It looked silly and ill-concieved. The space itself is well used but could use crowd control at the interval. It was a scrum trying to move from the toilets back to the FOH with folks barely being able to move. I cannot fathom how or why, Arlene Phillips, who remained with this show as dramaturg and was the backbone of the original production, didn't find a way to restore a bit of heart and soul into the show. It was a crime to have her in the building and not allow her to at least co-create some of her original choreography or, for that matter, direction and character development which she oversaw during the 18 years of the original run and other International productions. Two stars from me. It had a decent opening but after "Rolling Stock" it was downhill from there. Quite! The “it’s all just a kids imagination” is used to cover up any plot holes or other criticisms, but lots of work went into the original show. It would never have run for 18 years if this has been the version that opened in 1984. This version is lazy in almost all respects (I’m sure it’s still a very tough show to perform, but the creatives took their foot off the peddle, or whatever the train equivalent is). Edited to add: ALW is so lucky to have had the very best creatives working on his original productions. It’s only their absolutely incredible work that has allowed him to water down the quality over the years and get away with it (see Phantom). |
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Post by danb on Jul 18, 2024 18:31:23 GMT
They have just ended up with a bit of a bland focus-less meh rather than committing to a strong identity. It’s like a greatest hits of Starlight ‘things’ rather than a strong story. It is still an enjoyable evening out though.
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80 posts
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Post by jay78uk on Jul 18, 2024 21:25:25 GMT
Visited tonight for nostalgic reasons… thought the show looked fab and the ensemble numbers really delivered. Liked the upgrading of Control but found the changes which I presume where about removing the sexism and gender stereotypes a bit pointless given virtually all the engines remained guys and the coaches were generally extreme femme. Bizarre that lyrics to make up my heart unchanged eg ‘ You'd think two lovers would be twice the fun but its tearing me apart…’- hardly speaks of female empowerment, and not helped by a stand in with poor vocals. As others said races dragged. Can’t stand the new song ‘i am me’. Still love some of the music (eg freight) which at times sounds almost religious anthemic! Second act opening really punchy and energy then stayed up which was great. Chap playing hydrogen quality and liked the hydrogen storyline and motif. I am sure if I was a kid again I’d have loved it. Amazed how packed show was- adults in the main. Sat L2 for 29 quid- great seat.
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Post by d'James on Jul 19, 2024 19:47:20 GMT
Do they still do the £29.50 tickets? They say they do, but when I click on them, the single tickets are £45.00.
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Post by evilmat360 on Jul 19, 2024 20:05:59 GMT
Do they still do the £29.50 tickets? They say they do, but when I click on them, the single tickets are £45.00. They have been, got one Wednesday night for last night in Platform 2. Think they're leaving it much later to reduce some of the prices, plus with the start of the summer holidays there's less likely to be loads of seats left to also shift.
And on another note, for anyone who's been waiting for the production photos to be in the Brochure/Programme they're finally in there.
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1,381 posts
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Post by BVM on Jul 19, 2024 20:28:31 GMT
Finally caught the show last night. As a former cast member of the London production (several years with the show) 'Starlight' is obviously close to my heart. I went in hoping for the best, knowing that much of the show had been altered and, having a wholly new creative team, would likely not resemble the long-running production from the Apollo Victoria. What I didn't expect was this absolute hatchet job that made it unrecognizable from any previous iteration of the show. I cannot understand the removal of nearly all of the characters (with the exception of a few) in favour of new characters with no development, no personalities to speak of, and names/concepts that are mostly indecipherable. The costumes were silly and looked impossible to move in, much less skate in. This might be why the choreography was one of the weaker elements of the show....and I use the term 'choreography' lightly. It pretty much came down to arm movements while doing 'step-touch, step-touch' from the knees down. I guess the lack of danger or actual exertion of energy will ensure the cast can stay mostly intact for 8 shows a week. But while I think there is less risk of injury here, the risk of boredom setting in is far higher. Performances were ok given what the cast had to work with. Of the many revisions, the score suffers the most with too many songs from the original either cut or replaced with material that ranges from substandard to just plain awful. "A Lotta Locomation" dropped in favour of a dud like "I Am Me" is one shining example. The change from Poppa to Mama (which started in Germany) is an ill-conceived move. Vocally it is quite dull. Instead of a male voice reaching for the rafters, you have a female voice forced to sing in the basement. It doesn't work, especially during the 'Starlight Sequence' which, though beautifully lit, had absolutely no emotional pull whatsover. Done/sung correctly, there wouldn't be a dry eye in the house. Design-wise it was ok, but what was with the planets popping and out? It looked silly and ill-concieved. The space itself is well used but could use crowd control at the interval. It was a scrum trying to move from the toilets back to the FOH with folks barely being able to move. I cannot fathom how or why, Arlene Phillips, who remained with this show as dramaturg and was the backbone of the original production, didn't find a way to restore a bit of heart and soul into the show. It was a crime to have her in the building and not allow her to at least co-create some of her original choreography or, for that matter, direction and character development which she oversaw during the 18 years of the original run and other International productions. Two stars from me. It had a decent opening but after "Rolling Stock" it was downhill from there. Very interesting! Who did you play? I probably saw you! |
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Post by shownut on Jul 19, 2024 20:50:17 GMT
Finally caught the show last night. Two stars from me. It had a decent opening but after "Rolling Stock" it was downhill from there. Very interesting! Who did you play? I probably saw you! Over several years played various roles. Mainly Rhurgold (German Train) and Turnov (Russian Train) while covering Electra and Dustin. If you saw the show in the mid to late 90's it is possible you saw me. :-) |
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Post by Dr Tom on Jul 19, 2024 21:13:22 GMT
The £29.50 tickets are slim pickings at the moment (at least, those near the front). I did get one on Thursday, but it takes luck and timing.
I imagine that this will be the same throughout the school holidays.
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Post by d'James on Jul 19, 2024 21:20:09 GMT
The £29.50 tickets are slim pickings at the moment (at least, those near the front). I did get one on Thursday, but it takes luck and timing. I imagine that this will be the same throughout the school holidays. The joys of being a teacher… |
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Post by FairyGodmother on Jul 19, 2024 21:41:24 GMT
I still don't buy Electra singing One Rock and Roll Too Many - the three main engines have distinctive musical vernacular and this is a Greaseball-style song through and through, not an Electra one. I was wondering about something related to this — I admit I've never seen it (although I remember seeing the cast on Blue Peter!) and have only listened to the cast recordings and read a bit about it. I always thought Greaseball was almost a take-off of Elvis crossed with Danny Zuko (similar to Pharoah), both in terms of style of songs and also costuming. Now if Greaseball isn't American, or male, has that association just been dropped? |
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1,481 posts
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Post by steve10086 on Jul 19, 2024 21:55:12 GMT
I still don't buy Electra singing One Rock and Roll Too Many - the three main engines have distinctive musical vernacular and this is a Greaseball-style song through and through, not an Electra one. I was wondering about something related to this — I admit I've never seen it (although I remember seeing the cast on Blue Peter!) and have only listened to the cast recordings and read a bit about it. I always thought Greaseball was almost a take-off of Elvis crossed with Danny Zuko (similar to Pharoah), both in terms of style of songs and also costuming. Now if Greaseball isn't American, or male, has that association just been dropped? All the characterisation has been dropped (lost). Part of the overall blanding of this production. |
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