Review: Starlight Express at Vector Arena

Starlight Express

The rock critic Lester Bangs used to defend his preference for the trashier end of the pop culture spectrum by arguing that rock musicians who think they are poets usually end up sounding like buffoons while those who know they are buffoons are sometimes capable of great poetry.

The insight is useful when approaching Starlight Express, which is Andrew Lloyd Webber's second-most popular musical and probably the most critically maligned.

If you're looking for deep and meaningful you've come to the wrong place, but the show never pretends to be anything other than what it is - a spectacular, feel-good entertainment with catchy tunes, bubblegum romance, outrageous costumes and rollerskates.

The musical score does not contain any instantly recognisable hits but the soundtrack - delivered live by an impressive though unseen band - always strikes the right emotional chord and there is an appealing musical playfulness in many of the songs like U.N.C.O.U.P.L.E.D, which gives a country and western spelling lesson on words that are just too heartbreaking to pronounce.

The large cast are all highly accomplished singers and dancers with standout performances coming from some of the veterans of the show's extensive world tour. Mykal Rand is glitteringly seductive as Electra while Lothair Eaton, playing Poppa, has a huge, heart-warming voice that is particularly effective in the rousing gospel-style finale.

Alongside these seasoned professionals the large Kiwi contingent more than holds its own. Rebecca Wright brings a fine voice and an engagingly sweet stage presence to the role of Pearl - an observation carriage who can't decide whether to follow her heart.

The show's hip-hop contingent has a couple of talented Kiwi teenagers - Joel Hewlett and Sharn Te Pou - who team up with expat Aaron Piper to deliver a spectacularly athletic dance routine.

The only disappointment came with the filmed race sequences which were enticingly shot in 3D but projected in a rather dull two dimensions without the magical safety glasses.

As for the poetry - well there was Jamie Golding as Rusty, a beat-up old steam engine with a heart of gold singing, "You've left me with nothing, not even doubt / No one to turn to, I'm down and out", in an achingly plaintive tenor that inspired an audience member to yell out "Come on Rusty".

And that's good enough for me.