#it's a running joke at school that the only plot point of grease anyone knows is rizzo gets pregnant

[wheelie-butch]

When he finished the song, there was silence. Karamatsu kept his head down, gripping his guitar neck tight with slippy palms.

Iyami, the director, inhaled. “So, you’re auditioning for Frenchy, who you described as the lead, in drag, while singing a song for Doody, even though Frenchy doesn’t have a solo, zamsu. Sheeh! Have you not read the script at all? Do you know any of the plot?”

Karamatsu grinned and slid on his glasses with more bravado than he felt. “Rizzo gets pregnant,” he declared. 

“Well, that’s all me knows as well,” Iyami said with a sigh. “Me will be assigning roles at the end. Next!”

****

Later that day Karamatsu burst into his home, startingly his family as they ate lunch together. “Mommy! Bruzzas! I got the part!”

Jyushimatsu laughed. “Nii-san’s going to be in a play?”

“I shall be Frenchy!” Karamatsu said, adjusting his Pink Ladies jacket. “And Totoko is some Kenickie person, not quite as prestigious as me but I am sure she will do well...” The rest of his speech was drowned out by a cacophony of congratulation as his brothers surrounded him, cheering and slapping him on the back. Even Ichimatsu managed a surly “Well done...”

“I knew you could do it,” Matsuyo said, ruffling his hair and Karamatsu didn’t push her away for once. He could always gel it up again later. 

The celebration was interrupted by a knock at the door. “Osomatsu, could you get it?” Matusyo said, frowning slightly. “I wonder who that could be?”

[bellesdomain]

Starlight Express Workshop - Thurs 14th Sept

Let me preface this with my overall impressions - this show was fantastic in many ways, the performances were all amazing, the band was fantastic, the staging was remarkably full and entertaining given the circumstances!  It was an absolutely fascinating experience, I’m so glad I had the chance to go - and that I’m going again to see how it develops further.  

But as reviews like this are bound to, this is all going to come across as very negative - but I want to start off emphasising how much I enjoyed it overall!

The theatre is a small, steeply raked auditorium, with a thrust stage about level with the 3rd row.  The stairways on either side were accessible from the stage and used in the performance.  There’s a gantry upstage, which forms a platform for the 8 piece band and Control - yup, live Control onstage.  He had fabulous glowing headphones and an Ipad that seemed to be a racing game - I think it also included his script!  Generally I am very anti-live Control, when it comes to non-replica productions - since the entire show takes place in his imagination, he exists on a different plane to the action therefore they shouldn’t interact. But given the fluid nature of this workshop, pre-recording the kid would be impossible so it worked ok!

The show opened with Andrew Lloyd Webber and Arlene Phillips giving us the context of the evening.  Lloyd Webber explained how they’d workshopped “School of Rock” in a similar manner - no big automation, complex lighting cues or costume changes, just establishing the story telling.  Great concept!  And the venue “The Other Palace” theatre in Victoria, is being run for precisely this function.

Lloyd Webber also told us how he and Arlene Phillips had visited the German production for the English Gala, and he hardly recognised the show they were performing as his work.  And indeed, I was also at the English Gala and suddenly hearing the material in its original language made the inconsistencies and plot holes glaringly obvious!  So the point of this workshop is to see if they can get the show back into shape for a future production, as well as the German production’s 30th anniversary next May.

The show opened in a familiar manner, Control (playing with his ipad), sent to bed by his Mother. She sings her lullaby, the melody is taken up by the mouth organ.  The Overture modulates, repeats, swells, in the fans’ mind’s eye you see the shadowy figures skating around the set - and then Control interrupts with “Stop that Boring Music!” And begins to introduce the National Engines.

I think it’s fair to say this change is getting a bit of negative feedback.  That overture is the literal HEART of the show, it’s the preview of the Starlight Sequence, it’s the title song melody.  It’s the magic happening, as Control falls asleep and we enter his dreamscape.  The Overture alone will literally draw people to tears.  To have Control dismiss it as “boring music” is crass, insensitive, and a tonal mis-fire, alienating Control from the audience.  In other words, he’s a brat!

Entry of the National Trains is always a clunky way to start the show, these minor characters are so unimportant to the plot.  Placing the scene later, before AC/DC, makes for better story telling, as the audience have already established who’s important and it contextualises Electra’s entrance as we’re calling forward the competitors for the race. Anyway, the workshop has given us some new names for the Nationals - Bobo the French train is now the feminine Coco, which works well.  The German Engine is now named after Wagner’s opera das Rheingold. Rather than fix the dated and embarrassing reference, the Japanese train is still Nintendo.  And the British train is now “Brexit” - which is as topical a joke, and I suspect will last in the public conscious about as well as his APT designation did.  Yeah, that’s the point. Nobody remembers!  A very quickly dated reference.  There were a few of them throughout the night, so hopefully they’ll be reconsidered. Rolling Stock - Oliver Tompsett as Greaseball, greased back hair and stubble, was hilarious and a bit menacing - would probably be more menacing if I weren’t so steeped in his performances from Rock of Ages!  The strangest thing here though, was it. Was. so. Slow. There’s a strange quirk that the 1984 original cast recording has the Rolling Stock track at a stodgy plod - as if an LP record is played on the wrong setting! And this is what they decided to replicate live.  The performances were all brilliant, the ensemble mugging it up as their Nationals, it was hilarious and engaging, but why so slow?  As far as I know, it wasn’t performed that slow in 1984, it’s just a quirk of the recording -  but Andrew Lloyd Webber obviously approved of this!

Second number in was Crazy.  Throughout, Crazy and Call Me Rusty have been mixed up and cut together - along with remnants of Engine of Love in there as well.  It works, sort of, plot-wise it’s exactly like Engine of Love, here’s young Rusty and the coaches.  There’s a lovely bit of contextualisation where Control explains “Rusty is the first train I got when I was six” which grounds us as these are his toys.  Then into Crazy.  George Ure as Rusty may have dried on his opening lyrics, but a bit of ad-libbing and he was back on track.  Christina Bennington as Pearl got straight in there with the high option for Pearl’s “Til someone better comes along”.

Greaseball, Nationals come in to bully Rusty, and the coaches all stick up for him, however Pearl makes the point that she’s not actually Rusty’s partner, flirting with Greaseball.  Then we have a version of “Call Me Rusty”, the short version used in Vegas I believe, layering “Call me Rusty if you dare. Call me Rusty if you like…”  with the coaches still having the mid break from the original but with some new lyrics from Pearl about “we’re just friends”. Rusty is sent to fetch the trucks, and we have the original intro into Locomotion, “Rusty/can’t/be serious, him/go in/for the race?” but then there was some new material, Greaseball flirting with Pearl, saying “woowoowoo you’re brand new!” Dinah comes forward to warn him off Pearl but she gets sent to “go make the tea” by Greaseball and the Nationals.  Here’s where we’re introduced to Tassita (shhh she’s a quiet coach and doesn’t like loud noises), and we go into the new song to “introduce” the coaches, “I Got Me (and that’s all I need)”  This song felt to me like there’s some School of Rock type influence.  It’s very “I can do what I like” independent rock chick.  It’s not a bad song, but it doesn’t serve the purpose of introducing these characters at all, plus the pedantic mind says that these girls are railway coaches - and coaches DO need an engine.  Sorry to break the vibe but coaches aren’t independent - but you can easily argue the case that an engine without coaches is as useless as coaches without an engine.  The song ended quite abruptly to muted applause, but launched straight into a reprise, which was then interrupted by the Freight train.

Freight ran exactly as the 1992 London, with all the banter from the coaches, which was particularly entertaining despite being such very familiar lyrics.  Whether it was due to the small ensemble, or an effort to address the gender imbalance in the show, Hopper 3 was female, and she was having a great time of it.  Sadly no return of the Rockies, the Hip Hoppers are about the only remaining remnant of the contributions made by David Yazbek in 2003.  The only new moment in the number was one of the most jarring changes - Caboose is included, but rather than introduce himself using the “There’s Me” melody (“at the back on every piece of track…”  Being “All alone, you think you’re on your own…”) no, the Red Caboose comes straight in with “Wide Smile, High Style” melody, telling us straight off that he’s in the business of wrecking trains. His characterisation was very much aggressive, nasty and scary!  No pretense at the sweet and helpful Caboose that anyone would trust, this guy is clearly one to avoid.  Caboose made a point about being paid to do his job.

Straight after Freight, we have Control announcing technical problems…  oh boy! A late entry!  These must be his minders! Kilowatt is Electra’s security truck. Wrench is the repair truck, Purse the money truck ordered us to switch your accounts to Electra.  Again money is an active concept in this world.  Joule and Volta followed - male Volta, as with Hopper 3 is this a limitation of the size of ensemble?

Electra appeared in towering red velour heels, fishnet stockings under a conventional masculine ensemble of slacks and jacket.  Liam Tamne has an incredible voice, great range and strength and falsetto! But his characterisation flat for my personal taste for Electra, and also really reminded me of someone else, a character on TV perhaps.  He was very flamboyant and self-indulgent.

AC/DC is interrupted suddenly, as Greaseball appears.  The coaches, who 10 mins earlier were making such a point of not needing no man, especially Dinah getting up in the faces of the Nationals to protect Pearl, undergo a complete 180 on their characters, turning to the regular excited fangirls we’re used to seeing in Pumping Iron.  This felt especially wrong given Dinah’s “Back off girls, he’s mine!” - really?  Is he?  Because you were defending your girls from his flirting just now, and showed no suggestion of a relationship between Dinah and Greaseball other than antagonism.  The earlier scene is massively out of character for Dinah.

Oliver Tompsett rocked Pumping Iron, of course, it’s easy to appreciate why the girls are all fangirling over him.  The two female components stayed to dance, while Electra and his boys left in a huff.  This was one scene where the minimal staging fell flat, as the dance break needs some rock’n’roll partner work, skates or not.  

Coda Freight ran much as expected, the confrontation between Greaseball and Electra was extended by the two of them sharing the lines usually sung by the Nationals, as they mock Rusty’s intent to join the race.  Coda Freight originally did not modulate key - the German production is one where it drops into a lower key which always jars. But this time we get a modulation UP a key, which is different! But not necessary, it’s quite busy enough staying in one key.

Control announces five minutes to race time, and “if you ain’t in twos, you lose”.  This is where we would expect to find Crazy, and indeed we have a reprise of the number where Rusty approaches Pearl, but she rebuffs him with something about “don’t push me around”.  But then their conversation follows the coaches’ melody from “Call me Rusty”, as she explains in no uncertain terms that while she likes him she wants an engine of the future.  Then they are interrupted by Electra’s Bodyguard Kilowatt (shall we just call him K?) who explains Electra’s coach has a “Migraine”. Pearl has her dilemma, and will let Electra know.

Pearl has a new intro to “Make Up My Heart”, written to the “diddlydiddly” pre-race music (also used by Caboose pre-”Wide Smile”), as she discusses how Electra seems fun, then she had an echo of “He Whistled At Me” - which I think was the only occurrence of that/”Engine of Love” melody.  Then that disjointed selection of melodies led into the full “Make Up My Heart” number, as performed on the 1992 London recording.

Control starts the races, with a comment about “I’ll pick your partners for you”.  A new addition for the races which grew very tedious almost immediately, each engine as they’re introduced, sings the “Clear my track, this is my train now, this could be my dream, clear my track” fragment of “No Comeback” that Pearl sings in “Laughing Stock” - each with their own lyrics of course.  But hearing that same fragment four times in a row was repetitive, and annoying given that that melody is meant to specifically refer to Electra.  The concept of melodies referring to specific characters and event - the use of leitmotif - has more or less been lost, apart from a few occasions which shows that while they COULD use the concept, they choose not to!  Race 1 ends up with a Dead Heat between Greaseball and Electra, with only the “No Comeback” melody appearing in the race music.

As the racers clear away, we have a mopey Rusty with the “Call me Rusty” melody on the mouth organ, as he approaches the Freight yard and “Momma” is singing The Blues.  Mica Paris was poorly served by the existing score - while the major solos are within a reasonable alto range, most of Poppa’s recit is well below an alto.  However her character, and the staging for the number was really engaging and fun, and included Caboose mooching in the background.  Caboose has always seemed notable by his absence from this scene of the Freight - I presume the practical reason is that Caboose has just finished racing so to make him immediately be onstage but purely for context would be unkind.  But within the world of the show, why is Caboose not hanging out with the rest of the freight?   Momma’s response after “Let me hear you say Steam!” - the Starlight Express melody - is “When the Night is Darkest” rather than “When Your Goodnights have been Said”, which probably only coincidentally is kinder on her vocal range. But it’s slightly odd in a production that draws so heavily from the previous London productions, to bring in the Broadway variation of the title song.   Control interrupts to inform us of heat 2, Momma decided to race and ends up with Dustin much as is familiar from other productions.  The exact reason was unclear but Brexit meant the British train was missing, allowing Momma to race.  

Race Two again seemed to have Control decide the race partners, and again repeated the “Clear my Track” melody, except Momma introduced herself with the Coaches’ “I got Me” melody which seems to be pretty random for an old Steamer.  It was also incorporated into the race music.  

After Race 2, into Laughing Stock, played much as normal, but with one small 1984 detail restored - Momma points out Rusty “Couldn’t face that losing shame!”  rather than Rusty admitting his own weakness, or the line being omitted altogether.

Starlight Express - the title song closed act 1 with an unexpectedly subtle edit, new lyrics to the “When the Night is Darkest” melody.  I’m not absolutely sure new lyrics were needed for this number, but they’re evocative and very much in keeping with the scene and Rusty’s emotional journey.

(And we have the interval.  Go get a glass of wine.  You’ll need it.)

Act 2 begins with The Rap - entirely a capella, started by Hoppers “Are you Ready?” which updated lyrics. The Coaches come in with something like “Swipe to the left? Swipe to the right?  Who will be my date tonight?” which feels like it’ll date very quickly.  It was a mix between the 1992 Rap in structure, “Gotta be in the frame if you’re gonna win the game, are you ready for the big one, ready!” with quite a lot of the individual lines tweaked.  This meant that we’ve still got all the “Shut it, Dinah!” and some of the classic lines like “losing the race with this floppy disc” and “Boil with the oil or lose with the fuse”.  Performed entirely unaccompanied, with much stomping on the beat, worked really well.

“Pearl Twirl” ran unaltered, giving Dinah a COMPLETE character shift from act 1.  The confident, sassy girl is completely unrecognisable as the heartbroken Dinah singing “Uncoupled”. Fantastic performance from Natalie McQueen, really heart-felt and beautifully sung, but it was distracting how she seemed to be playing a completely different role to earlier.  The staging was even much as normal, with the other two coaches hanging out behind, with varying levels of sympathy and boredom as they sing backing vocals. But without Dinah having established a character of a devoted, in love with Greaseball, the song was very out of place.

Invitation Dinah included some new material, a longer conversation between the girls, with Dinah saying “I can’t manage on my own” - again, this is not the Dinah we saw in act 1.  The line “But if Greaseball changes his mind!” is in there.  Tassita and Belle have very little to do - no Girls Rolling Stock - but whereas in the past the coaches only had “Oh, Dinah!” to express their frustration, this gives them a little dialogue.

Caboose’s scenes in the middle of act 2 almost had me vocalising my frustration!  This scene is one of my biggest problems in the current show AND IT HAS NOT BEEN CHANGED!

First, Caboose tells Greaseball that Rusty is fast, and they plot as in the US Tour with Greaseball’s “Ohh that’s nasty, I like it!”. This conversation also gives us the existing line “Just cos I smile all the time, don’t mean I’m not into crime”.  This is not news, this is not a reveal, and this Caboose has only been smiling in an evil, mean way. There’s been no pretense at Caboose being helpful or sweet, he’s been flat-out nasty from the beginning.

Then we have the Disco-tastic 1984 version of “Wide Smile” which repeated the  “Just cos I smile all the time, don’t mean I’m not into crime” line, and included “Under the smiles, under the fun I’m public enemy number 1” - again, there’s not been any fun or smiles from this Caboose!  Also they use the full 1984 “CB” lyrics including the CB radio references which were cut for the Broadway show in 1987 as too obscure!

Patrick Sullivan’s performance was extraordinary, hitting those falsetto notes, amazing energy and rhythm, a really enjoyable number.  I don’t know if I should read significance into Electra not joining in the backing for the number, but it was only the components.

The problem is though this scene is a MASSIVE plot point.  It should be the moment we learn that Caboose is a cheating back-stabbing bastard, but this has already been established.  Also, there is a logical gap in this number - with Electra well aware of Caboose’s enjoyment of double-crossing, why on earth does Electra then choose Caboose as a race partner for the downhill final?  Especially when surrounded by his components, any of which would be a suitable race partner. The simple solution, which I was hoping this workshop would consider, would be for Electra to be removed from this scene.  Simply continue the song on from Caboose’s conversation with Greaseball, have Greaseball’s gang as the backing dancers rather than Electra’s components. Then, Electra is unaware of Caboose’s scheme, his choice of race partner makes sense.  This would also remove a flabby feeling repeat of the material as different versions have been grafted together.

Race 3 - the Uphill Final - begins with Control announcing Greaseball and Pearl, Electra and Dinah, and Rusty and Caboose.  This race has not had the extra “No Comeback” repetitions, but rather the normal spoken lines from each Engine including Rusty’s “Let’s hear it for Steam!”  

No explanation is given as to how there are only three engines, since Control earlier quoted the 1992 London instructions “There are two heats, two qualifiers from each heat”.  So what happened to the 2nd qualifier from Heat 2?  Why did only Momma come through from that race?

Well, I can tell you why, it’s because Control’s lines are taken from the 1992 London, but the races are taken from the 2003 US Tour with the pre-recorded 3D races.  Because the tour ran with only 4 Nationals including the British train, the races were run on the logic of two heats, and the winner from each would compete in the final, which should have consisted of two engines.  But since Electra and Greaseball tied, they both went through to give us 3 engines in the final.  But this story telling has been overlooked in this workshop.

The race was staged with Caboose literally picking up Rusty to make it clear he wasn’t going anywhere!  The race music also included the inverted race melody, the descending phrase as used in Germany which always jars when used to the London versions.  The Race music did include the “Wide Smile” motif. Rusty was thrown to the floor, injured, as Control shouts “Race Cancelled!  Who did it?  I didn’t do anything!” - again the 1992 London script.  

The 1992 London show was the production which cut Caboose - which is particularly relevant in this part of the show, as without Caboose driving the story, the London show included material to patch over the holes.  This material was then drafted into the UK Tour in 2004, to cover gaps where some of the David Yazbek contributions were removed, I believe.  However the result is that there are two separate scenes which cover the same actions.  

Firstly, the Caboose version is that Caboose has crashed Rusty.  The original London staging in 1984 was one of the weaker points of the show, where a fairly illogical staging required all the racers to make it onto the bridge to be carried to the top level, mid-race.  CB slowed Rusty to the point he missed the connection and the race was then cancelled due, I believe, to the fighting between Greaseball and Electra.  This had Rusty challenge Greaseball with “That CB he never took off the brakes”, which is when Pearl realised that Greaseball and CB were in cahoots.  The original version didn’t have Rusty injured apart from his pride, but gave us CB’s insane “10, 10 never again you’re no engine!”.  CB’s gloating and insane pleasure at the damage he has caused is an essential part of his character arc.  The German staging had Rusty crash and tumble down the bowl to land in a heap centre stage, where Greaseball and Pearl came by, with Pearl saying “I’ll go tell the Marshalls!” then as Greaseball pulls her away, she begins to realise she’s made mistakes.  

Secondly, the No Caboose version, the London 1992 version, has to find another reason for Rusty to be out of the race.  The Uphill final is cancelled by Control when it’s devolved into a fist fight on the bridge, Control didn’t see what happened so Greaseball and Electra jump on the chance to blame Rusty - “Rusty did it, he caused the wreck!”  Greaseball then confesses “Shut it, I did it, he was good, he was fast” - without Caboose in the show, this comes as a surprise.  The Marshalls have been wordlessly clearing everything up, Rusty then comes back to Greaseball with “They (the marshalls) say - “  “what do they say?”  Greaseball then sics his gang on Rusty, to “make sure it won’t happen again”.  The Gang then beat up Rusty (to the melody of “Wide Smile”) in order to bring him to the same, injured and dejected state, as if Caboose had been there.

These two separate scenes have been smashed together since the US Tour in 2003 gave the show major re-writes, and the story being told is flabby and confusing.  If Rusty has been wrecked by Caboose, is already on his knees and his confidence destroyed, why do the gang need to beat him up directly?  Unless the staging includes Marshalls directing the clean-up, who is Rusty talking about with “They say”?  If Caboose is there, then how does the line “You told the Marshalls I drove into you!” make any sense?  

The Workshop gives us the current version of this scene, with the 1992 London version of the show, including Greaseball and gang beating up Rusty.  Then Pearl wanders in, sees Rusty wrecked on the floor, and realises things are going bad “This wasn’t how I wanted it, this wasn’t what I saw” (what had you seen, Pearl?  We no longer have He Whistled At Me to specify her dreams and ambitions)  Flat-top has his sympathetic line “Give it up Rusty, you’ll never beat them”, and Caboose has just left. Then we have a reprise of “Crazy” at a slow, reflective pace, as the badly injured Rusty picks himself up. This reflects back to Rusty’s naive hopeful attitude at the start of the show, contrasting his previous optimism with his sad current state.  Then we hear the “Call Me Rusty” refrain on the mouth organ as standard. This reflects back to Rusty’s naive hopeful attitude at the start of the show, contrasting his previous optimism with his sad current state.  Yes, the concept of Rusty’s confident introductory number being reprised in a slow, sad tone is exactly repeated in this scene.

Where we’d expect Right Place, Right Time, we have the Hoppers wander in and paraphrase the opening lines of the number, without any particular motivation for their presence, but the full number is omitted. This scene feels like it might be a compromise as the work in progress nature of the workshop, where this is a place-holder for a new version of the full number for the Hip Hoppers.  

Rusty, alone and dejected, runs into the Starlight Sequence as normal, reflecting on how he’s “down and out”.   The Starlight Sequence is always magnificent,  but it was slightly soured after Control’s “Stop that Boring music!” comment during the overture, which is of course a preview of this scene. Mica Paris as Momma wasn’t quite comfortable with the vocal range of the song but at some moments opened up sounded glorious.  There were also some slight lyric paraphrases such as “The Starlight Express is no more or less, I’m you, Rusty”, which doesn’t quite make sense, but I suspect was simply the nature of the workshop rather than a deliberate change. George Ure’s performance was stunning and so emotional, he really carried us on Rusty’s journey.

The Rusty and Dustin scene has some new music, using the same melody as Rusty’s monologue prior to the Starlight Sequence, the melody most characterised as the Coaches’ verse in “Call Me Rusty”.  It’s a minor key, the music always suggests concern, worry, lack of confidence, so to use it for this scene felt off.  The standard score uses “Belle’s Song” at this point, as that melody is connected with the Freight and Dustin as well as Belle.

Dinah’s Disco is re-worked to be a reprise of “I Got Me” which works well in this context.  If “I Got Me” were moved from act 1 to replace “Girls’ Rolling Stock”, following “UNCOUPLED”, this reprise would work perfectly.  Electra calls CB to his side with the “AC/DC” melody, the 7/4 time makes the short scene feel a bit awkward, but replacing the “Nobody Can Do It Like a Steam Train” melody makes sense when all references to “He Whistled At Me” have been cut.  Electra and CB bargain for the price of CB’s help.

Control introduces the re-run of the Final Race, on the Downhill course.  Again the score being used is snipped from the 2003 US Tour - the pre-race 4 has two versions, the original staging called for three finalists, the Broadway and later used four finalists.  The beautiful, complex layered music was originally written for the six racers, then altered for eight.  But then the US Tour version cut it back to six, rather than referring to the original score, the two vocal lines are simply left out leaving a gap in the music.  Specifically the 1992 score had Bobo singing “Le jour du gloire est arrivé” (please pardon my french!) with Ashley singing “Gonna be hot, hotter than hot”.  The alternative for that vocal part has Caboose singing “Just for me, I’m in this just for me” (or “Nur fuer Mich” in the German score) - but the workshop uses the Tour version which simply skips this vocal line. Once part that point the complex harmonies were gorgeously performed.  While I love the “Rusty’s gonna race in the Final” moment in this number, it harks back so strongly to the original version of the Rap.  

The Downhill Final was performed with a very witty side-comment from Control about “Sorry about the lights, use your imagination!”  The race music was very much the 1984 original which was gorgeous! Control’s narration tells us the story, including Pearl being disconnected, and Rusty saves her - at which point the Crazy melody was incorporated in the race music, with the ensemble singing “Come on Rusty”.   Immediately on winning, Rusty leaves with “I must find Pearl”, as usual.  

One Rock’n’Roll Too Many was staged almost exactly as usual - in fact all that was missing was the kneepads!  Contextually this was played the same as UK Tour / Germany, not like the 1992 London, which seems a shame.  The only major difference (apart from the presence of Caboose) is that in London, the ensemble stayed onstage and witnessed the massive fall from grace of the major players in the game.  I appreciate that practically, in staging the show, I am sure the ensemble are grateful for a couple of minutes backstage, but the story telling of including them as witnesses is important.  Plus it gives the ensemble characters more time to establish their personalities.  There’s no logical reason all the characters leave before the number, and come back at the end.  Momma was struggling with the vocal range for the “Where’s Rusty gone?” section.

Pearl is introduced with the electric guitar playing the “He Whistled At Me” melody, but since neither version of her song appeared at the start of the show, her reprise that was the introduction to “I Do” has been cut.  Which is super frustrating, because that little reprise was the only good addition with this dreadful song!  

“I Do” is untouched, it’s still abysmal, with clunky, random, meaningless lyrics, poor melodic construction, long and repetitive.  The lyrics scan very poorly to the music (“you think that noboDY would love you”), and the vocal ranges are very hard to sing, it’s fortunate the cast are so strong!  They are genuinely adorable and you’re so happy that they’ve found each other, despite the music.

I have to admit, however, that with the changes to Pearl’s character, that she is given more time to think, the lyrics are not as contradictory as previously.  It feels like Pearl, and to an extent Rusty, have been ret-conned to fit this song!

I am genuinely astonished that this song has been kept, I thought the one thing this workshop would be sure to give us was an improvement on the love song.  It’s such a shame to have lost “Only He” - in any of its many variations - as the love song being a reprise of one half of the Starlight Sequence is an enormously important part of the story telling.  The “Only You” melody speaks of discovery, completion, it’s the answer to the question, where the “Starlight Express” melody is the question.  

Following “I Do”, Rusty and Pearl sing a reprise of “I Got Me”, and the “Well Done Rusty, King of the Track” is now set to the same melody, which is slowed, and jars with the dissonance.  Then the reprise of the “Starlight Express” melody is as you’d expect, into Dinah’s “Greaseball you’re hurt!”  - beautifully performed, and there isn’t the jarring sense of “No, honey, don’t go back to your abusive ex!” - which is possibly more of a negative statement since Dinah’s character is so inconsistent.  Oliver Tompsett does have the most magnificent puppy-eyes pleading expression though, making it hard to resist forgiving his character!

Leading into Light at the end of the Tunnel, Mica Paris was again having difficulty singing the role written for a baritone! I had a moment of cognitive dissonance, given how there had been strong throw-backs to the 1984 version of the show, for the one line that was originally sung by Soul Queen PP Arnold as Belle, “The man who watched the pot and said, hey I got…”  - for one moment being sung by Soul Queen Mica Paris!  The final number bounced along, full of joy and energy as ever, with no changes from the norm.  No megamix, just a play-out from the fantastic band.