Recently, I had the pleasure of experiencing two very different yet equally captivating musicals in London: ‘Hello, Dolly!’ and Starlight Express. These productions couldn’t be more contrasting in style, yet each offered a unique and memorable theatre experience.
‘Hello, Dolly!’, starring the incomparable Imelda Staunton, was a masterclass in traditional musical theatre. The production was a celebration of classic Broadway, complete with big dance numbers and a live orchestra that brought the emotional arcs of the story to life. Staunton’s performance was nothing short of spectacular. Her dramatic interpretation of the role was impeccable, with every muscle in her face contributing to the portrayal of Dolly’s wit and emotional depth. I particularly noted her use of both her index and middle fingers when pointing, a subtle yet powerful gesture that I hadn’t considered before. It’s a technique I might incorporate into my own performances. The titular song and dance routine, performed by Dolly and the waiting staff, was a showstopper, earning a standing ovation from some of the audience midshow.
The staging of Hello, Dolly! was equally impressive. The use of a backlit backdrop with moving images paired with a treadmill helped create the illusion of characters on the move, adding a dynamic layer to the storytelling. The restaurant scene, with its central staircase, brought to mind the decadent ballroom from a La Traviata production designed by Christine Jones. My compliments to the set designer for creating such an opulent atmosphere. A special mention must be made of the hat shop scene, which reminded me of a classic moment from Le nozze di Figaro when Cherubino is hiding—a delightful, comedic highlight that young directors could learn from.
On the other hand, Starlight Express offered a completely different experience. While the music itself was not as strong as in Hello, Dolly!—the tunes were a bit repetitive, with lyrics that didn’t always advance the story—the production value was through the roof. The futuristic set design transported me to a space race track in another realm, complete with LED lights along the tracks and clever use of traffic lights to aid in storytelling. The energy of the performers, who were constantly in motion on roller skates, was impressive. One interesting observation I made was how the performers often stopped on their tiptoes to sing powerful moments, which seemed to cause some strain if they kept their legs straight. From a singer’s perspective, I’d recommend bending the legs slightly to maintain a straighter torso and reduce tension. If I ever find myself singing on roller skates, I’ll certainly be working closely with a Pilates instructor or Alexander technique practitioner to master these demands!
I attended Starlight Express with my brother Matt and brother-in-law Alex, and Hello, Dolly! with Matt alone. Going to musicals with Matt always brings back fond memories of our childhood, where summer holidays in London were often highlighted by trips to the West End. There’s something about being in Covent Garden and the West End that brings that holiday feeling back, no matter the time of year.
Overall, I would highly recommend both shows. Hello, Dolly! is an all-around success that I believe will resonate with a wide audience, particularly young directors looking for inspiration in comedic timing and staging. Starlight Express might appeal more to those interested in the technical and visual aspects of theatre, as its production value and costume design were truly impressive.