‘Starlight Express’ takes off in 3D

Tom Titus

Remember 3D? Probably not if you were born after 1955, but for those

whose youthful moviegoing experiences include such classics as “Bwana

Devil” and “House of Wax,” this short-lived cinematic craze will

occupy a fond but distant memory.

Well, 3D is back -- temporarily, and in a stage production rather

than a movie. It’s the central gimmick in the spirited revival of

Andrew Lloyd Webber’s “Starlight Express,” now playing through Sunday

at the Orange County Performing Arts Center under the imaginative

direction of Arlene Phillips, who also choreographed the bullet-paced

attraction.

As if playing the entire show on roller skates weren’t unique

enough, this updated version of Webber’s 1986 musical about racing

trains has added filmed three-dimensional effects for the actual

racing scenes -- at which point you whip out your 3D-glasses for

maximum enjoyment. And this isn’t your father’s 3D -- the images come

at you furiously, seemingly stopping at the tip of your nose. You’ll

swear you could reach out and pluck a skittish mouse from a

protruding beam.

The “trains” are composed of a human engine and his partner, with

the latter contributors interchangeable, being altered as the races

progress. All have the requisite personality traits -- the cocky

American champ (Greaseball), the menacing electric superstar

(Electra) and the plucky little steam engine that could (Rusty), who

challenges both front-runners as a decided underdog.

On the distaff side, there’s the fickle Pearl, who’ll couple with

whomever appears to be headed for the finish line first, Dinah, the

country singer who takes a page from Tammy Wynette’s book for her

heartbreak solo, and Ashley, the “smoking car,” who’s apparently just

along for the ride.

Tops on the audience popularity scale is Poppa, an old-timer who

sings the blues with a jazzy flourish. At the bottom would be Red

Caboose, a double-dealing braking car who sabotages our hero for

reasons of his own (not really apparent to the audience).

Franklyn Warfield is engaging and inspirational as the downtrodden

Rusty, with Drue Williams flashing an egocentric form as the American

diesel Greaseball. Dustin Dubreuil recalls Dolph Lundgren’s menacing

Russian in “Rocky IV” as the sleek electric engine.

The flashy, seductive Pearl is splendidly played by Clarissa

Grace, while Katie O’Toole’s Dinah draws hearty applause for her

countrified solo “U.N.C.O.U.P.L.E.D.,” in the manner of Wynette’s

“D.I.V.O.R.C.E.” Dennis LeGree’s husky-voiced Poppa is another show

stopper, while Jeremy Kocal gives villainy a lightly comic edge as

the Red Caboose and rappers Oren Webber, Walter Louis and Stephen

Maestas contribute a rollicking hip-hop flavor, part of the

aforementioned updating.

Beyond the 3D effects, Rick Belzer’s flashy lighting bolsters the

show considerably (except when an upstage light is glaring directly

into the audience’s faces). Richard Stilgoe’s lyrics share equal

billing with Webber’s music, while John Napier’s futuristic setting

and flashy costumes are a visual smorgasbord.

Musical Director Michael Duff’s enthusiastic pit orchestra keeps

the tempo robust, but the music often overrides the vocalists, a

common occurrence at the Center. The singers may not always be

thoroughly comprehended, but their actions certainly come across

convincingly.

“Starlight Express” is a difficult production to mount, which is

one reason we don’t see it playing locally all that often -- it’s

been at least 15 years since the show has been seen in our little

corner of the world. Its central plot may be quite conventional, but

for musical theater buffs, not to mention skating aficionados, the

show is an E-ticket ride.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.