The Hitchhiker’s Guide to the Galaxy Review – Flimsy Splendor Needs Deeper Thought | stage

DDouglas Adams’s sci-fi comedy about the destruction of Earth and Arthur Dent’s intergalactic adventures has become a massive enterprise since the original radio series in 1978. That has spawned six books, a TV series, a film, comic strips, theatrical adaptations — and trademark bath towels.

Business is booming indeed, but it’s strange to see merchandise being sold as part of this immersive show (there’s one kiosk selling branded merchandise inside the production and another in the lobby), plus a bar at every turn. This commercial opportunism is disturbing. Is this an attempt to take the audience into Adams’s fictional world in a new interactive way or just a cash cow?

Co-written by designer Jason Ardizzone West and writer Arvind Ethan David, it respectfully references across the books and seems aimed at its own story, though it’s a hard sell. This is in keeping with the spirit of Adams adding new and sometimes contradictory aspects across the many guises of the original tale.

But despite the vast set spread across several rooms, the final room opening on a virtual bonfire of luminous supercomputer effects, there are a lot of just nods to Adams’ characters, with no meat around them or plot lines. This may also leave beginners confused: who are these people, what drives them, what danger do they face in their world?

A promenade show directed by Georgia Clark Day, with separate sets at different intervals, begins with Arthur (Robert Thompson) usually in his dressing gown and bath towel (at least one audience member came dressed the same way). Not Trillian, the only surviving female human from the first book, but Fenchurch (Kat Jones-Burke) instead, from a later book, whom Arthur meets at a karaoke date in Rickmansworth, with his friend Ford Prefect (Oliver Brittain).

They release two great pop classics (What’s Up? by 4 Non Blondes and Gnarls Barkley’s Crazy) and there’s a very quick reveal by Ford that he’s an alien in disguise before the Vogons – the destroyers of Earth – descend.

The invasion is reported on screens and audio breaking news. We were taken from the initial bar space into another room, representing a space rescue craft. The urgency is announced but not felt. Then we move to another room, and another plane, this time with iconic characters from Adams’ world, including Beeblebrox (Lee VG), Eccentrica Gallumbits (Briony Scarlett), and Slartibartfast (Richard Costello).

The problem is that they come off as cameos, and not nearly nearly enough, even though costume designer Susan Kulkarni is gorgeously dressed (metallic frocks, purple ruffles, and a sparkly gown for Arthur in the final scene). The audience is left to wander around the room at first. When the drama kicks in, it doesn’t do enough, despite the attractive visuals.

Arthur is quite the depressed and reserved type. Fenchurch is equally flimsy. The destruction of Earth takes a back seat to the romance between them but it’s too short to hook you. It’s a shame that the story arc was truncated as there are some incredibly strong vocal performances during the song and dance numbers, along with the lavish visuals. But without the story to connect it, these are just floating effects.

What wins out uniquely is Marvin (the megalomaniac robot), an excellently voiced and manipulated red-eyed robot puppet by Andrew Evans. Little Wonder Marvin is so entertaining – like E.T. on a downer – that you want more of him. Please can he have his own immersive show?