It is rare that a production so perfectly understands the assignment as Total Eclipse did at the London Coliseum. To take the late Jim Steinman’s Wagnerian "Rockmaninoff" sensibilities and place them within the frame of the English National Opera’s home is a great idea. This wasn't merely a tribute night; it was a thunderous, symphonic reclamation of some of the most ambitious pop music ever written, proving that Steinman’s work doesn't belongs everywhere.
Under the baton of Jack Bennett, the Orchestra of the ENO fused seamlessly with a live rock band, creating a wall of sound that felt both expensive and visceral. Bennett’s all-new orchestrations breathed fresh, sophisticated life into the arrangements, allowing the strings to swell with the heartbreak of a power ballad before the brass section ignited the more pyrotechnic rock numbers. The production, directed with a keen eye for drama by Chris Clegg, managed to balance the camp theatricality Steinman loved with a genuine, high-stakes emotional core.
The evening was ignited by Glenn Adamson, whose opening performance of ‘Bad for Good’ was a masterclass in rock-and-roll swagger. Having already conquered the West End as Strat in Bat Out of Hell, Adamson carries the Steinman torch with an effortless, leather-clad charisma that sets the bar remarkably high. He was joined by many wonderful artists, each bringing a unique texture to the composer’s eclectic catalogue. Tyce Green—who also served as the evening's producer—teamed up with Natalie May Paris for a high-octane rendition of ‘Good Girls Go to Heaven’ that shook the rafters, while Karine Hannah provided one of the night's most haunting moments. Her "velvet-voiced" take on ‘Safe Sex’ from the Original Sin concept album was a revelation, her vocals soaring through the crescendos with a control that was nothing short of breathtaking. ‘Holding Out for a Hero’ by Red brought the audience on their feet.
The diversity of the talent on stage ensured the pace never slackened. Zoe Birkett practically vibrated with energy during ‘Dead Ringer for Love’, Danielle Steers brought a sleek, Bond-esque sophistication to ‘Catwoman’s Song’, reminding the audience of the hidden gems within Steinman’s "lost" projects.
The second half shifted gears into the heavy hitters—the songs that have become the DNA of modern rock. From the operatic scale of ‘Paradise by the Dashboard Light’ to the stadium-filling yearning of ‘I’d Do Anything for Love (But I Won’t Do That)’, the energy in the Coliseum was electric. Jack Weir’s rhythmic lighting design transformed the space into a technicolour dreamscape, though it was often in the quieter moments that the show truly shimmered. Rob Barron’s piano medley, the cheekily titled ‘Pray Lewd’, offered a nuanced, delicate respite that showcased the pure melodic beauty beneath Steinman’s wall of sound.
By the time the full cast assembled for the inevitable, glorious encore of ‘Total Eclipse of the Heart', incredible performed by Karine Hannah, it was clear that executive producers Darren Bell and Sam Quested had captured lightning in a bottle once again.
This was a five-star triumph that treated Steinman’s legacy with the reverence of a classic and the rebellion of a rock concert. It was loud, it was lush, and it was utterly unforgettable.