The iconic sci-fi comedy The Hitchhiker's Guide to the Galaxy has landed at Riverside Studios in London as an ambitious immersive theatre production, but this lavish interpretation struggles to achieve liftoff despite its cosmic ambitions.
A Commercialised Cosmic Journey
Since its original radio broadcast in 1978, Douglas Adams' tale of Arthur Dent's intergalactic adventures has evolved into a cultural phenomenon spanning books, television, film, and now this latest stage adaptation. However, this new production raises eyebrows with its prominent commercial elements, including merchandise booths within the show itself and bars at every turn.
The immersive experience, co-created by designer Jason Ardizzone-West and writer Arvind Ethan David, attempts to honour Adams' legacy by cross-referencing elements from across the book series. Yet the hard sell of branded goods creates an uncomfortable tension between artistic vision and commercial opportunism.
Characters Lost in Space
Directed by Georgia Clarke-Day with different casts across time slots, the promenade production begins with Robert Thompson as Arthur Dent in his signature dressing gown and towel. Notably absent is Trillian, the female human survivor from the first book, replaced instead by Fenchurch (Kat Johns-Burke) from later in the series.
The story launches with Arthur and Fenchurch on a karaoke date in Rickmansworth alongside Ford Prefect (Oliver Britten), featuring well-sung renditions of 4 Non Blondes' What's Up? and Gnarls Barkley's Crazy. The revelation of Ford's alien identity comes abruptly before the Vogons descend to destroy Earth.
Despite spreading across multiple rooms with increasingly spectacular sets, the production fails to fully develop its characters. Iconic figures like Beeblebrox (Lee V G), Eccentrica Gallumbits (Briony Scarlett), and Slartibartfast (Richard Costello) appear as mere cameos rather than fully realised characters.
Visual Splendour Versus Narrative Substance
Costume designer Susan Kulkarni delivers fabulous creations, from metallic dresses to purple frills and Arthur's glittery dressing gown in the final scene. The production culminates in a virtual bonfire of luminous super-computer effects that dazzle the eyes.
Yet beneath the visual spectacle lies a truncated story arc that reduces Earth's destruction to a backdrop for a underdeveloped romance between Arthur and Fenchurch. Both characters emerge as flat and emotionally distant, failing to engage the audience despite strong vocal performances during musical numbers.
The production's standout element proves to be Marvin, the paranoid android, brilliantly realised as a red-eyed puppet manipulated and voiced by Andrew Evans. This surly robot provides such delightful entertainment that he nearly steals the show, leaving audiences wishing for more of his melancholic presence.
The Hitchhiker's Guide to the Galaxy continues at Riverside Studios in London until February 15th, offering visual splendour but ultimately leaving the heart of Adams' cosmic comedy somewhat adrift in space.
