Conceptually ambitious and visually dense, The Rock ‘n’ Roll Alien positions itself as a kaleidoscopic celebration of Bowie’s legacy – his ever-evolving sound, his iconic costuming, and his refusal to be bound by genre or form. The production takes a similar maximalist approach to Brett Morgen’s 2022 documentary Moonage Daydream, which eschewed linear storytelling in favour of a musically explosive, visceral collage of Bowie’s world. Like Morgen’s film, The Rock ‘n’ Roll Alien uses music, visual projections, and fragmentary soundbites. But where Moonage Daydream was hypnotic and propulsive, this production, which landed for one night only at London’s Adelphi Theatre, borders on disjointed pastiche.
What’s missing is a clear artistic throughline – something this production sorely needs. Tonal inconsistencies pile up: a masked ballerina here, a quasi-religious outdoor dance circle there. These moments, striking as they are, don’t connect, and are matched by abrupt scene transitions that lack effort or flow. Even the intermission arrives so suddenly it takes much of the audience by surprise.
Still, there’s genuine reverence in the musical selections. The show loosely charts Bowie’s career from ‘Space Oddity’ to ‘Lazarus’, ending with an encore of ‘Heroes’ (an absolute crowd favourite). There are thoughtful references throughout: the skull from ‘Cracked Actor’, the yellow suit and TV-headed dancers from ‘Sound and Vision’, even the haunting, bandaged figure from the ‘Lazarus’ video.
Singing these classics are Greg Oliver, Sian Crowe, and Elliot Rose. Oliver, in particular, channels Bowie; he’s a natural rock n’ rock alien with uncanny vocal precision – his rendition of ‘Let’s Dance’ comes remarkably close to the original in tone and texture. Crowe and Rose have impressive vocal ranges, though their stage presence leans more into musical theatre than Bowie’s magnetic edge.
Choreographer Sophie Quay brings energy and stylistic range, moving her dancers fluidly from retro funk to contemporary dance. The dancers feel most cohesive and integrated when performing as an ensemble, their energy and synchronicity bolstering the overall atmosphere. The solo numbers, however, appear disconnected from the surrounding music or visuals. That said, Luke Hodkinson stands out with a solo early in the show – a devilish, high-voltage performance.
Billy Gwilliam’s visuals are often arresting, particularly in the second act, when the show leans into darker, more avant-garde imagery. A sequence set to Bowie’s ‘Fashion’ is a standout. But elsewhere, the aesthetic – neon, tumbling florals, jagged, looping psychedelic backdrops, and hyper-saturated forests – give parts of the show an amateurish-feel.
The costuming follows a similar pattern. The intention to honour Bowie’s fashion legacy is there: his Ziggy Stardust era, the tailored suits of the Thin White Duke, the Alexander McQueen coat scorched by cigarette burns. Some costumes deliver. Others fall short: ill-fitting Lycra, tacky glam rock, a zebra-print bodysuit.
Read: Dance review: Inside Giovanni’s Room, The Rep, Birmingham
The Rock ‘n’ Roll Alien is undeniably a labour of love, but it’s one in need of sharper direction and a more unified vision. Because despite the strength of the source material (I mean, how could you go wrong with Bowie?), the result is garish and – dare I say – a tad boring.
The Rock ‘n’ Roll Alien
Created and Directed by Simon Gwilliam
Costume Director: Sadie Yukon
Producers: Simon Gwilliam and Sadie Yukon
Executive Producer: John Dalston
Cast includes: Greg Oliver, Sian Crowe, and Elliot Rose
Adelphi Theatre, London
The Rock ‘n’ Roll Alien was performed on Tuesday 27 May 2025.
This article was edited after publication in order to correct the production’s title, after an error was made during the initial editing process.
