MAGAZINE covers and snippets of newspaper articles are projected onto a screen, reporting the car crash that resulted in Bolan’s tragic death just before his 30th birthday, culminating in blinding lights marking the actual event.

A retrospective Bolan (George Maguire) props against a silhouetted tree, pondering from the grave whether anyone will remember him or just his music.

The show’s story is tired and lacks imagination, following a formulaic pattern and notably missing a narrative arc.

20th Century Boy charts Bolan’s seemingly effortless rise to fame, from modelling to live solo shows, forming his backing band Tyrannosaurus Rex, transforming into T-Rex, cracking the U.S. with “Get it On”, the predictable substance abuse-fuelled infidelity and the birth of his son, Rolan Bolan. While there are no major surprises, those less familiar with Bolan’s history will enjoy titbits of lesser-known trivia like Bowie being Rolan’s godfather.

Flashback scenes punctuated by the sound of camera flashes reveal historical still footage, marking each event.

Bolan’s first significant audition sees him duetting with old band member, Helen Shapiro (Kristina Lao), eliciting one of Maguire’s best performances.

Later, watching Maguire play out Bolan’s first solo audition it is frankly a miracle he got a record deal; Bolan’s wife June Child’s (Sarah Moss) vocals are undoubtedly the strongest with stiff competition from Ellena Vincent playing Gloria Jones, Bolan’s girlfriend, backing singer and a force to be reckoned with.

Ben M. Rogers’ set design simply comprises two giant speakers pushed together to create a screen for projections and, when apart, frames the action with the band playing centre stage.

Snippets of the soundtrack of the time and news footage clips bridge scenes.

Director, John Maher, poignantly juxtaposes Bolan’s adultery with June and his mother dejectedly discussing his absence on the other side of the stage.

Other successes include the moving resignation letter from Bolan’s producer, Tony Visconti (Derek Hagen), being simultaneously projected/narrated and letters/diaries from loved ones visiting Bolan on his hospital death bed, movingly singing “He’s a dandy in the Underworld”.

Maguire’s last song is like a memorial to Bolan, complete with framed picture, the cheesy line “When all is said and done, there will always be the music” and Bolan walking through a dark “metaphorical” door.

The rousing full main ensemble finale showcases vocal strength in numbers, prompting the expected encore medley of classics like “I Love to Boogie” and the titular number, guaranteeing that standing ovation Bolan fans were awaiting to shake those feather boas.

l 20th Century Boy shows in The Alhambra Theatre 1-5 May before continuing its UK tour: http://www.20thcenturyboythemusical.co.uk/