For those who haven't seen the original '80's classic, Dirty Dancing tells the
story of Francis 'Baby' Houseman and her well-to-do family's vacation to the
Kellerman resort in the summer of '63. She starts out her summer with a
grandiose view of the world – ready to join the Peace Corps, be a force for
change in the world and make her doting father proud – and then she meets
Johnny Castle, the bad boy dance instructor that all the housewives lust after.
Her plans for a picket-fence life are quickly turned upside down as she finds
herself in a world far different from her own after stumbling into the steamy
underground dance scene where the staff relax after hours; hence the title of the show.
After seeing how the other half live (the class divide, the struggle with race,
shady abortions from back alley doctors – important undertones yet drive-by
elements in what is otherwise a relatively family friendly show) Baby realises
everything isn't quite as black and white as she'd thought up until now.
With a story as well loved and widespread as this one,
it's not surprising to say that it can be hard to keep things fresh. What was
surprising, though, was the way that the character's we've all come to know and
love still felt comfortably familiar, but with a new lease of life breathed
into them in a way that made you root for this classic love story all the more.
The first thing you couldn't help but notice as you walked
into the theatre was the iconic signage emblazoned across the stage front,
flooding the stalls with a neon pink light that only served as a precursor to
the clever use of set design which worked in a modern, toned down fashion to
keep the actors front and focus, but still managed to evoke that vintage feel
the entire show thrives on. The set design in itself was quite simplistic, with
just a few key pieces that stayed in place and set the scene – however some
clever hidden changes on these seemingly unsuspecting wooden facades transformed
them completely. The wooden stairs and door, which simply served as an entrance
and exit to the stage for the most part, boasted a hidden compartment
underneath which pulled out into a pristinely made bed, transporting the
characters in mere seconds. Projected backdrops meant a scene could change at
the drop of a hat; well-timed lighting changes and flashes threw the room into
darkness mid-rainstorm in a way that was spookily immersive. Experienced set
designer Roberto Commoti made sure that scene transitions could be tidy and
slick; an element which kept the show running smoothly without a single beat
dropped.
As the title suggests (and as lovers of the show will
know) the audience were treated to a stunning array of dance numbers, ranging
from the traditional waltzes and mambos of the time, to the raunchier namesake
numbers of the show. Choreographers Austin Wilks and Carlie Milner pulled no
punches here – each number was as an absolute spectacle you simply couldn't
take your eyes off. Milner, in her role as Penny, was a particular tour de
force; the way she moved was mesmerising and the choreography showcased this
incredibly. Michael O'Reilly's Johnny was the perfect partner; initially it's
easy to dislike O'Reilly's slow drawl and unbothered attitude, until you
remember that's the basic premise of the character. He develops well throughout
the show and is the loveable rogue we're all familiar with, never putting a
foot wrong and really drawing you into his brooding world. His iconic lines
really brought the best out of the crowd, and a lively one they were - however
it was his chemistry with Baby that really stole the show. It's not often you
see this level of companionship between actors but their love story really was
believable and made the production all the more heart-warming.
As Baby, Kira Malou brought to the character a side I
hadn't seen before; a fun, childlike element that made her growth throughout
the story all the more apparent. Her playful giggling and teasing during her
dance rehearsals with Johnny reminded us that she was entirely out of her
element and just trying to have fun, which meant that her final routine at the
end of season show with Johnny seemed more well-earned and fought for than in
previous versions I've seen. She definitely plays into the daddy's girl
elements of the character well – aided fantastically by Lynden Edwards as Dr
Houseman – and makes us root for her all the more.
One of the biggest surprises for me was the way the
transitions were made throughout the show – by absolute stand out stars Elizabeth
(played by Amber Sylvia Edwards) and Billy Kostecki (played by Samuel Bailey)
In my opinion these two absolutely stole the show – their voices were
incredible and ensured that not a single transition detracted from the show,
keeping the audience hooked with catchy tunes and stunning vocals. And quite
rightly, the entire audience erupted when Kostecki hit his high note in his
beautiful rendition of 'In The Still Of The Night'. As the openers and the
closers of the show they definitely set standards high, and we weren't
disappointed.
The entire performance was a touching, beautifully
performed nostalgia trip from the moment the lights went down until the entire
audience was up on their feet and singing along to the final number; the way
this production had a whole auditorium dancing and singing their hearts out
together is something the likes of which I haven't seen before, and certainly
won't be forgetting in a hurry. The feeling of togetherness is an element of
live theatre I think we've all really missed this past year, and this show was
the perfect antidote to that – the company should be so proud of what they've
achieved here.
The production remains at the Alhambra Theatre in Bradford
until Saturday 27th November before heading over to Ireland for the final leg
of their show, but I for one can't wait until the next tour rolls back around.
See it if you can – you’re guaranteed to have the time of your life.
Reviewer - Hazel Kaye
on - 23.11.21
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