Performance Run: Thursday 30 April - Saturday 23 May 2015

Performance Reviewed: Tuesday 5 May 2015 (Press Night)

As far as labelling goes, Dirty Dancing is something of a tough cookie (watermelon?) to define. It can’t strictly be classed as a musical - the show’s marketing carefully labelling it ‘The Classic Story On Stage’ - yet certainly offers some of the flavouring and ingredients of one, though when members of the company occasionally take to a microphone to sing it is more often than not contextualised within the show’s own universe.  There is, unsurprisingly, plenty of dance showcased front and centre, though one could even make an argument for that not being it’s principle MO either. What we are left with, then, is a makeshift hybrid of sorts, a synergy which lifts and borrows components of different genre’s and approaches and, under the familiar and beloved template of it’s 1987 movie namesake, surprisingly harmonises them into a thoroughly feel-good and irrepressibly vibrant evening of pure entertainment. Yes, it’s formulaic, safe and almost cookie-cutter in it’s approach to narrative (and, it has to be said, comedy) and there’s enough cheddar in there to make Normandy lactose intolerant, but in reality audiences going in to watch Dirty Dancing aren’t likely to be expecting Sondheim or Chekhov.

For those unfamiliar with the plot of the film (which the show follows practically to the letter), Dirty Dancing is set in the summer of 1963 at Kellerman’s, a respectable American vacation resort where Dr. Jake Houseman (James Coombes) and his family are regular guests. His youngest daughter, Frances, colloquially known as ‘Baby’ (Jessie Hart) is a curious, well-meaning and spirited young woman who finds herself drawn to and involved with the resorts entertainment team, namely it’s debonair dance instructor Johnny Castle (Lewis Kirk). The plot fumbles along fairly predictably, and whilst it’s relatively inconsequentially and small-scale fare, the characters and performances are winning enough to become invested in and there is plenty of vitality to the dance sequences in particular to diminish the fairly pedestrian nature of the plot.

In fact, despite not being exclusively a dance piece, the stellar choreography by Kate Champion and Glenn Wilkinson provide the evening with much of it’s impact, as well as the fantastic slew of jukebox hits which will be instantly familiar to fans of the film ('Hungry Eyes', 'Do You Love Me?' and the Academy Award-winning 'The Time of My Life' to name just a few), aided ably by the cast who throw themselves at it all with incredible gusto and ability. 

Jessie Hart brings lightness, sweet and sincerity to the role of ‘Baby’, capturing that careful nuance between curiosity and tempered feistiness that Jennifer Grey pulled off so effortlessly in the original film. She is a good egg, repeatedly recognised as such by the characters around her, and the likeable turn by Hart makes sure the character’s virtue and innate ‘goodness’ is never schmaltzy or insufferable. Lewis Kirk, meanwhile, is quite captivating as Johnny, his cocksure swagger supplemented (and justified) with some seriously impressive dance work, showing a flair for a real breadth of styles and form, and an undeniable presence on the stage - so pivotal for a role that Patrick Swayze made so indelible and iconic. They’re big shoes to fill, and Kirk does so with confidence, charm and an audible helping of sex appeal.

Amongst the supporting cast, James Coombes layers his Dr Houseman to into an empathetic and enabling figure where he could so easily have showcased the archetypal disapproving father figure. Claire Rogers, meanwhile, continues to enchant as Johnny’s dance partner Penny; another figure provided with a very welcome level of depth and dimension. Rogers handles the characters’ more sensitive and emotional peaks with tenderness, but it is when her Penny takes to the dance floor that her experience and prowess as a dancer and performer, coupled with her undeniable naturalism on the stage, really impress.

From a technical perspective, the show’s simplistic staging design proves to be surprisingly efficient, a heavy reliance on projections and digital images coupled with a rotating centre stage and selective use of props and flats able to create a veritable sense of place and atmosphere, the only exception being a recreation of the film’s famous practising-in-the-sea sequence, which here comes across as unintentionally funny and almost pantomime in execution.

As self-sabotaging as it may sound, one almost ponders the need to review Dirty Dancing. It’s target audience is easy to surmise and suppose, and there is absolutely no disputing that this is a show that is absolute perfection for hen nights, girly nights out and any other such awfully stereotypical niche. However, even those outside of the assumed audience should consider giving the show a chance, for it absolutely erupts with energy and joy throughout, and after a somewhat uncertain and apprehensive first half hour, the show rapidly got the audience on side. By the time the famous finale sequence rolled around, even I, a reluctant and fairly cynical viewer of the original film, had to acknowledge what a terrific time had been had and how two and a half hours had flown by in an utterly enjoyable, supercharged experience of song, dance and perfectly inoffensive bonhomie. It may not win over everybody, and it’s not going to be bothering the Olivier’s any time soon, but Dirty Dancing is the kind of unassuming evening of straight up, unapologetic feel-good that is wholly recommendable to almost all, and indeed all but the most dour of theatre-goers should think twice before putting this particular Baby in the corner.

 

RATING - ★★★★

 

DIRTY DANCING is running at the Birmingham Hippodrome from Thursday 30 April to Saturday 23 May 2015.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!
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Press tickets for this performance of Dirty Dancing were provided courtesy of the Birmingham Hippodrome directly. The author gratefully acknowledges their generous invitation.

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Readers who submit articles must agree to our terms of use. The content is the sole responsibility of the contributor and is unmoderated. But we will react if anything that breaks the rules comes to our attention. If you wish to complain about this article, contact us here