Burn The Floor

It’s nearly 30 years since we watched Australia’s own ballroom dancing champions on the telly as they conquered the world. Thousands of Aussie girls (my own two included) were inspired to take up ballroom dancing as a result. There never has, and probably never will be, a dance couple quite so skilled, original and innovative as Jason and Peta. Like Torvill and Dean in ice dance, they epitomise excellence.

It’s surprising, therefore, that the first half on this new incarnation of Burn The Floor (Fire in the Ballroom) is a bit all over the shop. The dancers themselves are superb; the musicians and singers excellent, and yet the pacing and programming of the first act leaves one a little confused and exhausted by its roller coaster approach. There’s simply too much of everything going on at once. Seemingly geared to an American audience with a short attention span, there’s no time to explore and appreciate individual skills, and that’s a pity. A Less is More approach which built over the entire two hours, leaving us salivating for more after each number, might have provided a better balance. There were moments where overkill lost the connection with the audience, and I do think some kind of narrative throughline might have helped us stay connected.

Having said that, the dancing itself is superb, including a beautiful quickstep routine, a fabulous Samba ensemble and the beautiful melding of Rhumba (the most sensual of dances) with Tango…this particular number had Gilkison stamped all over it.

Singers Mikee Introna and Sharnielle Hartley are both very impressive in everything they do, even if we question the “why?” behind some of the numbers. The three piece band is quite brilliant, with drummer Alysa Portelli proving that the physicality of rock drumming isn’t just a man’s domain; and Andrew Marunowski and Jose Madrid (on guitar and bass respectively) are both accomplished musicians who have a chance to impress in respective solos.

Scott Rogers’ amazing lighting design is an absolute treat and Bret Hooper’s costumes are suitably over the top and astonishing (though I am old enough to mourn the passing of the old Tulle waltz length crinolines that made female dancers look like toilet roll holders). The entire production is stylish and impressive.

The choreography is original and combinations technically challenging, even though all the steps, of themselves, are recognisable….you won’t miss any voltas, bolta fogos or chasses. As with most dancing, style is even more important than technique…and some dancers are more memorable (though not necessarily better) than others. Highlights for me were the easy charm and charisma of Marco di Angelis, who never overworked a single step, the exquisite waltz with the lithe and sensual Johannes Radebe, partnered by the graceful Megan Wragg, and the over the top strutting peacock style of Pasquale La Rocca….pure showbiz! Special mention for the sensuality of Jemma Armstrong and the gamin look and extraordinary energy of Lauren Oakley. In truth though, as you would expect, all of the dancers are A list with amazing energy and skills. The standing ovation and encores, on a Tuesday night without the first night hype, were well deserved. If you love dance, and want to see it superbly performed, Burn the Floor continues to deliver even after 20 years.

Coral Drouyn