Dirty Dancing

Dirty Dancing
Music & Lyrics: Various. Book: Eleanor Bergstein. Director: James Powell. Music Director: David Skelton. Choreographer: Michelle Lynch. John Frost, Karl Sydow, Martin McCallum, Joye Entertainment in association with Lionsgate, Magic Hour Productions. Lyric Theatre, QPAC, Brisbane. From 28 May 2015.

When Dirty Dancing the movie opened in 1987 it drew mainly adult audiences, but between then and now somewhere along the way the story was hijacked by girl-power and today it’s recognised as being No. 1 on “Women’s Most Watched Movies”. This inbuilt fanatical acceptance by the female audience has meant that from its first production as a stage musical in Australia in 2005, Dirty Dancing has had a head start in the popularity stakes. Like Wicked, it’s a licence to print money.

It’s called a musical but it’s not really a musical but a play with songs. It’s the first musical I’ve ever seen where the principals don’t sing. But they do dance, and they dance very well indeed. The success of the show depends on the charisma, ability and body-language of the two leads, “Baby” and Johnny, and in this department the production doesn’t let us down. Kurt Phelan is a perfect Johnny - narcissistic, arrogant, and with enough macho swagger to make any woman swoon. A sexy bad-boy with a great body and great moves. Kirby Burgess as “Baby” was a definite audience favourite – an assured, slightly rebellious young woman, who knew she was breaking the rules but couldn’t stop herself. If their coupling wasn’t totally magic, at least it was sensual and sexy.

Maddy Peat’s performance of the ‘knocked-up’ Penny Johnson was also a standout. A fabulous dancer, she brought fire to her routines and a vulnerability to her book scenes getting more out of the character than what was on the scripted page. Baby-faced Mark Vincent, in his first musical theatre role, showed off his impressive pipes on “In the Still of the Night”, whilst Adam Murphy and Penny Martin were solid as the parents.

Michelle Lynch’s choreography, which recreated many of the movie’s iconic moves, lifts and routines, was a star unto itself which this talented company exploited to the hilt.

The other star of the night was Jon Driscoll’s amazing full-stage video projections which continually upstaged each other. “Baby” and Johnny dancing through a field of grass and in the water were visual moments of delight.

David Skelton’s musical direction was tight, Tim Mitchell’s lighting made sure the mirror-balls sparkled off the theatre walls, and Stephen Brimson Lewis’s set of multiple moving panels kept the stage clear which allowed the dancing to enjoy full-focus.

Peter Pinne

Photographer: Jeff Busby

 

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