Ever since the classic 1987 romantic dance movie, Dirty Dancing, transferred to the live stage, performances have sold out all around the country. Audiences flock to see the most iconic scenes from the film recreated before their eyes and they just love it. The simple mention of a watermelon, or not putting Baby in the corner, sends them into raptures and makes the job of the touring cast who are heading out on a 4 month run, after their opening performances at the Winter Gardens in Blackpool, very much easier.
It’s almost unbelievable that the Theatre Royal Brighton’s compact stage could ever reproduce the film but, as there is very little in the way of set and scenery in this production, it fits. Luckily there are some extremely complex dance routines, and a rousing musical score full of sultry Latin rhythms and million selling tunes, to disguise the wholly inadequate staging, and so we have a show that seems to keep both the movie lovers and the devotees of live musical theatre happy.
The 100 minute movie has had a couple of extra scenes added to create a two hour theatre show and yet, somehow, the plot-line is just as paper thin as it ever was and, as the title suggests, the show is, fundamentally, just about the dancing – which allows the entire ensemble to show off their tremendous skill.
Carlie Milner, as Penny, is, quite simply, the most spectacularly flexible and supple dancer. Her moves are strong and sultry and she has legs that seem to go on forever. Together with the rest of the dancers, who all display beautiful style and incredibly well-defined lines, they bring the superb choreography to life amazingly well.
Central to the success of the production are the two main characters of Johnny and “Baby”, played by theatrical newcomer Michael O’Reilly and Kira Malou. From the outset the innocence and vulnerability that Kira brings to the role are the perfect contrast to Michael’s macho cocky arrogance, emphasised by an accent that is reminiscent more of Stallone than Swayze.
In act one they work well together and their on-stage chemistry starts to blossom from their very first meeting. This further develops in act two and, by the time Johnny leaps back on to the stage to deliver the iconic “Nobody puts Baby in a corner” line, their relationship is so strong, and the audience are so enthusiastic, that they bring the house down.
As mentioned before, the set is seriously lacking. It is both flimsy and, dare I say it, cheap which, together with the, very basic, storyline means that this production relies heavily on its reputation, and the superb dancing. They do, to compensate for other failings, stick faithfully to the movie script which ensures that those who have seen the film many times, and the vast majority of the audience appear to fall into that category, are left satisfied.
*** Three Stars
