From the glamour of 1960s fashion to the glitz of the dancefloor, the irresistible soundtrack and one of cinema’s most iconic romances, this latest touring production of Dirty Dancing’s musical adaption is a feast for the eyes and a celebration of everything that made the original film so beloved. Bearing in mind audiences’ expectations and attachments, bringing such a familiar story to the stage is no easy task, but there’s enough sparkle, chemistry and – crucially – sensational dancing to quell doubts.
The choreography is undoubtedly the jewel in this production’s crown, with routines that combine precision, athleticism and infectious joy. Ellie Fergusson, who plays Penny Johnson, brings mesmeric fluidity and flexibility; conveying elegance through technical ability, she commands attention whenever she takes to the stage set’s dancefloor.
Visually, this musical is equally impressive. The elaborate staging, with numerous moving elements and transformations, is worthy of a lavish West End residency, never mind a touring production. There is certainly no shortage of ambition here.
However, that ambition occasionally becomes the production’s greatest weakness. The number of scene changes, particularly during the first half, creates a somewhat fragmented rhythm. Scenes appear and disappear at such speed that several feel clipped, ending almost before they have properly begun, and the cast are given limited opportunities to explore their characters or allow relationships to develop.
For a story built upon romance, emotional discovery and personal transformation, these quieter moments are important. The first half would benefit from more breathing space, allowing the characters to drive the narrative rather than the scenery. Thankfully, the second half bursts into life with energy, excitement and humour – opening with a commanding performance of Love Man by Robert Grose as Tito Suarez. A magnificent singer and effortlessly smooth dancer, Grose brings a warm, infectious stage presence.
Cormac Diamond also deserves recognition for his endearingly awkward and naive portrayal of Neil Kellerman – finding humour in the character without descending into caricature – and Asher Forth as Billy Kostecki brings the house down with his powerful, controlled rendition of In The Still Of The Night.
As for Baby and Johnny? We all know that nobody puts Baby in the corner, but nobody will be putting Charlie Varlet or Joel Benjamin in the corner either! As the production’s romantic leads, the pair have passion, playfulness and an undeniable connection that grows increasingly convincing as the evening progresses. Their dancing is a spectacle in itself, and together they transform the familiar into the thrilling. And when that legendary finale finally arrives, its climactic moment – that lift – is suitably goosebump-inducing, and greeted with cheers and applause. It is a glorious moment of theatrical magic and a fitting climax to an increasingly exhilarating evening.
Dirty Dancing may take a while to find its rhythm, but even the roughest diamond can eventually shine brilliantly. I for one had the time of my life…
Dirty Dancing, Wales Millennium Centre, Cardiff Bay, Tue 20 Oct
On until Sat 24 Oct. Tickets: £19-£88. Info: here
words DAFYDD LLYR
