Manchester Theatre News & Reviews

REVIEW - Dirty Dancing is raucous, raw, and riotous!

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We went to the Palace Theatre, Manchester to see Dirty Dancing. Read what our reviewer Karen Ryder had to say about this fun and feisty production...

Some stories, whether they be films, books, or stage shows, will be forever imbedded within the hearts, minds, and psyche of entire generations, and for me, Dirty Dancing is one of those stories. I could most likely recite all the script, the songs, and even give the dance moves a good go, though truth be told, I have! And I fell! But somehow that just seemed to connect me even more to my inner ‘Baby’ as I battled through these tricky, yet iconic dance routines with perseverance and a determined spirit to show the world what I was capable of. Ever since the release of the film in 1987, audiences have gone wild for its music, its powerful coming of age story, its feel good factor, hint of danger, and of course, the dancing, with moves so legendary they have been reenacted, parodied, replicated, and reimagined with joy, respect, and love. And to summarise the power of the dancing in this story, I only have to say two words and everyone will be able to instantly visualise one of the most celebratory moments not just in film or dance but popular culture too – that lift! So, it seemed perfectly inevitable that a film embodying dance, with an epic soundtrack, would be turned into a stage production, and indeed in 2004, it made its world premiere. I saw the production in London around 2006. I remember waiting for months with a building sense of anticipation and adrenaline and then sadly, being thoroughly disappointed.

I haven’t seen the show on stage since, so I was attending tonight with a balanced mix of excitement and trepidation as to how I would feel a second time around and many years later. Back then, the film had been recreated on stage. Literally. Of course, when you love something so much, you don’t want it to be drastically altered, but equally, it hadn’t been given the opportunity to adapt to its new theatrical medium. It was lacking creative freedom and I was longing for the stage production to be its own version, to find its own identity. I am beyond thrilled to have seen that version tonight! This was no carbon copy. Of course, it was recognisable, familiar, and respectful to the film, but this time the talented performers and creatives have been trusted to interpret the source material with their own flair, skills, and nuances, and the inclusion of live musicians and singers instead of all the soundtrack being played as background incidental music, was an absolute win!

Dirty Dancing was the summer of 1963, when everybody called Frances, Baby, and it didn’t occur to her to mind (told you I knew the script!) The Houseman’s were off to spend their summer at Kellerman’s Resort, a place where they are well known, treated like royalty, and life couldn’t be more perfect, innocent, and care-free. That is until Baby meets Johnny, the resorts electric dance instructor at the staff club (where she carried a watermelon!) and something inside of her ignites. As Baby is instantly captive to Johnny’s energy, talent, and charm, she is also hooked on the pulsating rhythms, intoxicating dancing, and freedom of expression in a world entirely new to her. Of course, her upstanding father, who is also a well respected doctor, is ashamed when he finds out, suspecting Johnny of ‘knocking up’ his dance partner Penny and leaving her to fend for herself, an assumption that is woefully wrong. As Baby does the previously unthinkable and challenges her father and his outdated ideas of what it means to change the world, she stands up for what is right regardless of the cost. Fractured ripples of change start to spread throughout the resort. Forbidden love, self-discovery, sexual awakening, altruism and idealism light the way for Baby as her world changes over the course of one summer. And just as she thinks she has her hormones under control, Baby ends up standing in for an unwell Penny as Johnny’s dance partner, which entails plenty of one on one sweaty and hot training. What’s a girl to do? But with forces stronger than her principles at play, will her crusade pay off, or will Baby be put in a corner? Er - what do you think??!!

Charlie Varlet bring us to the compassionate yet feisty Frances, aka Baby. Her performance is full of warmth, transformation, sincerity, and effortless charm, all of which combine to make her instantly likeable, allowing us to connect and relax into the story with ease. Her scenes when learning to dance with an awkward, robotic charm are executed brilliantly and have the audience in giggles time and time again. Her chemistry with Joel Benjamin as our dynamic and dazzling Johnny is sizzling. His presence is instantly felt, commanding awe through his dancing talent, which is unbelievable. He is dripping with rebel vibes. The dancing is phenomenal, jaw dropping and pulsating and the volume of appreciation from the audience was bonkers! The chemistry between Varlet and Benjamin is palpable and they truly do the roles justice.

Penny is performed by Ellie Fergusson with exquisite physicality and world class dance. This is a challenging role for it is fuelled with delicate subjects and Fergusson handles it well. Lynden Edwards is our engaging Dr. Houseman, Taryn Sudding Mrs. Houseman, and India Chadwick Lisa. Together they deliver the strong essence of a warm and believable family, each with their own layers and dynamics, allowing each other to shine when the spotlight needs to be more individual, making the Houseman’s feel authentic. Edwards is very grounded as Dr. Houseman, showing his love and concern for his family, and how difficult he finds it to allow Baby to mature and grow up, yet he is eventually able to push through his own limitations and admit when he is wrong, bringing a beautiful moment in the story. Sudding allows the mum to be warm yet real, unafraid to see Baby without the rose tinted glasses her father reserves for her. Chadwick brings us the quirky older sister with wonderful ease and hilarity, making her light hearted moments fun and enjoyable. In particular, her Hawaiian song is comic brilliance and has the whole theatre cheering her on.

Cormac Diamond as Neil Kellerman is so funny, with a fresh and wonderfully comedic take on the role, taking him to a character that was well liked instead of slightly recoiled from. His nerdy dancing and facial expressions are just epic! Duncan Smith compliments him well as Max Kellerman, bringing consistency and grounding. Asher Forth is the loveable Billy with a cracking set of vocals who got rapturous applause after his solo In The Still Of The Night for it was glorious. He makes his character so approachable, you feel like you know him. It is full of charm, warmth, and is very engaging. Matthew Lloyd Davies as Mr Schumacker is really hammed up for the stage and everyone was there for it. He brought many comedic moments and humorous interludes that offered important tension release. Robert Grose and Mimi Rodrigues-Alves as Tito and Elizabeth completed the main cast, bringing personality and killer vocals to many of our favourite Dirty Dancing tunes.

The Choreography by Austin Wilks encapsulates all we know and love about Dirty Dancing. It is raw, expressive, and stands as a wonderful metaphor for Baby’s awakening. The hormones are racing, the energy is kinetic and effervescent, and every move is executed to perfection by an incredible team of dancers. Equally, costumes by Jennifer Irwin are instantly recognisable from the film but made individual, often with a little theatrical flair. Sound & Lighting are created by Chris Whybrow and Valerio Tiberi and represent the mood of the show, keeping pace with the dancing, even reacting as if it were moving freely as part of the dance troupe. It really adds to the atmosphere. The set is designed by Federico Bellone, (who also directs) and is very clever, taking us through multiple locations with a slick ease and smoothness, creating an illusion of something quite technical being very simple, when I’m sure it is anything but. The transitions are effortless and it really allows the show to keep rhythm with its own heartbeat.

The audience response to Dirty Dancing is undeniably wild. There were a few moments where it dampened the overall enjoyment because their volume was louder than that of the performers on stage, and some of the comments being shouted out (to Johnnys character in particular) needed a rating system all of their own! Believe me, I’m no prude, but surely there’s a time and a place?! The cast took it with excellent grace and deserve huge praise for putting up with so much embellishment and whilst I’m sure they’re used to it – should they have to be? I am so pleased that this show has been given the trust it deserved to find its feet and become its own beast instead of being suffocated by the pedestal the film is on, for it serves it so well. This was a fun, feisty evening with moments of unfiltered joy as people rejoiced in a memories that mean the world to them. The nostalgia is gratified, the infamous quotes are all cheered, and to witness the iconic (I’ve Had) The Time Of My Life live is an experience to behold! It is magnetic. Dirty Dancing is raucous, raw, and riotous! So hold on to your watermelons, control your spaghetti arms and relive the summer of 1963 with hungry eyes!

WE SCORE DIRTY DANCING...