Culture Writer Victoria Wilson and Sci & Tech Editor Daniella Southin review the musical Dirty Dancing, weighing the good and the bad of the performance
Content Warning: briefly mentions abortion
Earning a standing ovation and rapturous applause, Dirty Dancing, The Classic Story on Stage captivated the audience, who sang, whooped and clapped along to the breathtaking dance routines, renowned songs and emotional yet feel-good storyline: having the time of our life. Based on the classic 80s coming of age romance, Eleanor Bergstein’s stage adaptation of Dirty Dancing follows Baby Houseman (Kira Malou) as she learns to dance, navigates a relationship with her instructor, Johnny Castle (Michael O’Reilly), and handles the subsequent tensions bubbling between her and her parents.
Bergstein added new dimensions to the original plot, situating the characters in the historical context of the American Civil Rights Movement and delving deeper emotionally into their storylines
Though the first act was too rushed, whirling through the plot in a series of dance routines, which were stunning yet ultimately lacked opportunity for character development – the second act more than made up for this. Bergstein added new dimensions to the original plot, situating the characters in the historical context of the American Civil Rights Movement and delving deeper emotionally into their storylines.
The audience gained an intimate insight into the ups and downs of Baby’s parents’ relationship, forming a heartwarming transgenerational parallel with that of Johnny and Baby, whilst Carlie Milner’s portrayal of Penny’s fear and loneliness at having an abortion was gut-wrenching and performed immaculately. Baby’s character sharply differs from Jennifer Grey‘s film portrayal, as Malou reinvents her as a caricatured slightly goofy teenager stumbling into her first love.
Although at times a little over the top, this interpretation creates a humorous relatability and compliments the scene where Baby and Johnny discuss African American enfranchisement and the Mississippi Freedom Marches well; in line with the bildungsroman genre, here Baby is depicted with a developing awareness which carries her beyond the stereotypical interpretation of a ditsy young girl.
The minor characters, however, were the real dark horses carrying the show
The minor characters, however, were the real dark horses carrying the show. Lizzie Ottley proved that forget Baby, nobody puts Lisa in the corner, with her hyperbolic and humorous performance as Baby’s jealous yet protective older sister with a comically overenthusiastic passion for singing. Likewise, Thomas Sutcliffe as Neil Kellerman left the audience in uncontrollable laughter right from the opening dance sequence, hitting the nail on the head with his portrayal of the pompous and awkward bosses’ son who always misses the mark.
Powerful harmonising vocals from Samuel Bailey and Amber Sylvia Edwards perfectly complimented and elevated these performances, backed by an excellent band that fit seamlessly into the set and encouraged the audience to clap and cheer along to their energetic sequences.
Whilst the set design was basic and failed to shift with the characters as they travelled through the woods and to the lake; the minimalist approach was cleverly manipulated through costume and music changes presenting the passage of time and Baby’s progression through her dance rehearsals with Johnny. This scene was a particular favourite of mine, as it closely echoed the film version, yet used smooth transitions and music to adapt it for the stage.
Packed with iconic lines and of course, the highly anticipated signature lift, Dirty Dancing, The Classic Story on Stage peaked in its final scene, which combined vibrant dialogue, dance and infectious music to elevate Baby and Johnny’s’ final performance in the Kellerman resort talent show. The audience danced and sang along with the cast and were left hungry eyed for more.
Victoria Wilson
Dirty Dancing – the movie is a classic but does the stage show live up to the legacy?
The audience of last night’s (12th October) opening production at Birmingham’s The Alexandra theatre certainly thought so. With the more-than-gorgeous Michael O’Reilly as the rebellious Johnny Castle and the infamous final lift executed perfectly, it is no wonder the crowd were on their feet at the production’s close. But for all the song and dance, cheers and applause, still, the show had its flaws, and they were noticeable from Reilly’s first appearance.
Not only did it prevent what could have otherwise been an immersive performance, it made Johnny’s rebellion seem unbelievable, his care-free attitude unconvincing
It is no surprise that the arrival of the eternally loved Johnny Castle drew some excited hoots from the audience, strutting on stage in all black, leather jacket slung over his shoulder. Yet, it was this aesthetic that first failed Reilly. His ken doll like slick hair and chiselled jawline made Johnny too perfect, too polished, far from the brooding bad boy we see from Patrick Swayze.
While his accent was spot-on, sounding almost like Swayze himself, its styling was closer to that of Danny Zuko from Grease that it sounded out of place amid the rest of the neutrally accented cast. Its peculiarity was never quite shaken, either, never quite settling itself into the show to become a background annoyance. Instead, it was a constant reminder that this was in fact a play, a performance of the fictional. Not only did it prevent what could have otherwise been an immersive performance, it made Johnny’s rebellion seem unbelievable, his care-free attitude unconvincing.
To Reilly’s disadvantage, his character’s believability was also hindered by his lack of appearance in the initial. In the first half hour, it was hard to pinpoint more than a few minutes of onstage action for a role that would otherwise be considered the main male lead, meaning the sincerity of his affections for Baby (Kira Malou) when he began appearing more frequently and for longer spans of time, was questionable. Ultimately, it made his character difficult to connect to.
There was a constant murmur in the audience, a sign of everyone’s thorough enjoyment of the show alongside the whistles and swoons whenever Reilly showed skin. Some of the biggest cheers came when, in the steamy bedroom scene, Reilly revealed what looked like a six – no, eight – pack to the audience, only to be topped in the second half with a cheeky glimpse of his bum. (It is hard to imagine what the audience of Magic Mike live are like.) But despite the audience’s enthusiasm, the constant noise meant distractions, and the usually intense, silent moments were undermined.
The audience’s enthusiasm, though, remained a constant even in the more disappointing scenes
The audience’s enthusiasm, though, remained a constant even in the more disappointing scenes where the lack of stage production pushed the performance drastically far away from its screen original. Most notable was the adaptation of the woodland lakes where no backdrop nor set design was used to indicate the rural setting. The only indication of the scene being mirrored was Reilly’s imitation of balancing. Without any raised surface to substitute the fallen tree from the movie, Malou was simply seen crawling across the stage floor. The scene only got worse when, to imitate the practicing of the famous lift, the pair were simply placed behind a screen that vaguely resembled water, their theatrical hair flicks a comedic distraction from the poor staging.
The actors’ skill at entertaining the audience whilst being up against bad styling and half-hearted production was commendable, particularly when they were also facing the challenge of performing in a play that felt rushed with little space for appreciation for the iconic romance and story. One scene jumped to the next, and the next, and the next, none ever fully fleshed out.
The only moment of respite from this pace was when Johnny’s cousin, Billy Kostecki, played by Samuel Bailey, took on one of the only solo musical numbers of the show. While his immense vocals and astonishing high notes could not be ignored, once again drawing applause from the audience, like Reilly’s accent, it seemed out of place, seemingly plucked from another show that focused more on impressive ballads than this one. It was yet another mistake by those behind the scenes.
However, it is easy to find flaws in something that most of us could scarcely dream of doing, let alone doing well.
Daniella Southin
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