By Conor O’Neill
It’s the summer of 1963, “Before President Kennedy got shot, before the Beatles and when Martin Luther King still had a dream.” My sister watched the film version of Dirty Dancing until the VHS tape wore out. Never in all my, mostly unwanted, viewings of this iconic movie was I aware how political the backdrop was. Maybe it’s not even there, under the skilled pen of writer Eleanor Bergstein, Dirty Dancing: The Classic Story On Stage, has 20 added scenes and 25 new songs.
But away from the highly charged political backdrop, there’s more pressing issues at hand. The air in the Grand opera House’s main theatre is full of oestrogen. Us of the XY chromosome are out numbered by at least three to one. The evening has the atmosphere of a hen night and many of the 1000 plus theatre goers have only one thing on their minds. Maybe it’s reliving past glories of the summer of 1987 when the film version was first released, maybe it’s the classic tunes, maybe it’s the thought of seeing Johnny Castle’s ripped torso and ripped body. What ever it is, it certainly makes for an entertaining night.
For those who haven’t seen the movie the plot goes a little like this: a middle-class family, Jake Houseman, his wife Marjorie and their two daughters, Lisa and the feisty Frances ‘Baby’ take a trip to Kellerman’s holiday site in the Catskill mountains in New York state. This lush pastoral retreat seems idyllically all American on first viewing, but dig a little and the truth is far from the wholesome retreat affable owner Max Kellerman would like to promote.
After hours, when all the classes, country pursuits and the needs of the wealthy are catered for, the staff like to party too. The band play the rowdy Rock N Roll that’s sweeping the nation, and indeed the world, liaisons and desires are met, and another thing missing from my memory of the movie, is the class divide and the injustice faced by those not born with a silver spoon in their mouths.
Away from all these subplots, this is after all a musical. Six musicians, including a tremendous three-piece horn section, make up the Kellerman’s band. What’s great is they’re onstage and frequently take part in the action. Not only can they act smaller parts, but boy they can play. As one would expect from a West End production. Calypso, waltz, flamenco, Rock N Roll, jazz, tender love songs… you name it, the band are on it.
And of course there is a well-drilled cast and ensemble to bring the story to life. Under the guidance of director and stage designer, Frederico Bellone, and choreographer, Austin Wilks, the 26 member cast give it their all and never miss a step or note. Of course, the main attraction is Johnny (Michael O’Reilly) and Baby (Kira Malou) but there is so much talent on show here this review would read like a telephone book if I was to name all the supporting stars one by one.
Two really do stand out and are worthy of a mention: Band leader Tito Suarez (Colin Charles) can not only move and sing, but his chosen words of wisdom bring a profound sensibility to the raucous goings on of those under his charge; the second cast member to stand out is Penny Johnson (Georgia Aspinall) whose role as the initial main female dancer is not only spellbinding but the depth of acting as she portrays the cast-aside woman is sublime.
The two hours and 15 minutes running time simply flies by. The gritty undertones of Bergstein’s plot and the triumphant delivery of this ‘must see’ show are testament to the popularity of this show. I implore you to get tickets if indeed you can. Such is the show’s impact a further show has been added for today (Wednesday 23rd) at 230pm.
For booking details visit http://www.goh.co.uk or simply phone the box office on 02890 241919
ENDS
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