Kirby Burgess and Kurt Phelan in Dirty Dancing; Photo by Jeff Busby
It’s the summer of 1963 and the Houseman family are on holiday in New York’s Catskill Mountains. Innocent Frances ‘Baby’ Houseman gets much more than she bargained for at this resort holiday including a rather raunchy introduction to adult life and some complimentary dance lessons of a similar style.
Dirty Dancing, “The classic movie on stage” is just that, and includes every Iconic Cliché and hit musical number. Any die-hard fan of the film will indeed have the time of their life at this live adaptation, as I witnessed by the two ladies next to me who shrieked with delight as ‘Baby’ (Kirby Burgess) laments, “I carried a watermelon”.
The list of movies being adapted to the musical theatre genre continues to grow, and most maximise the uniqueness of a live theatre environment including the utilisation of musicians and singers to their benefit. Matilda, Shrek and the Lion King are quality pieces of theatre in their own right, whilst Dirty Dancing simply takes the movie and pops it on a stage, including the use of the original film soundtrack for iconic repertoire, such as Hungry Eye’s. When the on stage band are unveiled with resort like shutters flying out the musicians are excellent, although I had to feel for them on a mezzanine above the stage, sitting idle for a great deal of the time.
I was left confused as to whether I was at a musical or a play, however if one was to elect the latter, they’d have to deem it a rather poor one, with a one dimensional script offered little support from the predictable narrative. There is an attempt to add depth to the piece through Baby’s political ambitions and social conscience, but this lands flat with the end goal remaining, as with the film, to see Baby and Castles come together and dance.
Kirby Burgess is outstanding as ‘Baby’, depicting both the innocent caring adolescent and inquisitive rebellious young woman equally convincingly and when we do finally reach the finale everyone was waiting for, her dancing skills cement her as a double threat. Both she and Kurt Phelan, who plays heartbreaker Johnny Castles, don’t sing a line thus once again remaining true with the film and their physical prowess and energy is unwavering. Phelan’s depiction of Castles is one dimensional, but that’s to be expected in his accurate recreation of the role made famous by Patrick Swayze and the audience’s response immediately confirms this as brilliant casting.
Scene changes in a motion picture are simple thus frequent however the same can’t be said for a stage production. Set designer Stephen Brimson Lewis overcomes this through use of projection and a large split LCD screen which takes the action from the fairways of the golf course to the seedy staff quarters in seconds. It’s far from realistic however, and Phelan and Burgess driving an imaginary car was met with laughter from the audience, and rightly so. That said, it’s all about the dancing and the entire ensemble are superb in this regard. A small but well utilised revolve adds interest to dance numbers including the iconic ‘I’ve had the time of my life’ finale.
Mark Vincent and Anna Freeland do this timeless duet justice, whilst finally bringing the energy musical theatre is famous for to the room. As expected the committed audience were ecstatic at the finale as if this happy ending was news to them.
I’m not sure if it is dance theatre, musical theatre or a play with a soundtrack, however I can confirm it as twee, predictable, and corny, but surprisingly entertaining. Enjoy it for what it is, the classic coming of age story transported to within a proscenium arch with all the added benefits a night at the theatre offers over a night on the couch.
Rating: Three out of five stars
Dirty Dancing
Lyric Theatre, QPAC
27 May – 19 July
