"Strictly Ballroom" Review

"Strictly Ballroom" Review

Lyric Theatre Sydney

Thursday May 8th 2014

This review about "Strictly Ballroom" is more feedback about a quality work-in-progress musical than a review.  The reason is that the producers acknowledge that this is a journey in the making of a musical  and that they wish it to have international "legs".

I write this as feedback as I want this show to succeed internationally and appreciate that the producers work in a continuous improvement cycle.

"Strictly Ballroom" is one of my five favourite Australian movies and it is a brave venture to translate this into a full scale musical that completes a cycle of transformation from its origins at NIDA. I say brave as the film is so near perfection it is nearly sacrilege to want to taint its heart, soul and magic.

The story is the classic "Ugly Duckling" or "Cinderella" tale of transition from  ugly to beautiful, of non-acceptance to acceptance.  It is also about facing our fears and desires and treading the high wire in between.  The film is rich in characters that are larger than life and to translate these onto a stage to fill the back row of a 2000 seat theatre is a mammoth task.

I will highlight the aspects that I loved and those that I feel need more work.  As such an iconic film there are some magical moments that transfer to the large musical stage better than others.

This musical is an event.  The ushers in their exquisite uniforms looked straight out of a 1930s film.  This set the tone for a sense of occasion.

You entered the theatre to reveal a huge dance hall with walls full of the posters and banners from the ballroom dancing (dance sports) competition world.  This reminded me of the way that the original "The Rocky Horror Show "at the HSV Tele-theatre or "Follies" on Broadway created an atmosphere in the theatre.  The way the seats were colour coded into sections was a supreme effort of creating an event. Later we were to be cheering for our colour coded entrant on the stage.

The compere,  J.J.Silver was played with skill, humour and great timing by Mark Owen-Taylor.  He made announcements as the audience entered to take their seats.  This introduction created a genuine reality to a dance competition and allowed time for the audience to settle back into the mood and begin to concentrate on the show rather than be distracted by their mobile phones etc.  He immediately set the contractual relationship between the audience and the performers - an acknowledgment that the audience was present and going to witness a dance contest and that audience participation would be required at times.

I do feel that a "stooge" in each coloured area may have enhanced the experience of audience participation  as some sections of the audience were more reticent to get involved during the invited sections of the dance contests.  Maybe the audience could have had flags to raise or banners to raise at the appropriate times.

Make sure that you arrive early to the theatre to hear J.J.Silver's announcements.    

The opening sequence worked well and to establish what was to eventuate with Scott's non approved steps.  The major characters were all introduced to provide us a snapshot of what was to come. This created a build up and tension to Scott's illegal steps.

With television dance shows like  "So You Think You Can Dance" and other dance shows, audiences have been educated in thrilling and exciting choreography and dance acrobatics.  I would have liked the lighting to give more focus to Scott's unorthodox moves as they are not as spectacularly danced  as they were in the movie.  Scott played by Thomas Lacey has a superb singing voice and is an adequate dancer.   People will naturally compare him to Paul Mercurio and he looks the part.  At times his moves  appeared lacklustre and unimpressive rather than the dynamic and explosive, especially with the "rolling leaps" or "barrel turns".  By giving Scott the added support of the lighting will create the thrilling moment  as in the film.  (If in doubt compare these barrel turns to spectacular demonstrations by any of the finalists in "So You Think You Can Dance Australia). This enhancement is achieved in the finale when men carry him to create the famous slide from the film and again could do with some more lighting support.

The set up with Barrie Fife's entrance was timed with a good measure of both humour and terror, both musically and staging. I loved how the staging really sent itself up and was playful.

The set designs by Catherine Martin are magnificent and versatile. It reminded me of "Martin Guerre" in London but more clever in their execution as each time a truck was turned revealed another incantation of a possible set.  When I saw the cast move a truck three times showing three different angles to a location, and then remove the black glamorous  fabric I was in awe of the clever design.  The five trucks became one large set and then would later revolve or move up and downstage.  These trucks would become the interior and the exterior of the studio etc.  We would be given cinematic director angles of the dressing rooms, the doorways, stairs etc.

I loved how the musical sent itself up - particularly with the staging, choreography and dancing.  This was also supported by the costume designs that were either realistic, elegant or garish depending on the scenes and the characters.  The wigs were superbly cartoon-esque, especially for Barry Fife played by Robert Grubb.   Great design and construction to be able to endure eight shows a week.

I thought the Bob Baines as Les Kendall and Robert Grubb as Barry Fife honoured the film and created the larger-than-life characters.

The choreography by John O'Connell was creative and fun.  I felt the choreography was better than the execution by the dancers.  At times it looked as if the dancers were walking or "marking" through the routines.  By their tentative execution the dancers seemed not up to the task of the serious dance moves when required.  This was evident in the very unsynchronised and untidy six Russian men.  It did not support the dictator or military precision message in the "Dance To Win" number.  Also the Spanish postures were only obtained by about a third of the dancers in the finale to Act One.

Scott's mother, Shirley Hastings is played with great reverence by Heather Mitchell.  She has a great presence and her voice is congruent with the character. She manically performs  in the  "Happy Feet" sequence,  though I think her make-up is under done for the stage.  We should be able to see the cake layers and the powder should dust off her face. It should be tackier and heavier.  Her face is not craggy enough from L Row.

"Shooting Star" provides Scott the opportunity to show us his dedication to dance.  The sequence reminded me of "The Music and the Mirror" from "A Chorus Line."  Here I felt the lighting and the music supported Scott's dancing.  Thomas Lacey danced well in this sequence though he could show more texture in his light and shade of the choreography.

One of the most cherished sequences from the movie is "Time After Time" where Scott and Fran abandon to the rooftop to escape being seen by the father, Doug Hastings played admirably by Drew Forsyth.  Using the lyrics from the song  as a segue  into the melody was sublime.  This was poignantly counterpointed by Doug dancing solo in the studio below.  This was superbly designed with the set on the revolve.  The highlight to me was the sound design when the set would turn the sound would focus either on the rooftop or below in the studio.  A magical moment thankfully transported to the musical stage.  The song drifted off as it did in the film.  I did long for a more finite ending to give the audience a moment to really show our appreciation. I can understand by doing so the creative team did not want to block the flow of the story.

"The State Championships -Heavenly Pineapple"  sequence was too messy for my liking. The focus of the characters were not clearly delineated and the lighting and staging did not support this scene.   It seemed to jar too much with the previous sections of the show.  I liked the concept but the rhythms and lyrics jarred too much and it seemed like a rap song gone wrong with a mix of Gilbert Sullivan in a karaoke bar. It was corny and cute and I felt the audience cringe around me at this point and begin to turn off.  ( I equate this scene with the chase scene from "Newsies" as it was too quick in the musical version and did not give weight to the story as it did in the film.)

"Tina is Coming/Witches' Song" seemed messy and the lighting again did not support this scene to create a real sense of location.  The stage appeared flooded with light and Fran's exit should be humiliating .  Maybe a corridor of light for her exit could support this.  The two witches solos centre stage should be ditched or incorporated into the scene in the dressing room.  It was unnecessary as we know the three woman were all conspiring to prevent Fran from dancing with Scott.

When Fran played by Phoebe Panaretos  ran home she did not appear out of breath and her song seemed to be on one level - loud.  To me she did not appear upset, just yelling.  I wanted to hear more passion in her song.  She was growing in confidence from the earlier "Ugly Duckling" scenes but now the transition seemed too grating with her yelling her song.  There did not seem to be a build up of emotion as she could not have possibly been able to sing had she been running.  It lacked the credibility that Tara Morice had in this moment in the film.  This too me is one of the most important moments to recreate.

"A Life Lived in Fear" is an iconic moment that transferred beautifully on stage with the laughing at Scott's attempts at the Paso Doble.  Fran's father, Rico is played by Fernando Mira.  Here for the first time we see the finest display of dance in the musical. 

I am shocked that Antonio Vargas is cast as the understudy to the role of Rico.  I think it would be more respectful to have him credited as the alternate Rico.

A few of the dancers in this finale to Act One held the Spanish postures,  while others did not look proud, strong or authoritative enough with their chests, shoulders and arms.  Mike Snell as an ensemble member seemed to strike the strong Spanish posture.

We were  also introduced to Abuela played exquisitely by Natalie Gamsu.  Her voice was rich, melodic and passionate.

There was a degree of tension at the end of this act and more tension was required.

Act Two:

I particularly loved the opening of Act Two which I felt was a very simple and perfectly choreographed routine that had to balance the safety of two audience members with the entertainment value for the audience.  The way the dancers gently persuaded the two audience members was achieved with great skill, aplomb and communication.  The ballroom gown and the tail coat were a great addition.  John O'Connell achieved a visually entertaining and fool proof, riotously funny opener to Act Two. 

The staging of Scot's entrance as the audience members were ushered back to their seats was timed to perfection and respectfully.  As an audience we had time to pause and refocus on Scott. This was a great moment to transfer from a comedic moment to a more serious entrance.

"New Steps Nightmare" needs more re-working mainly with the lighting and sound to really establish the difference between reality and a nightmare. 

"Without a Fight"  was a blur and confusing as it seemed to merge into the nightmare.   I loved the "Les Miserables" moment with the flag waving and the triangular formation.  These in jokes help create the sense of fun and absurdity.

"Yesterday's Hero" and the use of the lyrics was skilfully written into the script.  We finally get to see Doug Hastings back story and his dance ability.  This was a fun routine and great theatre.

"The Chase, The Paso Doble" - when Scott chases Fran the stage was blanket lit and created no sense of space.    The use of the staircase moving on the revolve created a partial sense of location but needs lighting to enhance the corridor or backstage areas.

 "The Pan Pacific Finals" were well staged with the revolving back and front stage set.  There was the appropriate amount of tension and build up.   The entrance of Fran, Rico and Abuela through the audience gave credibility to the audience witnessing a "Dance Sports" event.  Scott being carried by the men during the Paso Doble was a terrific moment adapted to the stage.  This would be enhanced by lighting to emphasise  Scott.

Doug attempting to tell Scott the truth was interspersed with the announcement to introduce each pair of dance contestants.  This writing Baz Luhrmann and Craig Pearce was clever and created a sense of tension.  Great theatre and wonderfully staged.  It reminded me of "The Nance" starring Nathan Lane with the onstage and backstage actions.

I was worried about the "slow clap" by Doug Hastings would be spoiled by the audience getting too enthusiastic at the climax.  I was so pleased that the audience realised this was a crucial moment and stopped clapping to allow Doug Hastings this most important moment from the film.  The audience then joined in the slow clapping.  Great steely focus by Drew Forsythe to recreate this iconic moment to the musical stage. 

"Finale" I loved the dance of reconciliation between Shirley and Doug Hastings.  This was poignant and beautifully staged without getting soppy.  It showed a magnificent acceptance of self and others.  After the curtain calls there is a tag.

The tag in the movie where the audience also dances as the camera pulls away is courageously attempted on stage.  The audience is invited on to the stage to perform the iconic conga-line.  Three cast members singing and the audience continue to dance as the other cast members leave the stage.  This works well in the film but not so in this production as what should finish on a high blurs into oblivion.  The audience are thanked by J.J. Silver but are left with stage hands to return to their seats.  An audience member said it was "rude that the cast had left and the audience left to fend for themselves."  Maybe they could have some dancers in the audience dancing with the crowd or a conga-line out of the theatre.

Another audience member quoted about this tag,  "the three singers left on stage looked embarrassed as they tried to milk the audience to get involved."

Loved the set design - especially the use of the revolve.  There were a few cover ups by the cast when the curtains got caught and they exposed an entrance to exposed areas.  Great team work by ensemble members and obviously kinaesthetically aware of the staging.  I trust these minor adjustments will be sorted out in time with the cast and audience reporting hiccups.

Generally the lighting needs to be altered to create a sense of location, atmosphere and space.

Programme notes: I would like the scene's location added.

My main criticism is that the show is far too long.  The film is about 94 minutes and this was 2hours and 50 minutes or 170 minutes.  It needs to be snappier to keep that tighter feel that the film achieves.  Others I have spoken to agree that it needs to be about 20-30 minutes shorter.  We want to be left wanting more not the other way around!

If I have not mentioned a key moment from the film then it did not work as I tried to recall all of the key moments to savour the experience.

I did not get bored with this show even though it felt long.  Though I did cringe at the "tag" and felt the audience around me felt the same. 

Congratulations and I look forward to seeing it again when revisions are incorporated.  I also hope that the show is not Americanised as they did to "The Boy From Oz."  The Americans will get the jokes - keep it true to Australian culture.