Tickets to BURN THE FLOOR, a thrilling dance tribute and part of the Stanford Broadway Lights Series, go on sale Friday, Jan. 2. The show will play at the Belk Theater March 24 - 29. Tickets start at $20 and will be available online at BlumenthalCenter.org, by phone at 704-372-1000 or in person at the Performing Arts Center box office in the Belk Theater.
Witness the spectacle as this 24-member company of internationally-acclaimed dancers takes ballroom to a new level! From the ballrooms of Vienna to the dance halls of Harlem, BURN THE FLOOR grooves through every possible combination of steps with such dramatic panache that ballroom dancing takes on a whole new meaning.
Catch BURN THE FLOOR competing in NBC's new dance show-"Superstars of Dance," which pits dance companies from around the world in competition. The show premieres this Sunday evening (Jan. 4) on Charlotte's own WCNC. Get a taste of this incredible company that will be CENTER stage this March!
The North Carolina Blumenthal Performing Arts Center serves the Carolinas as a leading cultural, entertainment and education provider. For more information, call (704) 372-1000 or visit BlumenthalCenter.org. The Center receives operating support from the Arts & Science Council and the North Carolina Arts Council. The Center is also supported through the generous aid of its sponsors, including Presbyterian Hospital, The Official Healthcare Provider; U.S. Airways, Official Airline of Blumenthal Performing Arts Center; and Stanford Financial Group, sponsor of the Stanford Broadway Lights Series.
Call 704-372-1000 or visit the performing arts center box office in the Belk Theater lobby
The history of BURN THE FLOOR as told by Producer Harley Medcalf is that "the original idea of Burn the Floor came in a burst of colour and energy. I was witness to a scintillating display of Ballroom and Latin dancing at Sir Elton John's 50th birthday celebration at the Hammersmith Palais Ballroom, London in 1997. In the midst of a glamorous costumed evening, Sir Elton, the ultimate host, the party in full swing, 16 young energetic dancers mesmerized the packed room in a 10 minute dance display. For me it was just the spark of an idea then.
I was soon to meet and discover the Ballroom dance world, its people with their intensity, commitment, discipline and work ethic. These ideas would become my inspiration. It was the dancers themselves that provided the real motivation, their good nature, openness and sheer talent combined with a burning passion and love of dance. It was 18 months before I gathered the first team together, a core of dancers and designers in a London ten day workshop late in 1998. A quest to combine the natural chemistry and personal values of the individual dancers with aspects of modern theatre technology. Small pieces of choreography from Anthony Van Laast, costume ideas from Bonita Bryg and lighting by Patrick Woodroffe, set by Marc Fischer, became our original design team; we rehearsed and stitched together the initial pieces day after day at Pinewood Studios.
The results were spectacular on film, creating strong images and magnifying personalities. The result bought us a commitment from Universal to support us for a full-length show that we would produce specifically for film. A genuine buzz began in the Ballroom and Latin dance environment, sending new dancers our way, all with ideas and excitement. The frantic rush to deliver the show by June of 1999 began. Sets, costumes, choreography, all focused on a World Premiere in Bournemouth. We were to film all three planned shows for worldwide release, thus beginning a never-ending cycle of marketing and touring around the World. It was a tense and nervous time. Tensions often flared under the pressure. Deadlines missed and re-set, staff replaced, as patience and performance came under question.
Slowly the show began to take shape. Six weeks, twelve hour days, six days a week in an old army barracks hall in Hammersmith, London followed by a week of technical rehearsals in South London preceded the move to Bournemouth. Seemingly the Burn the Floor tradition of delivering under pressure and creating opportunity from little, "no matter what it takes", was born at this time. After chaotic dress rehearsals the first shows were performed with much relief. This collection of spirited dancers, assembled from fifteen different countries, the fierce personalities all honed in dance competition, excelled on stage, the months of work and pressure released. The enduring comment of the night captured the feeling in the Company. "It's as if we all won the competition tonight!" Finally, with the results on film, the Bournemouth shows completed successfully to solid critical comment, we began our first world tour. Australia for two months, back to the UK including the Royal Albert Hall in London, the Point theatre in Dublin (the home of Irish dancing) and then a long trek through Europe. Relentless overnight bus travel, occasional deep snow, to critical reviews, some great, some disappointing. A few dancers couldn't take the pressure and went home early. Everyone was tired. It was a solid learning process, what worked, and what did not work in the show, with the very best teacher - the audience. We discovered the scenic Pieces were cumbersome and difficult to move,and parts of the show were slow and meandering. We had "too much and too many", this was our first lesson in production. Everyone one was happy to break in December of that same year, some seven months after we started. With all the success we also encountered set backs. Our first US tour in March 2000, highlighted by shows at Radio City Music Hall in New York, was cut short in six weeks.
