Review: STARSTRUCK at Glasgow Theatre Royal (Streaming)

Anyone who enjoys that unmistakable Singin' in the Rain aesthetic, the razzle dazzle of Hollywood and dreamy Broadway scores will have a very happy hour watching Scottish Ballet's Starstruck. Gene Kelly was originally asked to choreograph a work for Paris Opera Ballet in 1960, the piece, Pas de Dieux, was celebrated as a "breath of fresh air" at the time, and was widely acknowledged as bringing the "American style" to Europe. In this opulent re-imagining, new audiences can enjoy a slice of joyful nostalgia.

With additional choreography and reconstruction courtesy of Scottish Ballet's CEO Christopher Hampson and Kelly's widow, Patricia, Starstruck has required some dicing and splicing in order to transform into a new one act spectacular. It is now a ballet within a ballet that plays with the original Parisian story line of Aphrodite and Zeus overcoming boredom on Mount Olympus. It's a theatrical, stylish take on boy-meets-girl with all the usual froth, intrigue and distraction one might expect, but don't trouble yourself too much with the narrative, the joy here is in the flashy chorus numbers and glorious, glitzy costumes.

The opening scene sees the familiar sight of dancers arriving and preparing for a ballet class. Muted colours and legwarmers are the order of the day as they gently stretch and plié with the support of the barre. The women hone their arabesque and the men bound excitedly across the stage repeating combinations of jumps and jetés. The scene ends with the introduction of Sophie Martin's Aphrodite/Lead Ballerina. She is aloof but still classy and engaging as a chorus dancer excitedly asks for an autograph.

Martin is a neat and compact dancer. She stands apart (quite literally) from the rest of the ensemble and cuts a severe, rather more refined figure with killer extensions in her dramatic black point shoes. Her partnership with Christopher Harrison is slick, the final pas de deux featuring a confident one armed lift. She treats her other love interests as the moderate entertainment they are intended to be - a lifeguard, a stage hand - all the cliches are there.

The atmospheric set and costuming and set scenario pull as much weight as the dancing in Starstruck. Lez Brotherston's designs are perfectly executed as we're immediately transported to a bygone age. Anyone familiar with the "You Were Meant for Me" scene from Singin' in the Rain will relish the feeling of viewing the action from behind the curtain. Lighting rigs and dancers congregating pre-performance all coming together to produce some high quality escapism to Gershwin's Concerto in F. The luxurious score is similarly transportive, so much so you will feel a need to double check you're not watching An American in Paris.

In these dark winter months and as COVID still looms insistently over us, Starstruck is a dreamy tonic. Visually it glitters and Kelly's remastered choreography is instantly recognisable and satisfying for those who want to indulge in some reminiscing. Moving seamlessly from the classical to the contemporary, it will appeal to many - a run at Sadler's Wells would be more than welcome.

Starstruck is streaming on MarqueeTV until December 5

Image: Gavin Smart

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