Review: DIRTY DANCING at The Playhouse

If memory serves, way back in 1987 the movie DIRTY DANCING sizzled with sexual energy, engendered by the super charged chemistry between the poster boy of charisma, Patrick Swayze and the naïve Baby, who liquifies under his charms as quickly as a Rita's water ice in July.

The stage adaptation at The Playhouse until Sunday, does not offer a similar dynamic. The production is a juke box musical of hits from the '60's, concluding of course, with the blissfully romantic "I've Had The Time of My Life". Many of the tunes by those legendary r & b artists (e.g. The Drifters, Gene Chandler, Marvin Gaye) may have fit in the movie, but in this live iteration there was a disconnect.

The audience comes to DIRTY DANCING to see just that. What we are witness to are as many historical flashpoints of the era crammed into an incohesive and head scratching plot that spends too much time on too many interpersonal relationships. To wit: we know that 1963 was about JFK and MLK, but refrigerating the action with a kumbaya of "This Land Is Your Land" and "We Shall Overcome"?

I got the sense that the director wanted to give every named actor a shot. There is a list of moments that could be severed to move the show forward from its glacial pace. Two stand out: Schmacher's "Besame Mucho" and the duet between Dr. and Mrs. Houseman. I am still trying to understand that "You Don't Own Me" was sung over a fight scene. There was no linkage.

I would estimate that 10 minutes could have been saved if the director instructed the actors to move at a more energetic get along. There were too many times when the silent audience was looking at a blank stage.

The scene design was ho hum. Slides of a Catskills Lake do not make for awe inspiring kudos. I do applaud the tour for bringing along 9 live musicians. Normally a troupe goes out with 4 and picks up local contractors to fill in.

The leads could dance, case closed on that. And there was some steam arising from the bedroom scenes. Aaron Patrick Craven (Johnny Castle), Kaleigh Courts (Baby) and Anais Blake (Penny) come from strong ballet upbringings. Craven's lines were beautiful, intensified by his height. He worked seamlessly - and should I say courageously - in his lifts of Courts and Blake. His tough guy vibe and attitude got a bit old and my guest lamented that he did not smile until the last 4 minutes of Act II.

Baby was very funny as she began rehearsing under Johnny's tutelage. She does 'bad dancing' extremely well. Penny has tremendous stage presence and exquisite form.

You know the final number. That was wonderful. Johnny's iconic lift of Baby was superb. On the theme of 'one man's opinion', the opening night audience gave a Standing O.

The last show at The Playhouse, CABARET, was non-equity and excellent. DD was non-equity and not so much.

Through April 8. The Playhouse 302.888.0200

Next Up: MOTOWN: The Musical May 1 - 6

Also: First State Ballet Theatre's ROMEO AND JULIET April 13 - 15 @ baby grand

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