Review: DIRTY DANCING, New Wimbledon Theatre

As one of the most famous coming-of-age films, the story of Dirty Dancing is loved by many. The 2004 stage show now comes to the New Wimbledon Theatre in an energetic but occasionally awkward revival.

It's the summer of 1963 and Frances 'Baby' Houseman is at an old-fashioned holiday resort with her family. Change is in the air, with Rock and Roll and the civil rights movement making waves in society. When Baby meets charismatic dance teacher Johnny she is drawn into a summer where social classes are challenged and sexual desire is awakened.

Kira Malou is cute and innocent as Baby, convincingly bad at dancing at first, but gradually improving. Her tiny frame makes her seem very young and the evolving relationship with her father, played with genial confidence by Lynden Edwards, is the most convincing in the production.

Michael O'Reilly makes his professional debut as the charismatic Johnny. He is an excellent dancer, but he is a bit too mean and moody in his character. He is overly authoritative with Baby, barking instructions at her and insulting her efforts; there needs to be more softness to make him a rounder character. It is impossible not to make direct comparisons with the film and the chemistry between the pair is sometimes lacking compared to the sparks between Patrick Swayze and Jennifer Grey.

Music and dancing are integral to the film and there are some excellent performances. The ensemble dancers are all very accomplished and show accuracy and energy with Gillian Bruce's choreography. Simone Covele is outstanding as Penny, a lithe and sinuous dancer with incredible flexibility and control.

There are some consummate renditions of the classic soundtrack; Sian Gentle-Green gives the standout performance as Elizabeth. Her dynamic rendition of "Yes!" is full of energy and vitality. She is complimented by Alex Wheeler's sweet performance as Billy; he shows an impressive falsetto in "In The Still Of The Night" and the pair are great during the iconic "(I've Had) The Time Of My Life" during the show's finale. However, songs such as "Hungry Eyes" and "Hey! Baby" are played as pre-recorded tracks and would add much to the show if performed live.

The stage adaptation was first seen in 2004 and sticks rigidly to the script. For die-hard fans of the 1987 film, this is bliss, but it may have been interesting over 30 years later for the story to be updated. There is still the interesting parallel of Baby's introduction to sex and desire alongside the cautionary tale of Penny's backstreet abortion, but Baby is still a female character who spends all her time trying to please men.

There are numerous challenges with bringing the film so faithfully onto the stage and some scenes do not translate well. Attempts to replicate the film so accurately mean that some of the dialogue seems forced and rather clunky and certain scenes, including many between Baby and Johnny, seem rushed. Andrea Comotti's clever set design revolves seamlessly to move quickly between the Kellerman's holiday resort to the staff quarters and various bedrooms. There is an amusingly tongue-in-cheek representation of the lake scene where the couple practice the famous lifts, but scenes such as where Johnny drives Baby back to resort after the Sheldrake performance are awkward and not necessary to the narrative.

For fans of the film, there is plenty to enjoy with accomplished dancing and a great soundtrack. For a new audience, it may not convince.

Dirty Dancing is at the New Wimbledon Theatre until 24 November, then touring

Photo Credit: Alistair Muir

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