Since 1987, the female (and partly male) population has gone wild for Dirty Dancing. The mere mention of the infamous line “Nobody puts Baby in the corner” sets off decibels of screams and swooning. The evocative feel of the film makes it one of the nation’s favourites, leaving little surprise that the national tour of the stage version is a hot topic.
Very little has changed for the stage – after all, if it’s not broken then why fix it? But if anything, it builds a deeper back story for this Johnny (Paul-Michael Jones) and Baby (Emily Holt). Where the movie seems fleeting, the stage version allows us a more three-dimensional look at the characters around Kellerman’s, making this production stand alone.
When dealing with such iconic figures, it can be hard to make a role your own. Holt plays Baby with a renewed sense of comedy; the young, naive girl who grows into a woman full of confidence. Any actor emulating Swayze as Johnny has a task on their hands, but Jones manages to convey the same Johnny Castle swagger, making the character feel like his.
As a frenetic production, this isn’t designed to be a quiet or civilised evening. It feels a bit like a hen-do, with glaring pink balloons amidst hundreds of women - drunk on wine and excitement. And although the magic of the legendary soundtrack can’t fail to rouse an audience, it is to the detriment of the speech which is often lost behind the live band. Sarah Tipple’s direction, along with highly innovative set design by Stephen Brimson Lewis, take a story designed for the silver screen and makes it just as accessible for live theatre, coping well with quick scene changes and difficult setting environments. This will be a must-see for any fans of the film, but it’s not breaking any boundaries.
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