Dance ‘Til Dawn | UK Tour

Dance ‘Til Dawn (UK Tour 2015)

Choreographed by Karen Bruce, Vincent Simone and Flavia Cacace

The Lowry, Salford – 25 Apr 15

It is a crying shame that this weekend will see the final performance of the Dance ‘Til Dawn UK tour, for it is a show that would have undoubtedly pulled in a wildly enthusiastic returning audience. Combining the outstanding talents of renowned dancing couple Vincent Simone and Flavia Cacace with the world of musical theatre, Dance ‘Til Dawn is a production quite unlike any other. True, any stage appearance by UK Ten Dance and World Argentine Tango champions is guaranteed to receive dropping jaws and resounding applause, but this show has taken the plunge with an amalgamation of performance styles that enhance and complement each other in a truly unique way.

Dance ‘Til Dawn is set in the Golden Age of Hollywood and tells the story of Tony DeLuca, a little-known actor, and Sadie Strauss, star of the big screen. Tony and Sadie (Simone and Cacace) are thrown together when Sadie’s cheating boyfriend Bobby Burns is shot by the manipulative Lana Clemenza (played by Abbie Osmon), setting in motion a tale of romance, adventure and – of course – an unjust accusation of murder. Whilst the plotline may be rather predictable in no way does it feel humdrum or tedious, thanks to style of the story-telling. Guided through the plot by Private Investigator Tommy Dubrowski (played in this performance by Ben Harris) the story is told mainly by narration, with all of Tony and Sadie’s acting performed through dance alone. This lack of dialogue from the leading characters is rather ingenious and creates the feel of a silent movie, allowing Simone and Cacace’s acting abilities to be showcased alongside their dancing.

On that topic, Dance ‘Til Dawn is – as the title would suggest – abundant with top-class dancing (and not just from Simone and Cacace, but the supporting cast as well). Utilising a huge variety of Ballroom and Latin dance styles to cover every emotional turn of the show’s plot, director and co-choreographer Karen Bruce has successfully created a means of satisfying both Strictly Come Dancing and musical theatre fans alike. Waltz, quickstep, rumba, salsa, Charleston, jive and Paso Doble all tell a separate part of the story, highlighting Simone and Cacace’s vast repertoire as dancers, but it is the closing Argentine Tango that is the ultimate star of the show. Danced to the thrilling ‘Tango de los Exilados’ it is everything you want from a tango – fluidity, sensuality, electricity, passion – and whilst it may take two to tango Simone and Cacace practically merge into one to give an effortlessly slick and quite literally breath-taking performance. (Watch the video below to see them in action).

Evocative of the era in which it is set, the music of Dance ‘Til Dawn is as important an element as the dance itself. The films of Hollywood’s ‘Golden Age’ celebrated the use of music and dance as a means of emotional expression, and Dance ‘Til Dawn brings this to a modern audience by interspersing classics such as ‘That’s Life’, ‘Stand By Me’ and ‘Moon River’ with contemporary song choices such as ‘Rumour Has It’, ‘Runaway Baby’ and ‘Pencil Full of Lead’. All beautifully performed by Oliver Darley, whose versatility as a singer is astounding, the variety of music ensures that no emotion remains untouched throughout the entire show. The music even helps to enhance the production’s comedy aspect, with slapstick humour and extreme dry wit that often jokes at the expense of the show itself (“Tony and Sadie were easy to find. I just stood in the centre of the stage whilst the set was pushed on around me”).

To successfully unite Ballroom and Latin dance with elements of theatricality and comedy is no small feat, but Dance ‘Til Dawn is a superb example of how it can be done. Cleverly, the programme for this production contains no synopsis so the audience has no idea of where the show will take them, which makes the pleasure in watching all the more exhilarating. Dance ‘Til Dawn is unfortunately now at its end, but Vincent and Flavia will be returning in September for their farewell tour in The Last Tango.

(Check out my fellow bloggers ‘G Views …’ and ‘West End Musings’ for some more Dance ‘Til Dawn reviews).

Vincent and Flavia dancing the Argentine Tango:

Top Hat | UK Tour

Top Hat (UK Tour 2014/15)

Directed by Matthew White and Choreographed by Bill Deamer

Opera House, Manchester – 21 Feb 15

Stylish, slick and suave, the current UK tour of Top Hat brings a revitalised definition of “musical” back to stages across the country. In contrast to many of the currently popular musicals, where the focus is often on the belting out of an iconic song, this show deftly balances an equal combination of song, dance and theatricality to create the perfect display of showbiz. Now in the second half of its 2014 – 2015 tour Top Hat positively bursts with charm and class, delivering a production unique in its celebration of an era both long gone and longed for.

As this show is, of course, based on RKO’s Motion Picture starring the illustrious Fred Astaire and Ginger Rogers, there was always going to be the risk of turning up to the theatre and simply watching the film play out on a stage. This is not the case, as the adaptation by Matthew White and Howard Jacques ingeniously embraces the “Fred and Ginger” aspect, yet the performers themselves infuse the production with individuality and freshness. This is particularly true of the two leads Alan Burkitt and Charlotte Gooch, who play Jerry Travers and Dale Tremont respectively. To recreate the Fred and Ginger partnership is no mean feat, and Burkitt and Gooch pay homage to the legendary duo whilst remaining memorable in their own right. Indeed, Burkitt’s performance is so full of self-assured, comical charm and limitless energy it is a disappointment whenever he is off-stage.

With an abundance of tap and ballroom numbers by choreographer Bill Deamer, dance fans in particular will not be disappointed by Top Hat (especially as so much tap content is unfortunately a rarity these days). Both the opening routine to ‘Puttin’ on the Ritz’ and the close of Act I to ‘Top Hat, White Tie and Tails’ are pure tap magic, using canes to create intricately complex rhythms in conjunction with the tappers’ shuffles and pick-ups. It is definitely the attention to subtle details that makes this show’s dance aspect stand out, such as the impeccable timing of the Shadow Jerry and the mirroring between Jerry and Dale’s initial banter and their wonderfully conversational tap duet.

Act II shifts the emphasis from tap to ballroom dancing, swinging from a jazzy to an elegant ambiance. There is also much more of a focus on the storyline in this half, pushing through the narrative at a rapid pace that feels quite frantic in places compared to Act I. Nevertheless this Act does contain the much loved ‘Cheek to Cheek’, the epitome of all that is stylish and enchanting in Hollywood musicals. Burkitt and Gooch whisk each other around the stage in a flowing routine of both beauty and substance that will consequently whisk you away for a several minutes of pure, guilt-free escapism.

The icing on the delectable cake that is Top Hat is undoubtedly Jon Morrell’s stunning costume design. Bringing the glamour of the 1930s to life this show is a cat-walk of dashing tail suits and gorgeous gowns, where many of the ensemble groups are made up of individual designs, constantly dragging your attention from one eye-catching outfit to another. Dale’s array of costumes must be considered as a star collection in this production, ranging from an adorable equestrian get-up to slinky nightgowns and, naturally, the white ball gown swathed in feathers so indicative of Ginger Rogers.

With more than ten more stops before the end of the tour, there really is no reason for missing out on experiencing Top Hat. It really is a pleasure to find a musical that is both traditional and fresh, leaving you feeling, dare I say it, footloose and fancy free. If I had to narrow it down the highlights for me personally were the costumes and Alan Burkitt’s performance – I very much look forward to seeing him dance again. Although it must be said (even by the lady herself!) that Charlotte Gooch does all that Burkitt does, but backwards and in high heels!

(Click on the link to check out an earlier review of Top Hat by ‘G Views …’, my fellow arts blogger Georgina).