Never have I been to a piece of theatre where the storyline has been so irrelevant. I will provide a synopsis later, but the whole production revolved around the uber hunk which is Michael O’Reilly, who played Johnny Castle. You could have cut the pheromones with a knife. The largely female audience had come to see the adonis strut his stuff, preferably whilst stripped to the waist, and they weren’t disappointed. Actually, neither was I, but for more professional reasons.
The show is a stage adaptation of the 1980s film of the same name, where the lead was played by the late Patrick Swayze, although it has been changed somewhat to suit the medium. Mr O’Reilly was every bit as good a dancer and equally good looking. He seemed to me to be a mash-up of Tom Cruise (but taller) and Christopher Reeve, the Superman actor. Not a bad mixture. I obviously hated him from the word go. The female lead, ‘Baby’ Houseman, played by Kira Malou was also perfect in her own way, and who I am sure heightened the frenzy by being a ‘girl next door’ figure rather than an impossibly glamorous woman, which would make the audience’s fantasy of ‘copping off’ with Mr Castle unachievable.
Kira Malou as Baby Houseman and Michael O’Reilly as Johnny Castle
The show is set in 1963 and centred on Kellerman’s Hotel in the Catskill Mountains which provided top class accommodation, food and entertainment during the summer months. It was a retreat for wealthy New Yorkers who, as anyone who has seen the Marilyn Monroe film The Seven Year Itch will know, in the 1950s and early 60s, would send their wives and children away from the stifling heat of the city for the school holidays and join them on the odd weekend. This was obviously prime hunting ground for someone with Johnny Castle’s attributes. He was the resident dancer in the shows at the hotel and provided lessons for the patrons. His dancing partner was Penny Johnson played by the superb Georgia Aspinall, whose skills were breathtaking. When she finds out that she is pregnant she opts for an abortion but doesn’t have the money, which is where Baby, an ironic nickname given the circumstances, comes in. Her father, a wealthy doctor, lends her the $250 needed for the operation, although obviously unaware of its purpose. The procedure can only take place on the final night of the season so Johnny is left having to find another partner. He has grown to admire Baby and decides to train her for the big night. The rest of the story is basically about the relationship which develops between them during the rehearsals.
The amazing Georgia Aspinall as Penny Johnson and Michael O’Reilly as Johnny Castle
There are subplots in that the abortion goes wrong and Dr Houseman has to perform an emergency procedure on Penny at which time he realises what his money has been used for. There is also tension between the grandson of Max Kellerman, who is left in charge for the last night, and Johnny Castle, causing the latter to leave after a fight between them. He obviously returns for the show.
There were a couple of jarring moments in the piece, the first being the inclusion of the song Hungry Eyes, a quintessential 80s song in amongst the early 60s soundtrack. Obviously the show ended with The Time of My Life but that somehow seemed more timeless.
The cast in a group dance set piece.
The most glaring error, and one which I had to research several times to make sure of my ground, was a reference to the political situation of the time. On several occasions there was talk of several of the younger guests and workers going to Mississippi to take part in the Freedom Rides when the season was done. Baby explained this to Johnny by saying that it was a protest for jobs. As I remembered it the Freedom Rides were to protest about the segregation of black and white passengers on public transport, mainly the buses. My research also showed that they began on 4th May 1961 and ended on 10th December of the same year after legislation was passed to prevent the practice. I was compelled to check up when I read in the programme that Eleanor Bergstein, who wrote the book on which the film and stage show were based, was also the author of Advancing Paul Newman, a novel covering the politics of the 1960s. I have no wish to be ungallant but she is also 85 years old so will have lived through this episode.
I am willing to overlook the failings as I have already stated that if Michael O’Reilly had spent the evening reading the telephone book, most of the audience would have thought they had had a great evening out, provided he did it dressed only in the budgie smugglers he was wearing in one scene which drew gasps and rather unladylike comments from a portion of those assembled.
Michael O’Reilly and Kira Malou enjoying some down time in the audience’s favourite scene
Because of the nature of the show, the clue is in the title, I must make special mention of Austin Wilkes, the Choreographer. The dancing was spectacular and filled up most of the stage time. There were group dances as well as those involving just the two, or in one scene three, leads. I think that it must have been particularly difficult for both choreographer and Kira Malou to pull off the gradual improvement from two left feet to accomplished terpsichorean perfection. If you are a great dancer I would imagine that purposely doing it wrong could be the ultimate challenge. As you would expect, the final dance included the iconic lift which brought the house down.
The Lift!
The show ended with the band, who were also superb, playing a tune so that we audience members could throw some shapes. I sensed that Mr O’Reilly was deliberately averting his eyes from my performance so as not to feel inadequate, after all, I now have a new knee which seems to work a treat.
Dirty Dancing runs at Leeds Grand Theatre until Saturday, 10th June so, if you fancy a great night of sixties music, dancing, romance and beefcake, then please go to https://leedsheritagetheatres.com/whats-on/dirty-dancing-2023/ for more details and to book.
For other shows coming to Leeds Grand Theatre and City Varieties Music Hall please go to https://leedsheritagetheatres.com/whats-on/
All images provided by Heritage Theatres
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