Strictly Ballroom

Baz Luhrmann's famous show has bounced into town with all the glitter and glam often associated with his indelible stamp of high gloss camp. Just reading the history of its creativity is an entertainment in itself, stage to film and now back to stage: but more importantly, this show has gathered moss along the way and bore enough fruit to bring to light its creator at the height of his powers. The presentation in itself, in particular Catherine Martin's set and costume design, with its unique blend of stagecraft and chocolate-box wrapping, coupled with Luhrmann's sharp sense of fast-paced timing and style verging on the epic, is enough to keep your eyes roving all around the stage a là Cinerama, complete with the splits (no pun intended for those who remember those days)

Coupled with the key components of Elliot Wheeler's superb musical input, John O'Connells stylistic choreography, a frenetic and suitably designed light show by Hugh Vanstone and a book that matched the important aspect of storytelling on two levels, in this case the glitter versing the heroes' journey, this is mainstream entertainment with veneer from a creative team intent on detail and aiming to touch the emotions, including the heart-strings.

The large cast were certainly all 'dressed-up' for the occasion, complete with unique surreal wigs that are a laugh in themselves, but what I particularly enjoyed were some of the over-the-top personalities, not only well-written semi-caricatures but a delight to watch for their individual interpretation; certainly for experienced actors who seek a rôle with plenty of nougat and best of the crop of almond slivers. Robert Grubbs's portrayal of Barry Fife was terrific, if not unmatchable, Heather Mitchell, just the ticket as the mollycoddling mum who "did want to put her 'son' on the stage", Mark Owen-Taylor as JJ Silvers with his tantalisingly up-tempo romp. There was also very effective contrast in the scenes set in the suburban Oz/Spanish household, with moving performances from the parents of Fran, the female matinee idol counterpart: Fernando Mira, the father, a superb musical theatrical all-rounder with the Ęspanol boots to boot and Natalie Gamsu, a charismatic and compassionate mother with a voice to match.

It's always a pleasure to see a return to the big, bright and sassy shows reminiscent of the early days of Broadway and their nostalgic returns, and this show is no exception. You've seen the movie, but this presentation is on another level and is eminently more suitable for its original roots, the theatre.

Luhrmann has stated he wants 'the audience to head out of the theatre feeling inspired and uplifted.'

I think his wish has come true, and this isn't just a wise old tale.

Brian Adamson

Photographer: Jeff Busby