Strictly Ballroom: The Musical

It’s a relatively rare event that brings Australian characters and all their quirks to the musical-theatre stage. This reality ensures that Matt Byrne Media’s new offering is, at minimum, a refreshingly unusual experience, even for those who may be familiar with the much-loved movie that marked Baz Luhrmann’s cinematic debut and which forms the basis of this show.

Regardless of how well everyone dances in any given production of Strictly Ballroom: The Musical – and Matt Byrne’s cast do dance very well indeed – the merely serviceable standard met by the original score contributions (most of them the work of Eddie Perfect) will likely keep this stage version forever in the shadow of its screen parent. Fortunately, Byrne has assembled an ideal bunch of performers (including, inevitably, himself) and directed the proceedings with infectious enthusiasm, giving this show a fighting chance of making its own mark and leaving a positive impression with Adelaide audiences.

Strictly Ballroom serves up archetypes and caricatures in an idealistic fantasy, rather than complex human beings living realistic lives – but it is also a tale that knows how to hook its audience. When Luhrmann’s magic works the way that it intends to, we are dazzled by the dancing from young rebel hero Scott Hastings and we wish for his eventual triumph. We feel for misfit heroine Fran and hope for the happy ending that she and Scott deserve together.

Luhrmann’s vision reminds us thatthere’s no eccentric quite like an Aussie eccentric, and also that there are few settings comparable to true-blue working-class Aussie settings; seeing a bowls club appear as the backdrop to kick off Act Two with is both disconcerting and quietly hilarious. The costume design almost literally feels like something out of this world, and it generates a great deal of both visual interest and wicked humour.

Scott and Fran are brought to life here by the likeable, talented Kurt Benton and Kate Harrison, while the incomparable character of ‘stage mother’ Shirley Hastings could not be better suited to the remarkable Carolyn Adams. Milquetoast husband Doug draws out a delicately comic portrayal from Angas Smith that is simply delightful, while standing out among the supporting cast are Jessica Wolfendale, who makes a knockout impression as Tina Sparkle, and Joel Amos, extremely funny as the insufferable Ken Railings. Threatening to steal the show altogether are Calin and Arwen Diamond, siblings with absolutely dazzling acrobatic skills.

There are weaknesses along the way; ensemble singing is not of a consistently high standard, while established pop classics like “Love Is in the Air”and “Time After Time” completely dwarf the original material in quality. There is also a curious feeling of anti-climax to the conclusion of the story as presented here; almost certainly this can be at least partly attributed to Luhrmann’s specifically cinematic brand of dynamism – with all the slickness of sound, cinematography, and editing that goes along with it - being reconfigured, and perhaps dissipated, in the translation from screen to stage.

Fortunately, the sheer joy of performing, and the sincere love for show business, that has marked every Baz Luhrmann product is captured and communicated here by Matt Byrne and his talented team.

Anthony Vawser