The story is essentially about questioning the need for rigid rules which seem irrelevant, and also about unassuming people being unexpectedly successful by being true to themselves.
The two lead roles need both skill and stamina to make this show work.
His ten-piece band is largely tidy, despite some violin vagaries.
Hooray for Corey Mc Nulty on drums – his Latin beats are tasty.
Lauren Weber, as Liz Holt, the spurned dance partner, has fun spitting extravagant vitriol.
Joel Amos, who clearly swigs teeth whitener regularly, creates such an archetypal ballroom character in his portrayal of Ken Railings, that his character beams across the footlights.His voice has a very pleasant timbre, and he handles all his sung material well, although he has an odd habit of crescendo/decrescendo on sustained notes.Kate Harrison’s mousy-to-marvellous Fran displays her acting ability.Director Byrne, by engaging the operators of the Arthur Murray Dance Centre Adelaide as co-choreographers, ensured that ballroom dance has been taught thoroughly and, in some cases, polished to a gleam.The work of Choreographers Tara Johnston and Thomas Coghlan is evident in the whole ensemble’s dance work.There’s no doubting his character’s officiousness, bluster and connivance; Baz Luhrmann’s and Craig Pearce’s book offers Fife a glorious smorgasbord of acting choices.This version of the character has more in common with a pantomime dame than a petty-minded official intent on retaining control.Neither did it look as if the singing and dancing had been worked together into a theatrical whole.I would be slow to blame excellent Musical Director Jesse Budel for this.Kurt Benton (playing Scott Hastings) and Kate Harrison (playing Fran) both have sufficient stamina, as well as the dance chops needed to convince us.Benton gets to display his balletic ability as well as a good ballroom discipline.