Review: Burn the Floor

by Jaco Lotriet

A gloriously sinful and sizzling ballroom extravaganza that thrills and delights beyond measure

Before I took up my seat in the Opera House of the Pretoria State Theatre for my inaugural Burn the Floor experience, I briefly rubbed shoulders with two patrons who happened to be experts on the South African theatre scene. They explicitly expressed the need to prepare myself to be blown away by what was about to unfold.  Their brief appraisal was spot-on.  You don’t simply see this show; your visual and aural senses are high-jacked by the performers, as you live through the entire experience with them. My usual deeply seated cynicism was vanquished just as the show was about to start, courtesy of two court jesters. The twosome playfully wooed the crowd with their whimsical offstage antics, reminiscent of mime artists, albeit both decked out in 1800’s costumes. The curtains raised.

The audience was met by a sublimely serene ballroom setting, bathed in a soft white light enveloping the stage. The backdrop illustrated a street scene that summoned an image of a 17^th century European town, complimented by flanking, satin drapes. A company of dance duos blissfully started waltzing to the orchestral music of Austrian Composer Johann Strauss’ Blue Danube…

Burn the Floor is based on ballroom routines with a twist, which became blazingly apparent just as soon as a guitarist appeared onstage behind the dancers, clad in black leather and a black feather-adorned Mad Max inspired helmet. He launched into a thunderous solo riff from a completely different genre. Somehow these rock sounds meshed seamlessly into the classical orchestral arrangements. This musical rollercoaster, mixed with Latin American themes reflected in both song and dance, characterised the essence of this production throughout.

Originally conceived by founder and producer Harley Metcalf in the late nineties, his new theatrical production sent shockwaves through the ballroom establishment, eventually growing into the spectacular production it is today. Portrayed by charismatic, deeply committed and disciplined performers, it was a joy to witness the passion they have for their craft, clearly evident in their eyes during their energetic, relentless 90 minute performance. The spatial confines of the theatre seat was hampering, as I felt like rising and bursting into an eclectic celebration myself, whilst being strung along by the meticulously choreographed sequences.

Choreographer and director Peta Ruby, together with co-choreographer Jason Gilkison, managed to capture the rebellious spirit as before, though with a more daring rock angle, breathing new life into the traditional dances such as the Viennese Waltz and Foxtrot. Yet these seared with the passion of the Latin Tango and Paso Doblè, simultaneously revelling in the sheer energy of the Cha-Cha, the Samba and even Jive.

Scott Rodgers’ lighting design meshed perfectly with the fast pace of the choreography. The carefully sequenced lights painted the stage in either vibrant multi-colours or soft hues of orange, yellow and red, enhancing the themes presented onstage to such an extent that it drew the audience into this electrically charged celebration of life.

South African talent is prominently featured in this international production, to the likes of dancers Johannes Radebe and Kylee Brown. Radebes’ breathtakingly beautiful, explicit dance routines during Kissing You are most worthy of international accolade. Not only is he the current reigning South African National Ballroom and Latin American Champion but also a dance trainer for the TV production Strictly Come Dancing SA. I am certain we will be seeing more of this Free State born performer in years to come.

Brown fits the cast of dancers well with her experience in freestyle and notably Latin, displayed in Aint No Other Man, as she glides over the stage in a sultry manner. Dancing since the age of 8, she is the undefeated WDC South Africa under 21 Latin Champion, winner of the under 21 WDC World Latin Championships and scored top ranks in the Open British Latin Championship. In the band, lurking behind the armoury of drums and percussion, was another proud SA performer, PW van der Walt. Never missing a beat, Van der Walt’s occasional smirk oozed self-confidence, with his set of drums reverberating along, all the while lending the rapid musical rhythm that forms the foundation of Burn the Floor.

Songs include music from Santana, Kelly Clarkson, and Christina Aguilera. A jaw dropping rendition of Led Zeppelin’s 1971 classic, Stairway to Heaven, was one of my highlights, arranged with an infusion of the now familiar Latin-esque style, delivered by accomplished Italian vocalist Mikee Introna. His incredible, pitch-perfect vocal talent left me in awe, especially when he hit the high notes, reminiscent of Robert Plant’s original vocal recording. Equally impressive was the voice of Sharnielle Hartley who hails from Australia. Her easy-flowing, yet forceful act was nothing short of astounding. The voices of Introna and Hartley in unison sent shivers down the spine.

A large international show of this distinction comprises of a gifted, multi-national crew who all play their part in bringing such a dynamic production to life and certainly every single member deserves mention for their individual contribution…

Burn the Floor revolutionised the image of dance and inspired reality TV shows such as Dancing with the Stars and Strictly Come Dancing. It is brought to South Africa by Bernard Jay and The South African State Theatre, in association with Kyknet, Jacaranda FM and will blow the roof off the following venues:

Pretoria: The State Theatre: 28 April to 15 May 2016

Cape Town: The Baxter Theatre: 19 May to 5 June 2016

Durban: iZulu Theatre at Sibaya Casino & Entrtainment Kingdom: 8 – 19 June 2016

Photos courtesy of Burn the Floor, Review edited by Chris Avant-Smith