Shall We Dance
Shall We Dance has been one of the most anticipated shows of the summer. It’s a tribute to the great American songwriter Richard Rodgers, and features many of his classic tunes loosely strung together by the story of a young man dancing his way around the world in the pursuit of true love only to find it closer to home.
So far, so promising. Also promising is it being directed and choreographed by Adam Cooper, the one-time Royal Ballet dancer with a glowing track record both off stage and on – he sprung to fame in Matthew Bourne’s Swan Lake where he performed the twin lead roles of the Swan and the Stranger. Cooper still has considerable ability as a dancer – he has good balance and lovely poise, and when he leaps and turns you can scarcely believe he’s in his late 30s, which is not young for a dancer.
Cooper takes the lead role in Shall We Dance, and is on stage for almost every scene, meaning, along with the directing and choreographing, he is a busy man. Perhaps a little too busy, as elements of the show look neglected, while others are rushed and thin.
The narrative is the main casualty. At times it seems as if Cooper’s character – The Guy – is simply on a round-the-world jaunt, and meeting a lot of pretty girls on the way. He’s created some nice duets for his international romances – a European waltz, an Asian duet, and a Wild West knees up – but these are in jarring contrast to the more serious scenes. These include his rescuing what looks like a sex worker, only for her to be shot dead by her exploiter. In another scene, Cooper’s character is duffed up by one girl’s jealous men folk.
Swinging from these weighty matters to his easy reconciliation with his old girlfriend doesn’t ring true, and is out of sync with a light summer dance show. Cooper’s character also suffers from strange costuming – as the show opens he’s a barman working in an upscale night spot, so it makes sense he’s in top-to-toe black. However, the plain stage has a black back-drop so he all but disappears for chunks of the show. The corps, a lively bunch, don’t suffer the same problem as they are brightly dressed in appealing costumes that clearly place them in time and space.
What is a problem is the music. Positioned above the stage, the orchestra is able, but seems to be amplified which makes them sound tinny. This has the unfortunate effect of making Rodgers’ tunes less appealing and much less memorable than they are.
All of which may make you think that Shall We Dance is a disappointing show. Bits of it are, but with sharper directing, and a less amplified orchestra, it could soar. Special mention to Emma Samms, the Dynasty and General Hospital actress, who very respectably treads the boards as the glamour girl. Although she trained at the Royal Ballet School, Samms is not really a dancer, but she has considerable slink as a cocktail babe.
** DON’T MISS our Whatsonstage.com Outing to SHALL WE DANCE on 5 August 2009 – inc a FREE drink & post-show Q&A with Adam Cooper!! – click here for details! **
