Perfectly-timed for the build-up to the annual Strictly Come Dancing Christmas finale, the UK musical premiere of Baz Luhrmann’s debut film stops at Leeds Playhouse where LEO OWEN caught the show

SWIFTLY propelling Luhrmann to unexpected international fame in 1992 after a Cannes festival screening, Strictly Ballroom’s origins are firmly rooted in his own childhood experiences of the ballroom scene. The film’s trademark artificial style is carefully carried over to the stage in cheesy voice-overs, deliberately preposterous wigs, dancers “dipped in fake tan” and outrageous spangly on-stage costume changes. Aesthetically, the show affectionately ridicules the tight-knit dance community with contestants like Tina Sparkle, comical dance categories (Open Amateur Champion) and “glamorous” competition locations, such as Braxton Hills Bowling Club.

Baz Luhrmann and Craig Pearce’s story is, however, much more than a tongue-in-cheek dance commentary and instead concerned with the rise of the underdog. Amateur dancer-come cleaner, Fran (Gemma Sutton), convinces rising star Scott Hastings (Sam Lips) to dance his own steps with her in the forthcoming Pan-Pacific competition, in doing so transforming from an ugly duckling to Cinderella.

Director Drew McOnie seamlessly tells Fran and Scott’s tale with sumptuous dance routines and fluid set changes. Designer Soutra Gilmour’s revolving set effortlessly transforms from chandeliered competition dance floors to the interior of Fran’s traditional Spanish family home and mirrored walls of Kendall’s Dance Studio and its rooftop terrace. A metal rig predominantly used for the dance competitions allows for cast members to talk on different levels, simultaneous to the action and over-looking the dancers, bringing to life the backstage drama and bitchiness.

McOnie’s direction is at its best in an amusing scene cross-cutting between painfully exaggerated try-outs and Scott’s intimate sessions tutoring Fran. As is expected of a dance story, routines are sumptuous, technically accurate and full of wow, best displayed in the eerily choreographed mirror sequence as the studio attempt to lure Scott back to dance with Tina Sparkle. Equally memorable is a passionate but comedic Paso Doble tap dance off. And of course, what Christmas show would be complete without audience participation and action amid the aisles?

The show’s only weak link is unexpected considering its impressive musical input. Boasting a host of big name writers Luhrmann has previously collaborated with, it combines classics and new tunes but predictably it’s the old favourites that please. Despite strong Ozzie accented performances, when it comes to the songs cast members struggle to carry off solos. Musically, it is Sutton who undoubtedly carries the show with exquisite renditions of Time After Time and Perhaps, Perhaps, Perhaps (in Spanish!), alongside newbie Fran’s Epiphany. Beautiful Surprise, a moving duet with Lips is also notable, before the feel good finale, Love is in the Air.

Complete with golden glitter shower and Luhrmann’s trademark red curtain, it’s easy to excuse Strictly Ballroom’s minor blemishes when oddballs are welcomed, an infectious grin spreads like wildfire and everyone around stands tall.

Strictly Ballroom shows in the Quarry Theatre 8 December-January 21: https://www.wyp.org.uk/events/strictly-ballroom-musical/