CurtainUp
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
HOME PAGE

SITE GUIDE

SEARCH


REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Connecticut
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
A CurtainUp Review
Burn the Floor

 
Burn the Floor
Scene from Burn the Floor
It seems like yesterday that I opened a letter addressed to Mr. & Mrs. Saltzman, "Congratulations! You have won ten free lessons at the Arthur Murray Dance Studio. . .etc. etc." As the studio was only walking distance from our home, we took advantage of the offer. If only we had signed up for another ten lessons (that was 40 years ago) we might have been world champions today. As it turns out, we were only destined to be part of a vast number of people who share a passion for ballroom dancing. That passion is satisfied with Burn the Floor, the awesome Latin and Ballroom showcase for 18 good-looking, award-winning dancers from all over the world.

  Burn the Floor is the first new Broadway show of the season. That it has also been touring the world (over 30 countries) for the past ten years should assure you that the company (taking replacements into account) has all the moves and steps down pat. Also be assured that it is not simply a Broadway-ized version of a TV show. It is a stunning display of Latin and world-class ballroom dancing that is a cut above anything that has yet been offered on the tube. Far from being simply light-weight summer entertainment, Burn the Floor is a heavy-weight when it comes to its level of artistic virtuosity and technical skill.

  Even as it comes framed within a splashy, but never kitschy, theatricality, the dances are admirably conceived for their tempestuous and dramatic impact. They are also performed by dancers who appear seriously and sensually in touch with the disciplines of their respective dances. This can be attributed to Australian director-choreographer Jason Gilkison, who seems determined not to let anything outside of playful passion get in the way of the dancers' swiveling hips, entwined legs and undulating torsos.

  We easily make allowances for the obligatory mirrored ball, billowing smoke effects and the backdrop of twinkling stars that glitter in accord with the dictates of set designer Ray Klausen and lighting designer Rick Belzer. Janet Hine's colorful, glittery, and shimmering costumes (based on the original designs by John Van Gastel) are not only gorgeous and tasteful but also dedicated to the philosophy that less is more.

  Excitement is generated from the start as the dancers make their entrance down the aisle to the stage to the rhythm of Cha Cha. Audience involvement is palpable and often expressed with vocal approval as one number segues seamlessly to the next. Although much of the music for this touring show is taped, it is cleverly augmented with Latin percussionists Henry Soriano and Roger Squitero and instrumental soloists David Mann (saxophone) and Earl Maneein (Violin/Guitar) perched on a raised bandstand at the back of the stage. The inclusion of vocalists Ricky Rojas and Rebecca Tapia also helps to offset the absence of a live band. A terrific singer, Ms. Tapia's movements were often as exciting to watch as were the dancers.

  It certainly isn't hard to imagine various relationships evolving as we watch the various couples perform a repertory that includes such standard dances as the Viennese waltz, foxtrot, tango and quickstep. Although the program contains photos of the dancers, it does not identify them with a particular dance. Many of the numbers are enhanced by a full complement of dancers. If Act II could be called the more temperature-raising, it is because of its focus on the Latin dances which include a torrid Tango and Paso Doble. It is only respectful that these south-of-the-border numbers segue to a finale that embraces the various dances yet hits a peak with a jitterbug jive that has the audience cheering as if they were at a football pep rally.

  The act of dancing —whether alone, as a couple or in groups — is generally accepted to be older than spoken language. It's body language extended to different levels of virtuosity. Except for the techniques and traditions imposed on classical ballet, all other forms of dancing have been relatively accessible to large numbers of people.

  Fans of popular TV shows as Dancing with the Stars, So You Think You Can Dance and Superstars of Dance and those yet to embrace ballroom dancing are now able to see in Burn the Floor just how high the virtuosity bar has been set. Karina Smirnoff and Maksim Chmerkovskiy from Dancing with the Stars will be guest dancers during the first three weeks. Chmerkovskiy, who appears taller and brawnier than any of the other male dancers, and the extraordinarily pretty and leggy Smirnoff are both wonderful dancers and have undeniable star power. However, their bravura showmanship and flawless technique are also evident in all the show's award-winning dancers. No judge is necessary when the audience can clearly see that every dancer rates a 10. If I were to pick my favorites, it would be Australian married couple Damon and Rebecca Sugden, whose peerless and graceful performance of the waltz is still whirling around in my mind.

Thanks to silent cinema star Rudolph Valentino, the Argentine tango became a rage during the 1920s. The music and dances of Latin American infiltrated many Broadway revues during the 1930s. Maybe some of you can recall the 1950s and how the art of flamenco as exemplified by Jose Greco and his troupe inspired audiences around the world. In New York, on any given day, you could hear the sounds of castanets clicking and feet stomping coming from many a West Side apartment. Touring ethno-dance-centric shows such as Tango Apasionado among others, resurfaced with a vengeance in recent decades.

  Since primitive times people seem to have always enjoyed rhythmic movement always insinuating a meaning of its own. Unless you are missing a chromosome or two, you should find Burn the Floor an invigorating and exhilarating entertainment. It is certainly the sexiest show on Broadway.

 
Burn the Floor
  Conceived, Directed and Choreographed by Jason Gilkison

  Cast: Maksim Chmerkovskiy (thru 8/16), Karina Smirnoff (thru 8/16), Henry Bayalikov, Sharna Burgess, Kevin Clifton, Sasha Farber, Jeremy Garner, Anya Garnis, Gordana Grandosek, Patrick Helm, Sarah Hives, Melanie Hooper, Peta Murgatroyd, Giselle Peacock, Sarah Soriano, Damon & Rebecca Sugden, Damian Whitewood, Trent Widdon, Robin Windsor
  Settings: Ray Klausen
  Costumes: Janet Hine (based on the original designs by John Van Gastel)
  Lighting: Rick Belzer Sound Design: Peter J. Fitzgerald Running Time: 2 hours including intermission
  Longacre Theatre, 220 West 48th Street (212) 239 – 6200
  Tickets: $39.50 - $111.50
  Performances: Tuesdays at 7 PM; Wednesdays at 2 & 8 PM; Thursdays at 8 PM; Fridays at 8 PM; Saturdays at 2 & 8 PM and Sundays at 3 PM
  Opened 08/02/09
  Ends 10/18/09
  Review by Simon Saltzman based on performance 07/30/09
Subscribe to our FREE email updates with a note from editor Elyse Sommer about additions to the website -- with main page hot links to the latest features posted at our numerous locations. To subscribe, E-mail: esommer@curtainup.comesommer@curtainup.com
put SUBSCRIBE CURTAINUP EMAIL UPDATE in the subject line and your full name and email address in the body of the message -- if you can spare a minute, tell us how you came to CurtainUp and from what part of the country.
REVIEW FEEDBACK
Highlight one of the responses below and click "copy" or"CTRL+C"
  • I agree with the review of Burn the Floor
  • I disagree with the review of Burn the Floor
  • The review made me eager to see Burn the Floor
Click on the address link E-mail: esommer@curtainup.com
Paste the highlighted text into the subject line (CTRL+ V):

Feel free to add detailed comments in the body of the email. . .also the names and emails of any friends to whom you'd like us to forward a copy of this review.

Try onlineseats.com for great seats to
Wicked
Jersey Boys
The Little Mermaid
Lion King
Shrek The Musical


South Pacific  Revival
South Pacific


In the Heights
In the Heights


Playbillyearbook
Playbill 2007-08 Yearbook


Leonard Maltin's Classic Movie Guide
Leonard Maltin's 2008 Movie Guide


broadwaynewyork.com


amazon




©Copyright 2009,

GUCCI

|

Aluminium Chronograph

|

PEAK new fashion ladies venting air spring heighten casual sport shoes P8004E

|

Tiffany & Co Hook and Eye Ring

|

mbt shoes

|

MBT Shoes

|

Tiffany&Co Daisy 925 sterling silver rings

|

Rolex

|

Louis Vuitton

|

Affliction Boots

|

Nike Shoes

|

Nike Dunk

|

MP5 Wholesale

|

Atlanta Falcons

|

Abercrombie Pants Wholesale 002

|

Louis Vuitton

|

UGG Boots Mulberry Genuine Australia classic Tall Ugg Boots

|

GUCCI Handbags

|

UGG Boots Classic Argyle Knit Chocolate 5879

|

Louis Vuitton Business Card Holder Ebony

|

MBT Men's Kisumu Tan Sandals

|

MBT Chapa

|

ugg boots

|

MBT Kisumu 2 White Men's Sandals

|

Nike Shoes

|

Louis Vuitton Monogram Denim Messenger Bag PM m95865

|

Bailey Button Uggs

|

Sexy Costume QS0169

|

Phone Wholesale

|

Bikinis Sets

|

Wholesale

|

Car DVD Player

|

LV

|

Tourbillon

|

Tiffany tiffany replica ring

|

Superleggera J12 White

|

Tiffany

|

rolex

|

Mouse Wholesale

|

Nike Air Max 2003

|

Monogram Groom

|

GUCCI

|

Wholesale

|

Nike Air Max LTD (dark blue/white) No.372340

Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com