Burn the ground (dare to dream) at the Regal Theatre
Thursday, August 14, 2024

No seat of the Regal Theatre was spared after the sensational opening night of Burn the ground latest production, Dare to dream.

Celebration of the 25th^th Celebrating the 20th anniversary of the respected dance production company that originally began on Sydney’s northern beaches, this latest spectacle certainly does not fail to deliver the high quality, fast paced standard of live dance and music that Australia and the world have come to expect.

First and foremost, the quality of dancing and performance in all elements of the show was exemplary. Given that the company’s focus is on competitive ballroom and Latin American dancing, often performed in pairs, it was no surprise that these styles were woven into the piece. However, the overall variety of contemporary dance, ballet and heavily Fosse-inspired jazz throughout made for an extremely dynamic, visually engaging and energetic production.

Choreographers Jorja Freeman, Alberto Faccio and Robbie Kmentoni (also a dancer with the company) led an ensemble of brilliant professionals from diverse artistic backgrounds through several episodic celebrations of Australian music and meditations on Australian identity, land and society. Keeping the movements fresh throughout the show was obviously no easy task; however, Freeman, Faccio and Kmentoni undoubtedly accomplished just that.

Dancers Jemma Armstrong, Gustavo Viglio, Sophie Holloway, Lyu Masuda, Lily Cornish, Julian Caillon, Anna Riera and Jackie Chambers joined the choreography trio. The dancers were visually and technically impressive, but for the average viewer, what was equally overwhelming was the sheer stamina of the performers, who delivered such consistently high energy throughout the show.

Moving through scenes of pub atmosphere, playful swing and blues, old Hollywood glamour, emotional moments of connection and references to Aboriginal cultural dance and music, the show was a musical journey. The focus of the show was entirely on Australian musicians, as host Phil Burton announced.

Oddly, this ironclad commitment to national nostalgia was soon disregarded in an entertaining if bewilderingly irritating Motown tribute that undermined the importance of Australian exclusivity. However, the presence of an Australian majority was appreciated, including popular artists such as AC/DC, Kylie, Guy Sebastian, Sia, Cold Chisel, Vanessa Amorosi and John Farnam.

The show’s costume department also deserves high praise for the visually arresting array of costumes with fringes, rhinestones, sequins and all manner of other glitter that glittered on stage. The individual pieces were clearly coordinated with the choreography and swirled and flowed in perfect synchronization with the dancers, creating beautiful moments of movement on stage even in the stillness.

Furthermore, it would not be Burn the ground Production without a talented live band. Accompanying Human Nature star Phil Burton, the powerful voices of Tyler Azzopardi (musical director), Tia Gigliotti and Mark Stefanoff (keyboards) delivered outstanding versions of popular songs. With Jamie Valente on lead guitar and Pat Madden on drums, the entire musical ensemble increased the quality of the show and was just as big a highlight as the dance itself.

Esteemed host Phil Burton led the show’s cast, providing vocal performances and the occasional dance routine. While Burton’s vocal performance, alongside that of his colleagues, is impeccable, his performance as a host left much to be desired. His easy-going, outgoing personality seemed at odds with a lifeless script that begged for laughs from the audience but received none.

Likewise, any mention of Burn the ground Founding, success or anniversary brought with it uninvited meditations and comparisons with human nature. Although it was undoubtedly not Burton’s work, an important part of the dance industry unfortunately and unpleasantly became merely a platform for the nostalgia of white male memories. This was also painfully felt in the final moments of the show, when Burton’s Dancing with the stars The victory invited a certain demonstration, but – framed by professional dancers in the same song – it was anything but charming and had a “just try it” attitude and was unfortunately just unpleasant to watch.

Another afterthought in the script, however, is the realization that when dance and music speak for themselves, the odd word can slip. Such an oversight appears to have been present in the company program, too, which is riddled with spelling and grammatical errors, some of which are incomprehensible but still justify a $20 fee.

In total, Burn the Floor: Dare to dream does what it has always done best: put on an incredible show. Seasoned fans of the troupe and new fans alike will find no shortage of dazzling, captivating and breathtaking moments in this 25-year-old film.^th Anniversary special.

BEC WELDON