Fresh and New

Dirty Dancing, The Musical

There’s no denying it. This is an era when both jukebox musicals and film adaptations dominate the Broadway scene. So it isn’t surprising that “Dirty Dancing,” one of the most popular movies of the 20th century, was eventually adapted into a theatrical musical. DIRTY DANCING, THE MUSICAL combines both genres in one. It’s like a theatrical presentation made in heaven. And while this new production is back in Chicago for at least a third visit (I’ve lost count), it feels fresh and new and much welcome, especially now.

Maybe it has a lot to do with the times and the amount of negativity we’ve all been living through for the past two-and-a-half years. There’s a war raging in the Middle East, the price of everything has skyrocketed, most of our allies are no longer our friends and lying and name calling seems like the national pastime. Nostalgia and sentimentality offer us some comfort, because it’s often all we have to make us feel happy. Remembering a more innocent time and recalling 1987, when most of us first saw “Dirty Dancing” on the silver screen, brings a wave of fond, loving memories. 

Pretty much every character and scene from the film is on the Nederlander stage. The two leading actors of DIRTY DANCING actually resemble the stars of the movie, Patrick Swayze and, in particular, Jennifer Grey. In fact, every one of the performers in this stage version are very attractive and charismatic. They’re all accomplished, athletic dancers, able to execute Darrell Grand Moultrie’s athletic, 1960’s style choreography with flair and finesse. Directed with feeling and finesse by Lonny Price, the large cast is comprised of a company of extremely talented and professionally trained vocalists, thanks to talented musical director and pit orchestra conductor, Patrick Tice-Carroll.

The majority of the story rests on the performances of handsome and multitalented Blake Zelesnikar, as dancer Johnny Castle, and lovely and winsome Annalese Starzec, as Frances “Baby” Houseman. The romantic, onstage chemistry between these two characters feels honest and sizzling. Of course, it’s their dance sequences that the audience is waiting to enjoy. When Johnny’s professional dance partner, Penny Johnson (played by beautiful and remarkably gifted, Olivia Cece) falls ill, due to being secretly pregnant, Baby volunteers to take her place. Ms. Starzec is obviously an accomplished dancer, but she dumbs down her ability at the beginning of her character’s lessons with Johnny. I enjoyed watching how her choreographic skills slowly improved as her attraction to Johnny turned into love. While their dance demonstration at a neighboring resort in Act I purposely comes off as tentative for Baby, Mr. Zelesnikar and Ms. Starzec absolutely dazzle in that famous, final scintillating scene. The musical culminates in Baby’s legendary over-the-head lift by Johnny, to the familiar pop song, “(I’ve Had) The Time of My Life.”

Talented and likable Ethan Peterson (in his National Tour debut), playing Johnny’s younger cousin, Billy, is a remarkably gifted vocalist. This young actor needs to star in his own show. Often paired with stunning Ashley LaLonde, as Elizabeth, the resort’s resident solo vocalist, the couple make familiar songs from the film, like the finale number, “Hungry Eyes” and several others, sound brand new and feel appropriate to the story.

Baby’s parents, Marjorie and Dr. Jake Houseman, are solidly played by Gina Lamparella and Bryan Fenkart. Both actors are accomplished vocalists and particularly graceful in their dances. They bring the wisdom, whimsy and liberal attitude to a pair of loving parents who only want the best for their two daughters. And as Lisa Houseman, Baby’s older, somewhat egotistical sister, lovely, laughable Lily Kren is a delight. She’s particularly amusing when performing her talent show number, “Lisa’s Hula.” Thunderous applause goes to the large, triple-threat ensemble, who cha cha, samba and mambo their way through an absolutely energetic performance.    

The technical support for this production is like another welcome character. Emily Rebholz’s beautiful costumes, enhanced by period hair & wig design by Robert Pickens, resemble those in the movie. And Brett J. Banakis’ rustic scenic design of Kellerman’s Resort provides a vast canvas on which to project David Bengali’s absolutely gorgeous video and projection work. Because everything looks so much like the film, it helps the audience remember the movie. In one iconic sequence, during which Baby tries to master Johnny’s difficult over-the-head lift, the scene feels breathtakingly realistic.The video shifts from a field of waving grass to a rippling lake, complete with the appropriate sound effects, as the couple splashes around in the water.

This marks at least the third time Chicago audiences have been treated to this song filled, sensuous and smoldering romance between Johnny and Baby, live on stage. The 2026 production feels new and thankfully fresher than expected. The original 2008 script that opened in Chicago was also by Eleanor Bergstein, who based her libretto upon her own original movie screenplay. DIRTY DANCING, THE MUSICAL, although not a great theatrical production, has been nicely improved and updated and is lots of fun. 

DIRTY DANCING, THE MUSICAL celebrates every character, plot point, dance step and musical moment from the popular film and its 60’s soundtrack. Songs include “Do You Love Me?,” “Hey! Baby,” “Cry to Me,” “Hungry Eyes,” “You Don’t Own Me,” “Save the Last Dance for Me,”an instrumental version of “She’s Like the Wind” and, of course, “(I’ve Had) The Time of My Life.” No longer resembling a dance concert strung together by some vaguely familiar storyline, this fresh and new production is guaranteed to provide plenty of enjoyment to both younger audiences who are new to Baby and Johnny, as well as all the seasoned theatergoers hoping to relive the nostalgia from the original film.

 Recommended

Reviewed by Colin Douglas

Presented September 11-20 by Broadway in Chicago at the at the James M. Nederlander Theatre, 24 W. Randolph, Chicago.

Tickets are available at all BIC box offices, at all Ticketmaster retail locations, by calling the Broadway in Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com.

Further information about this and other area productions ican be found by visiting www.theatreinchicago.com.

Photos by Matthew Murphy