JADAR

★★★★☆

Karen Hauer and Gorka Marquez are two of the longest-serving Strictly professionals, so it makes sense that the vivacious Venezuelan and the smouldering Spaniard tour together. Their first two tours, Firedance and Firedance: Reignite, were very much a celebration of their Latin and Hispanic heritage. Their latest tour, Speakeasy, is a thematic departure; it incorporates a larger variety of dance styles as the pair journey from the 1920s to the 1970s.

Whilst other Strictly dancers have biographical elements to their shows, Karen and Gorka’s shows are much more serious and dramatic. In Speakeasy, not once did they address the audience. There is a deliberate separation that heightens the drama but establishes something of a disconnect. One can appreciate the determination to be different to other Strictly shows by making the show less about the billed dancers and instead having it feel more like a traditional dance show, with a clear theme – but fans of the pair might desire at least a little audience interaction.

Karen and Gorka are all about the art; there’s no ego there. Thus, they are happy to take a step back and let the incredible company (George Fryer, Grace Cinque-White, Luke Miller, Nathan Smart, and Rose Wild) take centre-stage as they bring Nathan Clark and Arduino Bertoncelo’s choreography to life. Speakeasy is, very much, an ensemble piece, albeit one with star casting. Think A Chorus Line – everybody gets a moment to shine but we see a little more of Zach and Cassie (thus they are the ones often played by “stars”).

Indeed, there is something quite theatrical about this show, what with its clear theme.

A speakeasy was, of course, an illicit bar that sold alcoholic beverages. They date back to at least the 1880s but came into prominence in the US during Prohibition, which lasted from 1920-1933. One would expect, then, that this show would be 1920s-themed, yet the 1920s is merely 1/6 of the show, with six different decades getting about 1/4 of an hour of stage time each. Thus, the title feels both misleading and like it does a disservice to the diversity of the show.

The time travel is very fun. Some Strictly shows are too varied, to the point of feeling desperate and messy. Firedance, however, was perhaps not varied enough, and it felt very slick and polished. Thus, this concept allows Karen and Gorka to incorporate a plethora of dance forms whilst maintaining consistency; it seems like the perfect in between.

However, the eras could be made clearer. I appreciate the desire not to be obvious and on-the-nose, but the show could benefit from sharper transitions and perhaps also more reasoning. Creative Producer and Director Stuart Glover has played around with some interesting ideas but it feels lacking in purpose. Why are we travelling through the years? Karen and Gorka love a theme so this show could have done with a stronger narrative, perhaps a couple travelling through time, or something. The concept feels unrealised; it is wonderful in theory but it could be refined and executed more sharply, perhaps with the help of a dramaturgist. Not establishing more of a story is a missed opportunity for a conceptual show.

There are some nice elements to Reuben Speed’s set but it feels a bit lacking in creativity. I can see the vision but it seems that not enough budget was left for the set. Given the name of the show, the set should have looked more like a speakeasy, complete with a bar. The wheeled stand covered in tinsel is not giving; it should be wheeled off permanently.

However, the impressive live band (drummer Brandon Mackie and bass player Diego Ibarra Asiain) and talented vocalists (Paige Cook, Sandy Grigelis, and Tom Mussel) help bring the theme to life; the stage might not look like a speakeasy but they transport us to one!

Paige gives Christina Aguilera a run for her money with her Godly vocals. Sandy and Tom are nicely juxtaposed: Sandy is a sexy, cocky bad boy whilst Tom is more smooth and effortlessly charming. The variety is appreciated – good casting!

The show takes an anachronistic approach to the music. Nobody wants to listen to 20s-40s music for 50 minutes so the creatives have instead opted to use more modern music, sometimes rearranged to sound like it was made in the era that it was placed in.

The later decades, however, use a few songs from those time periods, such as opening Part Two (and the 1950s section) with Elvis Presley’s ‘Jailhouse Rock’. The 60s segment is mostly Fosse-inspired; I believe it used ‘The Rich Man’s Frug’ from Sweet Charity. This was super fun but the 60s is when music got really good so it would have been nice to incorporate some 60s bops. Think Motown.

Classic covers of newer songs are played during the interval, keeping the audience immersed in the action, before yanking us back in with the aforementioned Elvis banger.

There are some funky costumes (Lisa June with Mollie French). They’re all period appropriate but some of them are a bit predictable and uninteresting. Others, however, such as Karen’s black fur gown in the 1930s chapter, are absolutely gorgeous.

Ben Butler and John enhance every scene with their lighting, which is often warm and intimate, capturing the theme, but there are also moments of bright white light, allowing us to appreciate the beauty onstage. A memorable moment comes early on when the stage is cloaked in red – clichéd but effective (and clichéd because it is effective!).

I have seen (and reviewed) more Strictly shows than I care to count, and Speakeasy is one of the most ambitious and creative of the lot. With a stronger narrative, sharper transitions, and clearer purpose, it could be sensational.

Speakeasy tours the UK until April 15.