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2012
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London,
Sarah Frater's rating
Reader rating
Jack of all trades: Adam Cooper, who directs and dances, with Sarah Wildor
For longer than anyone can remember, summer dance has been dominated by popular shows and visiting Russians, which is just as it should be. July and August are no time for po-faces. All we want is lovely dancing to familiar tunes with nice costumes and proper curtseys. And so it is this summer, with the Kirov/Mariinsky at the Opera House and Adam Cooper with a new show based around Richard Rodgers’ unmatched melodies.
The American songsmith penned so many good songs (My Funny Valentine, Oklahoma, Nothing Like a Dame, Shall We Dance) that you’d think it a winner, especially as Cooper’s dancing charms are as potent today as they were when he made his name in 1995 in Matthew Bourne’s all-male swan Swan Lake.
Cooper directs, choreographs and stars in Shall We Dance, which tells the story of a bar tender wanting more than the girl next door. He ups and offs for a round-the-world search for Miss Better, which involves a lot of international loving and leaving before he realises that the girl he’s got is quite a lot.
The problem for Cooper is that despite assembling an able cast, and creating some nice dances, other elements of the show work against him. The main problem is the orchestra, which manages the almost impossible of making Rodgers sound unremarkable. Other problems are narrative imprecision, so-so use of the revolving stage, and some of the costumes — the corps are brightly dressed but Cooper is black-clad, meaning he disappears against the inky backdrop.
Cooper himself looks a little under-prepared for the role, as does Sarah Wildor, although Emma Samms, best known as a Dynasty regular, is a nicely poised glamour gal.
With tighter direction and better orchestration, Shall We Dance would top the summer slot. As it is, you’d never know the zing of Rodgers, nor the zip of Cooper.
Until 30 August. Information 0844 412 4300, www.sadlerswells.com.
Details are correct at the time of publication - please check with venue before booking.
Saw the show last night. Felt much of the music, although well performed, was unremarkable, with a few exceptions. It took me a long time to relaise what was actually going on (I didn't buy a programme) although I enjoyed almost all of the dance pieces. Oklahoma was the most entertaining, as you might expect. An enjoyable evening out for the price of a £10 ticket but am happy I didn't spend more on a better seat.
- Lesley T, Bromley, UK
was given tickets has a present,glad i did not buy them,all of r rodgers best songs condensed in one big dance routine,dull,boring,and as for that orchestra! flat notes galore.
- Ken James, romford essex
A tale of one guy looking for love in a whole lot of cities.....Superb- 4 stars!
- Alexis, Oxford
I haven't laughed so much in ages - honestly, for a good belly-laugh, you can't beat it!
- Sophie, London, UK
this was a great disappointment to me I didn't see anything spectacular it and rather boring.However I say Sarah Wildor/Adam Cooper are the only dancers that give shall we dance it depth.
- Nancy Picks, London.UK
I walked out of this at the interval on opening night and did not return...
- Pootle, Twickenham
I have to confess that this was a great disappointment to me. I have always been an immense Cooper fan but this time he has bombed. The choreography seemed flaccid and he and Sarah Wildor appeared under-rehearsed and even unfit at times.
The orchestration was uninspired to the degree that some iconic numbers seemed positively mundane and much else was flat and verging on boring.
I am sure many old fans of Cooper's will go and see this show but, for me, it was a great disappointment, specially after the massive publicity campaign that preceded it.
It just seems very very strange that such talented artists working with such brilliant material could have come up with such a dull evening.
- Alice Romanov, London, UK
As the review indicates, 'able' and 'nice' don't make for a great night out. Using the premise of looking for love to mount a series of colourful, - albeit largely, uninspiring - national dances offers little that is sufficiently remarkable to make this show a 'must see', particularly when compared with the mind-blowing spectacle of Priscilla or Kenneth MacMillan's outstanding choreography for The National's classic production of Carousel. And why is it deemed necessary to amplify the on-stage orchestra? Put them back in the pit where they belong and let theatregoers enjoy every nuance of Richard Rodger's carefully-crafted great scores that so enchanted his show's original audiences.
- Clive Burton, London UK
