Phoenix Theatre, London
*****
No puns or clever lines, no smart word games playing on the
shows themes, Midnight Tango is a
joy, a triumph from start to finish. Go and see it.
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| Photo: Manuel Harlan |
All too often in the theatre, productions fall lazily into
different categories based entirely on their target audience, or more
specifically what the producers think that audiences want. You get the
eminently watchable but ultimately unexciting Chekov revival with a cast of
television names that do nothing to stir the audience’s emotions but certainly
bring joy to the accountants. Whilst at the other end of the spectrum there is
the fringe obscurity that feels as though for it to be labelled a financial
success would somehow lead to the piece losing all of its artistic merit. There
can of course be found everything in between. The boundaries blur, directors
get lucky, and some productions (although it seems increasingly few) are
exciting, current and successful in their own right and on their own terms. It
is, however, a rare show indeed that transcends the normal, is excellent from
beginning to end and never drops the ball, but Midnight Tango is one of those shows.
The story is simple; in fact there isn’t really a story. Set
in a bar that could happily exist in any Spanish speaking country of fiery
Latin temperament it is an exploration of the themes of the Tango. Love, lust,
passion, betrayal and conflict all play their own part in the piece. A couple
are in love, an evil outsider threatens to derail proceedings, an ageing
husband and wife rekindle the fire in their relationship whilst others meet for
the first time flirting or starting friendships; others it seems, just want to
dance.
It would be easy at first sight to think that Midnight Tango might be just another
cynical show looking to cash in on good timing and the celebrity status/television
exposure of its two Strictly Come Dancing
stars, Vincent Simone and Flavia Cacace, but it isn’t. There is a level of
theatrical maturity and innovation within the show that is rarely seen in any
theatre let alone dance or musical shows. The way in which one stunning moment
shows Carlos the barman’s (Russell Grant, although not on this night) desire to
dance with his wife is up there with the best narrative staging innovations
achieved by lauded companies like Complicite or Ex Machina.
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| Photo: Manuel Harlan |
Dance, like musical theatre is a form that exists outside of
reality: people do not dance in the street to express how they feel or choose
to sing rather than speak when emotions run high. Yet, many dance and musical
shows persist with an entirely naturalistic style except for the moments when
the dancing and singing happens. Director Karen Bruce embraces the freedom of
dance, and uses it to great effect, when she wants to depart from realism and
step into the symbolic she does so with grace and finesse. The narrative is
never threatened but rather built on by a director unafraid of employing
theatrical techniques usually reserved for stages outside of the West End.
The dancing is universally brilliant from all the company
but it is also supported by an exceptional lighting design (James Whiteside)
that knows just where to draw the audience’s eye from moment to moment, and a
sound design (Gareth Owen) that is one of the most exciting and rousing
imaginable. The on-stage band is faultless, and if they played in a bar in any
town you would surely never be able to squeeze in for excited punters.
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| Photo: Manuel Harlan |
Midnight Tango goes
beyond what could reasonably be expected of it, it is certainly no coincidence
it being on over valentines weekend, but don’t be fooled, it is so much more
than a well timed product, it is one of the most high class and rewarding shows
on a London stage for years.
This production runs until 2 March 2013.
For more information: http://www.atgtickets.com/shows/midnight-tango/phoenix-theatre/#performance_tabs=tab_calendar,tab_performances
@VFMidnightTango
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