Flashdance The Musical

The 1983 Flashdance movie was an unexpected hit, which triggered a lot of the identity of 80’s fashion, music, and dance. At a time of the Sony Walkman, an emerging MTV, ripped collar sweatshirts, body suits, denim, and leggings defined the era, as well as championing women’s independence. This run of the musical by Threshold Theatre Company had been sold out for weeks, including the additional night that had been added due to demand.

The complexity of the show’s dance numbers would challenge many theatre groups, but Threshold Theatre Company rose to the occasion, delivering a colourful, energetic, and uplifting production that thoroughly entertained the audience.

The set featured metal caging and exposed brickwork, evoking the Pittsburgh steel mill where aspiring professional dancer Alex Owens works by day. A six-piece band, led by Musical Director Matthew Rhodes, provided a strong live sound from their onstage position behind the metal framework. For the nightclub scenes, a reception desk was brought in stage right, which was then replaced by a sofa and television to represent the apartment of Alex’s retired dancer mentor, Hannah. Meanwhile, stage left saw the addition of a clothes rail to suggest the nightclub dressing room as scenes shifted. There was an occasional unlit cast member, and the odd delayed mic cue, but this did not affect the overall enjoyment of the performance. Costumes were terrific and reflected an era of maximalism and dressing to shock.

The cast and ensemble featured some excellent characterisations and some outstanding choreography from Daniel Waite. Rachael Braxton-Osborn, as Louise, the Nurse carer of Hannah, got many of the laughs with her dry humour and surly but affectionate manner. As Hannah, Rowena Croston-Clegg echoed this surliness but revealed a genuine kindness beneath it, which came across particularly well in her protective instincts towards both Alex and her carer.

I really enjoyed James Bell’s performance as struggling bar owner Harry, trying to be the hard-nosed businessman, but genuinely caring for everyone, including aspiring comic Jimmy, also well played by Eddie Bays. Kathryn White was a force to be reckoned with as Ms Wilde, the steely ice-cold Shipley Dance Academy administrator, and Craig Mayne managed the seedy nightclub owner C.C with just the right balance. It is an unfortunate fact that there are still these types of establishments in parts of the world, where vulnerable desperate young girls work long hours in difficult conditions, and are often mistreated.

Leanna Lucas was fantastic as Gloria, capturing the character’s vulnerability beautifully and culminating in a powerful rendition of the Laura Branigan 1982 hit, “Gloria”.

The company delivered an outstanding routine of “I Love Rock ’n’ Roll,” with Georgia Finch as Tess impressively combining powerful vocals with demanding, high-energy choreography—some of it performed on the floor. Kimberley Mason, as Kiki, completed the trio and was equally impressive, shining first as the group performed “Maniac” and then again in the electrifying finale with Gloria and Tess, in a blazing rendition of “What a Feeling.”

Zac Sowter struck a fine balance as Nick Hurley, portraying the privileged heir to the company while also conveying a convincing love and protectiveness for Alex, plus delivering strong vocals in “Justice.”

Finally, as Alex Owens, Sophie Chapman took on this iconic role with boundless energy, genuine warmth, and an impressive emotional range. With the added demands of also being in all the show’s major dance numbers—plus the iconic water scene at the end of Act One and the audition solo—she rose to every challenge, delivering a truly sparkling performance.

My congratulations to Director Carmel Hannant, and thanks to all at Threshold Theatre Company for another very enjoyable evening.

 

 

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