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“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Andréa Cain
WHAT A FEELING OF DISAPPOINTMENT
When one hears “Flashdance,” one automatically thinks of courage and faith. This new
stage musical adaptation at the Hippodrome Theatre, delivered nothing but
disappointment and more disappointment. One thought, “Was I watching a Broadway
musical or a high school production?”
The key difference between the movie and the musical is that the film's lead actress,
Jennifer Beals, displayed an unmistakable passion for dance. Every time she moved to
the music, her face revealed an explosion of happiness. For example, when her character
Alex was dancing at Harry’s Club as the star erotic dancer, the viewer didn’t need words,
just the sight of her wet from sweat and just going crazy, that Beals really felt the music
in the movie.
In “Flashdance: The Musical,” Alex is played by Emily Padgett, and when she danced,
one didn’t respond the same way as watching Beals. Both are beautiful dancers, but one
got the feeling that Beals really was a dedicated dancer, while Padgett was merely
playing the part of a dedicated dancer.
“Flashdance: The Musical” started with Padgett working as a manly welder, and while
she’s sawing her way through a metal pipe the stage filled with talented people singing
and dancing. The choreography was so strong it would make one want to get up and
dance. The upbeat song described how the people who worked at the factory or the club
really needed their jobs.
After the song and dance was over, the set rolled in with a very weak “factory” look. You
think that putting a staircase with a little roof over it would make a set look like you were
at a steel mill? Not so much. In the movie, the factory was so loud and steamy that the
audience had no doubt.
Of course, Alex had this huge dream of becoming a dancer like her good friend Hannah
(Joann Cunningham). Hannah wanted Alex to follow her dreams and attend a very high
class ballet school. So, one day after work, Alex went to the college and got an
application form. Of course, Alex was nervous and lied and said that the application
wasn’t even for her; it was for her friend.
Alex soon had another problem on her hands: Nick Hurley (Matthew Hydzik), who
happened to be the boss at the factory. He almost got run over by a very large staircase
going offstage and Alex just happened to be there to save him. Their relationship seemed
very odd in the musical because you would have thought that they’d know each other
before Alex had saved Nick’s life. Even though they were flirting, it was as if they had
grown up together. In the movie, the very first time Beals and Nick Hurley (Michael
Nouri) saw each other, their eyes locked as if Beals and Nouri were scared to even talk to
each other.
As the play went on, Nick tried and tried to get Alex to go on a date with him. When she
finally gave in, it wasn’t just an ordinary date. As they were walking across the stage with
Alex carrying her bouquet of roses, another stage rolled out from the middle and there
was Kiki (Dequina Moore) rocking out singing “Man Hunt.” It wasn’t clear why that
song would play during a romantic date between Alex and Nick.
In the movie, Nouri took Beals to a very expensive restaurant and treated her to some
lobster. The whole time Beals was making sexual gestures to spice the date up. In the
musical, after "Man Hunt" finished, Padgett and Hydzik didn’t even go to a restaurant. It
was as if they walked out of Alex’s house, then walked right back in.
When a scene would finish with a song-and-dance number, it was hard to clap, because
the songs were put into the scenes so oddly. For example, when Padgett performed
“Maniac,” Pak, Moore and Felthous were right behind her singing while Padgett was
dancing. In the movie, the “maniac” scene was all about Beals dancing by herself in her
studio, and the stage show should have followed the same approach.
Moreover, the stage acting itself wasn’t impressive. It was as if the actors and actresses
didn’t really choose how their characters behaved. For example, when the actors and
actresses would come on stage to do a scene, their voices were very high-pitched as if
they were talking to children. At times the beautiful, old Italian painting with angels on
the Hippodrome's ceiling was more interesting than the scenes being performed.
Making matters worse, the ensemble seemed the only ones that got the memo that this
musical takes place in the ‘80s. In the movie, Alex was known for her big green army
jacket and her army boots, but Alex in the musical wore clothes that any women
nowadays would love to have. Alex wore a small, black leather jacket with black leather
boots; that’s not the ‘80s.
The whole cast of Flashdance had amazing moves and amazing voices. One song that
really hit home was “Maniac.” Padgett had water splashing all over her while she was
dancing like, well, a maniac. Her big ending was, pulling the rope and the water
glistening down on her while all of the lights went out but the one behind her.
In conclusion, “Flashdance” isn’t worth almost two hundred dollars for a ticket. If you’ve
seen the movie and you come to see this show, you’ll be completely disappointed. If you
haven’t seen the movie and you came to see the show, you’ll be confused because of how
crammed and bunched up the show is. If this were a high school production, it would be
amazing. But the fact that it was a pre-Broadway show really is disappointing. All I have
to say is, I’m happy my ticket was free.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Cassidy Graham
FLASHDANCE: A KNOCKOFF
A fast-paced but choppy show, “Flashdance” by Tom Hedley and Robert Cary sets the
audience up for an exciting and original story of an unlikely romantic match and a girl
fulfilling her big dream. As the show progresses, however, the beginning’s high energy
dissolves into sporadic dull moments. By the end of the evening at the Hippodrome
Theatre, the supposedly intense audition moment is merely something to get over with so
the show can end.
The first half of the show is filled with exciting dance moves and happy scenes, while the
second half is filled with sad, upsetting scenes and lackluster dances. The writer could
have paced out the exciting moments so that there wasn’t such a lull in the second half, or
the director could have staged the scenes in the second half of the show in a way where
more comedy could shine through.
Moreover, the writer could have deleted some boring, unnecessary scenes altogether, like
those with Hannah. The point of putting Hannah in the show to be a sage to Alex is
understandable, but honestly it wouldn’t have mattered much if some of the scenes where
she yells at the TV had been taken out.
This change from high energy to low energy can be seen by comparing when Alex gets
her audition letter in the first act to when she auditions in the second act. When she gets
her letter she is ecstatic; she embraces Nick and practices her dancing harder than ever.
But when she is actually auditioning, there is much less energy with slower, simpler
movements that are repeated many times. It should be the other way around. This change
may be a director’s error; it may be that the actors got tired, or it might just have been
because of the length of the show. Whatever the reason, there was definitely a loss in
energy.
Set amidst the rock and disco music of the ‘80s, “Flashdance” follows the story of Alex
Owens, a girl who works at a steel mill during the day and dances at a club during the
night. She falls in love with her steel mill boss Nick Hurley, and their lives bind together
as Alex tries to get into the ballet school of her dreams and Nick tries to become a good
man, independent of his father and grandfather. Intended to be a copy of the original
1983 film, the show is full of excitement, danger, dancing and characters to root for.
However, it falls short of the film’s impact due to randomly organized scenes, hurried
transitions and an under-energized second act.
The major plot points from the original 1983 film are carried over to the musical;
however some of the musical’s added twists are confusing and unnecessary, and the
transitions into songs and ballet scenes are very disorganized. Some choices that directors
make in movies simply don’t work in a stage production; therefore, trying to stay true to
all aspects of the movie isn’t the best strategy.
While trying to enjoy a romantic first date at the ballet between Alex (Emily Padgett) and
Nick Hurley (Matthew Hydzik), the audience doesn’t want to be bombarded by
annoyingly frequent bursts of “Manhunt.” It ruins the mood. Similarly, it’s not very wise
to cut off one of the only genuinely tender moments in the show, where Nick promises to
save the workers from getting laid off and hastily switch to “I Love Rock n’ Roll” with
flashing lights and furry-clothed exotic dancers. This catchy song that we all know and
love may have been enjoyed more by all if we had been able to drink up the moment of
sweetness beforehand.
Despite these shortcomings, “Flashdance” is a motivating and charming story of a
likeable girl trying to fulfill her dream. Fans of the movie might be disappointed that the
show doesn’t live up to expectations movie, but anyone else will appreciate thrilling
dance numbers when Alex uses water and colorful, flashing lights. There are comic
moments as well, as when Nick memorizes Alex’s phone number, and these moments do
well to balance out some of the sadder moments. But sometimes the comic moments, like
Jimmy’s jokes to cheer Gloria up after her traumatic downfall, don’t work.
When Gloria (Kelly Felthous) spirals to rock bottom after joining the Chameleon strip
club and becoming a coke addict, it makes the audience uncomfortable. No matter how
many comforting words that her boyfriend Jimmy (David R. Gordon) says, or how many
sweet couple-y things they say to each other afterwards, it doesn’t really make up for the
ordeal that the audience has to see Glo go through.
Also, when Alex goes to save Glo from the sleazy hands of Chameleon club owner, C.C.
(Christian Whelan), the fight is tired and has the “let’s get this over with” feeling to it.
Alex halfheartedly punches C.C.; C.C. and Jimmy halfheartedly punch each other, and
finally Alex, Jimmy and Glo leave with a lazy “You’ll be back” from C.C.
Each supporting character has their chance to shine, and each adds a little something to
the show. As a cute sidekick to Alex, Glo is someone we can all root for and identify with
during the song “Remember Me.” Jimmy is a loveable struggling comedian as Glo’s
boyfriend. The audience can root for Jimmy as he tries to make it big in New York, as
well as root for Jimmy and Glo’s relationship.
Tess (Rachelle Rak) and Kiki (Dequina Moore) are also fun sidekicks to Alex, and the
four girls have great chemistry, especially during the upbeat, catchy song “Put It On,”
where Tess, Kiki and Alex explain to Glo the reason why they go to the bar to dance
every night. They sing and dance and talk about how their lives are boring and they have
average jobs during the day, but then they come to the bar at night and can be whoever
they want.
Later on in the show, Tess and Kiki similarly encourage Harry (Matthew Henderson), the
owner of the club, to keep trying the run his business and not give up. This charming
scene gives Harry a time to shine along with the other characters when he dances with
them and tries on some of their furrier costumes. He is convinced to keep the bar up and
running. Furthermore, Hannah (Joann Cunningham), who is Alex’s motherly figure in the
show, has many times to shine. Her song about the pain of being a dancer might be a bit
dry and repetitive, but nevertheless the audience comes to love the character and her
playful back-and-forth banter with her housekeeper.
At some points the actors are hard to understand, but the singing is remarkable overall
and the actors’ voices go well together, especially Alex’s and Nick’s. There are times
when stagehands are visible helping the actors with quick changes, and there are some
points where the bright background of a glowing, almost cartoonish Pittsburg doesn’t
match with the mood or the rest of the set, but these faults are easy to overlook because
the main spectacle is the dancing.
The dancing was surprisingly similar in quality to the movie, except for the final audition
scene. The whole show is supposed to build up to the audition, but when we finally get
there, it all seems tired, cheesy and not as good as the movie. The audition starts out with
a scratchy record, but when Alex asks to start over there is suddenly full-blown sound.
This doesn’t do much but drag out the audition longer and make it much cornier. It seems
that all the impressive moves are used up in the first act and the big audition scene is left
with not much to make it spectacular.
In all, even though the first act is better than the second and the show may seem
uncomfortable at some points, “Flashdance” is still an escape with upbeat songs,
attention-grabbing dance moves and a good story. It does lose much of its energy later on
because of the jaded dancing and gloomy scenes. Also, the mood is brought down a bit
by Alex and Nick fighting for much of the second act. It is certainly not life-changing,
and the director tries to copy the movie a bit too much where changes and cuts might
have better suited the stage show. But if you try not to get your hopes up too much,
“Flashdance” is a nice knockoff of the original movie.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Meredith Grossman
FLASHDANCE IN THE PAN
“Loving you is so cliché,” Alex belts out as she holds hands with her love interest
Nick in “Flashdance: The Musical,” now at the Hippodrome Theatre. But one can’t
help but think that this relationship itself is so cliché. How many times have you
heard the story about the rich guy and the poor girl, struggling to be together
because “they’re from two different worlds?” We’ve seen this couple so many times
that it’s hard to care whether they’ll end up together this time.
Maybe if Emily Padgett and Matthew Hydzik had more chemistry as Alex and Nick, the
show would be more enjoyable. But due partly to the actors’ lack of focus and partly to
the writers’ failure to develop their characters, the chemistry is missing in action. Their
voices blend beautifully and they hit all their lines right, but there’s no spark when they
finally kiss.
Any writer would have a tough time with such a hackneyed romance as Alex and Nick’s,
but they should’ve focused a little more on Alex and Nick getting to know each other. All
the witty banter between the two is cute, but when Padgett and Hyzdik finally get
together during the song “Here and Now,” it seems as though they barely know each
other. Knowing all of the flaws with the script, casting director Tara Rubin Casting
should have chosen the lead roles more carefully. The leads were great dancers and
singers, but they also have been able to act.
“Flashdance” is the story of Alex Owens, a Pittsburgh steel mill worker, who also dances
at the burlesque bar Harry’s at night. She dreams of studying ballet at the prestigious
Shipley Academy but is afraid to apply because she has no formal training. Alex must
decide whether to go for her dreams or accept working at a steel mill. She also has to
cope with the decision to date Nick, the boss’ grandson. Nick is rich and will run the mill
someday, while she’s a poor girl, struggling to make ends meet. When Nick does
something awful, it might just stop Alex from pursuing Shipley at all.
The show really suffers because of Padgett’s overall inability to connect, not just to
Hydzik but also to the audience. Padgett’s ballads, “Just out of Reach” and “Let Go,” are
full of lament, but their emotions are lost on us. It seems as if Padgett is more concerned
with her dancing than her character’s obstacles, especially when she goes from singing
“Just out of Reach” to warming up while her coworkers at Harry’s sing “Maniac.”
This disconnect is also due to cluttered story lines. The audience doesn’t have a lot of
time to get to know the characters because there are too many things going on at once.
We hear about Alex’s friend Gloria (Kelly Felthous) trying her best to get on MTV,
Gloria’s boyfriend Jimmy (David R. Gordon) moving to NYC to pursue his dream of
being a stand-up comedian, and the owner of the dance club Harry (Matthew Henderson)
worrying about business going to a competing club.
All of these separate story lines take away from the main feature of Alex pursuing a
career in ballet, so we feel distanced from not only Alex but also from all the characters.
It feels like the story is just a way to introduce the next incredible dance number; it seems
the side-plot about Gloria being a video girl is only in the show to justify the fun dance
number “Gloria,” where Felthous is carried around by a couple of good-looking guys,
while she plays at being famous.
On the positive side, the show presents a good life lesson: you have to go for your dreams
because you’ll never know what could happen unless you try. Alex decides to pursue her
dream of attending Shipley, a goal which she goes for even if she thinks it’s impossible.
The set is truly remarkable as it seamlessly moves to create different scenes and keep the
story energized. The set is constructed so it can shift instantaneously from a factory to a
nightclub, where the neon and strobe lights give the feeling of a real burlesque bar.
Because of the good timing the audience barely notices the changing lights and setting, so
the pacing is excellent.
The musical triumphs in such dance numbers as “She’s a Maniac” and “I Love Rock and
Roll." The production’s original songs don’t dazzle nearly as much as the vintage songs
from the ‘80s; they sound like cheesy knock-offs of some great song of that era. But the
cast sings with such enthusiasm and energy that even these tunes are enjoyable if not
memorable.
“Flashdance: The Musical” is the ultimate nostalgia piece; it will bring you back to the
era of off-the-shoulder sweatshirts and legwarmers which we lovingly refer to as the ‘80s.
Ultimately, “Flashdance The Musical” is a story that you’ve heard a hundred times before
with some new songs added in. The dancing is fantastic, but with no emotional
connection to the characters, it feels like you’ve sat through two hours of a dance concert
with a haphazard story line thrown in for kicks.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Jada Mosley
WHAT A FEELING
“Flashdance,” a stage musical based on the film of the same name, does not disappoint.
Often the transition from the silver screen to the big stage undermines the story’s
integrity, but this adaptation at the Hippodrome Theatre does not disappoint. Many a
movie is great due to Hollywood magic not feasibly reproduced in the real-time nature of
theater. As a result, the translation from movie to musical can leave the play bare and
vulnerable at the hands of the playwrights and directors. They may produce a story that
they like but which does not reflect the movie.
Thus the characters and the charm that initially drew interest to the film are lost leaving a
sorry imitation to collect theatergoers’ money. Thankfully, in this adaptation of
“Flashdance,” these writers and directors were able to seamlessly translate the story from
screen to stage. The combination of inventive set design and choreography bring the story
to life before your eyes.
From the moment the curtains rise, this play will captivate you with its riveting
dramatization of love, hard work, dignity and resilience through adversity. Alex
Owens (Emily Padgett) is introduced as living a double life: by day a strong and
independent worker and by night a maniac on the dance floor. As Alex struggles to get an
audition into Shipley Academy she finds love with factory heir Nick Hurley (Matthew
Hydzik). Through the play Alex struggles to remain independent while not allowing her
affiliation with Nick to supersede her own talent.
“Flashdance” is about Alex’s search for balance in her hard-knock life between the rigors
of manual labor at the mill and the need to dance. Her plate is already full, so she
struggles to find room in her hectic schedule for her love interest Nick and to help her
friends Tess, Gloria and Kiki through rough economic times.
In the opening scene Tess, Kiki and Gloria are silhouetted in the background as ballet
students from the Shipley Academy dance in the spotlight. This resembles the perceived
separation between Alex’s aspirations and reality. The prologue incorporates the most
important features of the play putting them into the minds of the audience members to be
referenced as the plot progresses.
The lighting and subtle separation of the set elements gives each scene through the entire
play an interesting multidimensional appeal. This concept was most effective in the scene
when Alex is informed by Hanna (Joann Cunningham) that she has been given the
opportunity to audition for Shipley Academy. Hanna and Alex share a moment of joy and
Alex’s inner thoughts are projected into an on-stage projection of Shipley students
dancing gracefully.
This is engaging from the audience’s perspective, because the set and dancers constantly
change, creating a flow of consciousness through the play that does not allow the mind to
wonder or nitpick or over-think any one scene. This takes the complexities of a movie
production and simplifies it to an easily digestible theatrical version.
Beyond the mechanics of the scene many other aspects of the adaptation will either be
loved or hated by audience members. The choreography is beautifully articulated through
the dancers. On several occasions the fine line between provocative dancing and
borderline skanky dancing seems threatened, but in every scene involving one of the bar
dancers the costume designers left enough fabric to leave something up to the
imagination. The production never lets the choreography slip beyond risqué to trampy.
This delicate battle is mirrored in the conflict between Harry’s Bar where Alex was a
dancer at and the less-than-modest competitor CC’s bar. One bar encourages the
employees to bare all and leave their dignity with their cloths in a heap on the dance floor
while the other promotes self-respect while showing enough skin to get the job done.
This helps to make this constant balancing act seem less haphazard and more of a
calculated venture on the part of the choreographers.
The infusion of ‘80s music and dances are a great combination because it reinforces the
atmosphere, though the choreography is not so subtlety influenced by specific artists. In
several scenes it was almost as if the ensembles regurgitate entire Michael Jackson
dances. This is a bit bothersome because some of the cast is not as competent as others in
executing the moves.
In the scene “Justice,” several dancers lazily attempt specific moves with little accuracy.
This comes across as sloppy and under-rehearsed while other cast members are able to
flawlessly perform the same moves. Another major letdown occurs when the cast
attempts the percussive dance steps of “Stomp” in the song “Justice.” The percussion is
poorly faked and so simple that it should not have been included.
The play’s casting is undermined by an uneven distribution of talent. Very talented actors
and actresses are filling smaller rolls while main characters assault the ears of the
audience with painfully off-key notes. In the number “Enough,” where Jimmy (David R.
Gordon) has a solo, it is almost as if he were channeling Weird Al Yankovic. The vocal is
so pitchy and unpleasant that some cast members in lesser roles could have been afforded
more. Moore, who plays Alex’s fellow dancer Kiki, is able to dance better than a great
majority of the cast and is vocally superior to Padgett.
From beginning to end this play maintains the ability to keep the audiences interest and
stay true to the original production’s integrity. The several shortcomings are far
outweighed by the positive. The playwrights and choreographers knew what they were
doing with this production by making absolutely certain that nothing got lost in the
transition from the silver screen to the big stage. You can too know what a feeling it is to
see something as magical as this play.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Laura Penhallegon
FLASHING LIGHTS, FLASHING HEARTS
Everyone is familiar with that old story that involves a girl, a guy and a dream. It almost
always ends happily, and most people come out satisfied with their entertainment for the
night. But there are certain limitations that come into play in a story like that, especially
in the theater. The stage can’t pull off as many special effects as a film can, For one
example, film’s ability to emphasize close-ups to create a more dramatic effect can’t be
matched. Overall it’s harder for theatrical artists to create an equally fantastic
performance.
“Flashdance: The Musical,” now at the Hippodrome Theatre, achieved the difficult task
of transforming a popular movie into an engaging play through its great attention to
detail. One of the scenes that epitomized this was the club scene. Most plays have
characters completely sit still when they aren’t being focused on, but in order to create a
more visual effect, the background characters in “Flashdance” moved slightly.
This made those extra characters, especially in the club scene, seem more intimidating,
with their implied laughter and slow stomping, since they were supposed to be the
perverted men who come to watch the dancers every night. In a movie, it’s easy to access
such an intimidating sense of these men, because the camera can move to different
perspectives. Because the stage only provides one perspective, the men moved instead of
the camera.
Emotion plays a big role in all stories, and in this one, Alex Owens (Emily Padgett)
presented the image of an independent, strong woman with her sassy language and ability
to work in a volcano-like factory. She dreamed of being a dancer but typically didn’t
believe that she can get into the dance school she wants. She gazed longingly through the
window almost every night, and eventually came in contact with an instructor, asking her
for an application.
Meanwhile, her trio of friends started to go their separate ways, some down a bad path
and some a good. The audience developed a close connection with all four of these
characters, reacting with dismay when something bad happens. Alex also befriended an
old, witty dancing instructor, who added most of the humor to the story. And most
importantly, as always, she had a love interest. Nick Hurley (Matthew Hydzik) starts off
as an arrogant, rich boss to Alex, but their relationship soon ascended into true affection.
The audience could have easily misinterpreted what the play was trying to say without
the visual effects. For example, Alex Owens’s friends danced with her a lot even in her
solo performances, symbolizing an everlasting friendship that reinforced the story’s
heartwarming theme. It also gave the audience less opportunity to stare off into space.
Unable to completely change scenes and forced to use fake props in place of dangerous
objects, scenic design Klara Zieglerova did a fantastic job of creating a clear visual for
each intended location. From the beginning, one felt great sympathy for the characters,
because one could see the fire spewing up, presenting a sense of danger, providing a
metaphor for the Pittsburgh steel mill where Alex worked. Having just the simple
organization of rusted ladders, sparking metal tools and exploding fire created a lasting
first impression to reel one into the story.
This use of background items progressed throughout the play, including photographic
projections of bridges to imply when the characters were outside. Because those features
were used every time, the audience grew conditioned to feel excited and/or nervous every
time they saw those bridges. The dancers were always very energetic, anticipating danger
and rebellion, because a police officer might arrive. The dancers seemed to be tousling
with him a bit, and not really threatened by him.
Also, having a wheelchair in the old dance instructor’s house helped to imply that she is
weak and foreshadowed that something traumatic might happen. Howell Binkley’s
lighting design allowed images on the screen to fade into different scenes. Binkley also
took advantage of the simplicity of flashing lights to represent photos being taken. Alex
specifically said that she wanted to be famous, and the flashing lights provided a vision of
her wished-for future.
That messy ‘80s look with the curly hair, tinted jeans and satchel bags were essential to
the credibility of an ‘80s play. Alex always seemed to have clothing that was a little less
flashy than everyone else, which reflected the reality that she didn’t live a glamorous life.
The first time she walked into her changing room with her friends, she was noticeably
wearing more casual clothes than the other characters, with jeans, a white t-shirt and a
leather jacket. She also didn’t try too hard to put on some sparkly, flashy outfit when she
was dancing, which all her friends seemed to do. This showed her lack of distraction and
true focus on what she really loved to do.
Without the use of all the visual effects, symbols and projections, the theater version of
“Flashdance” wouldn’t have lived up to its potential. Sure the story might make you
“feel good,” but that’s not the stage’s responsibility anymore, since the writing was
already established. The main priority for the play was to use its details to bring out the
most basic lesson in life—though the one humans most often forget: dream big and stay
positive.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Allyssa Pingul
WATCHING AT THE EDGE OF MY SEAT
Have you ever started reading a book with the anticipation of it being horrible? Did it
shock you that you actually liked it when you started to read it? Knowing that
"Flashdance," now at the Hippodrome Theatre, is just another stage revival of a
Hollywood movie, you may anticipate the show will be nothing but glossy fluff with
glitter and sparkles. The musical's reputation promises little more than a stereotypical
love story about a girl with a dream that has a Cinderella ending.
But it turns out to be much more than that, for the director's and writers’ ideas combine to
harmonize the story’s message with strong emotions energized by the powerful dance
scenes.
The choreographers break the "cookie-cutter" ballerina tradition by adding a unique kind
of intense movement to the routines. For example, in the audition scene, the protagonist
dances to "What A Feelin'" and the choreographers were able to bring the intense heat of
a thousand dancers into a one-person routine. In this number, you see Alex expressing her
true self in her lusty movements while listening to the music as it gets louder, more
powerful and completely optimistic.
As the first act begins, we meet Alex Owens (Emily Padgett), a girl who works at the
Hurley Steel Mill in Pittsburgh, but who is also a dancer-in-progress. She may be hard at
work, but in the back of her mind she is thinking about dancing. One can easily
distinguish the factory setting thanks to the equipment, tools and the obnoxious sounds.
Details like vending machines really complement the scene.
Nick Hurley (Matthew Hydzik), a kind and secretly generous man, meets Alex on the
factory floor, but she sarcastically refers to him as "Mr. Perfect." Another character yells,
“Hey, Mr. Hurley,” and Alex realizes that he is her boss. He is one of several people in
charge of his family business, but Nick's arrogant exterior can be deceiving. His true
personality is revealed when Alex and Nick encounter each other once again.
In Alex’s first soliloquy, she expresses her passion for dance and her goal of getting into
Shipley’s Academy for ballet. Alex isn’t a typical "curly hair and sparkly makeup"
ballerina; she has her own style, which is more upbeat than elegant. One can easily tell
that Alex does not fit in with the professional ballerinas at Shipley's when she is in the
dance room trying to dance along with their routine.
These highly skilled ballerinas psychologically intimidate her every time she sees or
thinks of a professional dancer who has been dancing almost since they came out of their
mother’s womb. Alex underestimates herself, but when she remembers who she truly is
as a dancer, she gains the confidence to move again.
For example, when Alex is at her mentor Hannah's house to show her the routine for her
audition, Alex falls while she is dancing. Why? Because she was thinking about all those
Shipley ballerinas. When the ensemble comes out, they dance enthusiastically with a lot
of strength in every move. This reminds Alex what kind of dancer she truly is and not to
change what she loves to do just so she can get into Shipley's. When the ensemble does
this, they do not use words; they use strong rhythmical movement to open Alex's eyes.
When the two meet again, Alex is still upset with Nick. Humor is shown when he tries to
make conversation with her by asking, “You speak French?” and Alex responds, “Yeah.
Douche.” After they talk, the workers break into a number in which they advise Hurley
on what to do, emphasizing their points by banging their shovels on the floor and sliding
their buckets to create a cool noise.
The main subplot concerns Jimmy (David R. Gordon) and Gloria (Kelly Felthous) who
both have their own dreams. Gloria is portrayed as an immature, naïve girl who still has a
lot to learn about decision making. For example, once Jimmy leaves to follow his own
dreams, it becomes easier for her to be convinced to become a trashy-looking pole dancer
at C.C.'s (Christian Whelan) sleazy club. Jimmy is the more logical one in the
relationship but also the more self-centered one. He believes in and supports himself but
does not find any hope in Gloria, the girl who has encouraged him since the beginning.
Throughout the show, we constantly encounter Hannah (Joann Cunningham), a former
dancer who guides Alex in the right direction for her audition at Shipley’s. Once again,
the playwrights do a great job by providing a mentor who can represent someone in all of
our lives. We all have a person who tends to be the first one to come to mind when we
need help. That person is the one we approach without hesitation.
Hannah can also represent us. By this time in life, we all should have helped out a loved
one at least once. If you have ever stuck with a friend who is almost completely hopeless,
you should consider yourself a Hannah.
When Nick finally convinces Alex to go on a date with him, they learn more about each
other. When they arrive at Alex’s house, he finally tells her how tired he is of hearing
how much of a bratty rich boy he is. He uses his voice to slaughter the good vibe of the
date by yelling he has had enough with the judgment Alex made of him before they even
got to know each other. From the way he violently pulls on his hair and constantly
clenches his fists, one can feel the tension from all the way up in the balcony.
Anyone can find themselves as an “Alex," not just in dance, but also in sports, school or
anything really. The playwrights do a fantastic job of inspiring the audience, because
Alex stays strong, even she nervously asking for an application to Shipley's. During the
show, Alex constantly gets discouraged, but she finds the strength to get back up every
time she falls. Even after witnessing all the amazing dancers, Alex never gives up
dancing for good.
Have you ever gotten a little upset that you’ve finished the last book to your favorite
series? Did it make you want to forget everything you just read so you could read it
again? That feeling will overwhelm you again when the last scene of "Flashdance" ends.
It really set the bar up high for the next performances at the Hippodrome.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Valerie Stine
Flash Do or Don't
Where "Flashdance," currently at the Hippodrome Theatre, really seems to fall apart is in
the lead character's lack of depth. We see from the very beginning that Alex Owens
(Emily Padgett) is a stubborn, loud-mouthed and rather angry lead character, yet there
isn't very much discussion on why she is the way she is. Padgett shows very little
vulnerability during her performance, and even when she does, she quickly shoves it back
under the rug.
When she speaks to her love interest, Nick Hurley, after their first date, he tries to get her
to open up. For a split second she almost does and shares her feelings about dance as she
doesn't do really do at any other moment of the play. But due to choppy dialogue that
cuts her off before she can break through, Padgett has to keep Alex's feelings under
control, not letting the audience feel for her at all.
Alex, who works at a steel mill by day and at Harry's dance club by night, claims she
wants to be a professional ballerina. Yet she displays no passion for it. When Alex is
speaking to her older friend Hannah about dancing, there’s another moment when her
feelings are about to be pulled out of her. "Every time I get out there,” she says, “I wish I
could just disappear." This line could have led to a revelation about her feeling for the
craft she wishes to study, but instead the dialogue just stops there leaving the audience
disappointed that we never find out what is behind that line.
Alex's love interest Nick (Matthew Hydzik) is the grandson of the steel mill's owner and
when he is sent to the floor to observe the workers, he meets Alex. Just like his
counterpart, he starts out with very little complexity. In fact Alex even says, "He's just
too perfect." In so many ways Nick really is the average good looking male lead who
doesn't have any flaws when the audience first meets him.
However, unlike Alex during the majority of the musical, Nick actually makes mistakes
even if we do have to wait until the second act to see them. Hydzik finally brings Nick to
life during his performance of "Enough," which gives the audience a glimpse into Nick's
inner struggle. He wants to stand for the workers at the mill, who are at risk of losing
their jobs, but he doesn't want to disappoint his family.
The chemistry between the two leads was off, mostly due to some poor blocking choices.
During their duet "Here and Now," there was hardly any closeness and when there was
they would pull away only seconds later. While the banter between the two of them was
great in the beginning, it became tedious after a while and no longer necessary.
Gloria (Kelly Felthous), Alex's best friend, was by far the most entertaining and
charismatic character in the show. Felthous brought a great struggle to the role that made
her character start out as the quirky best friend that wants nothing more than to dance at
Harry's club. But after her boyfriend Jimmy leaves, her insecurities start to form. If the
writers had developed it further Gloria's subplot just might have been more interesting
than Alex's life.
Gloria's boyfriend Jimmy (David R. Gordon), on the other hand, continues the pattern of
poorly developed characters. Jimmy is supposed to be the comic character, but the idea
surrounding his character is that he is supposed to be a bad comedian. The problem with
bad jokes is that they only become more and more redundant and annoying as the show
continues.
His corny jokes may make the audience chuckle a little but for the most part all of his
jokes fall short and only slow down the plot. Gordon has a great voice and makes as
many good choices as he can from the role he was given. All of Jimmy's songs like
"Where I Belong" and "Remember Me" are wonderful; it is just his dialogue that was
poor.
The music was definitely something the audience could rock out to. Aside from the songs
that had been in the original movie like, "Maniac," "I Love Rock and Roll," "Manhunt"
and "What a Feeling," none of the music was something you would particularly be
singing as you walk out of the theater. Most of the songs, while enjoyable, weren't very
catchy. An exception was "Put It On." While it still isn't too catchy, it is the most
energetic song performed in the show.
The use of some of the songs that had appeared in the 1983 movie seemed a little out of
place with the rest production. While "I Love Rock and Roll" is a fun number, it is
simply there because it is expected to be. It did nothing to carry on the plot. They also
attempted to parallel "Manhunt" with Alex and Nick's first date, but because the lyrics
didn't actually match what was going on in the scene, it was hard to understand
everything that was going on at once.
Despite the many flaws, "Flashdance" does have its upsides. The sets are simple and
glide from scene to scene. They also used projections of MTV clips to send the audience
back in time to the 1980s. The lighting was absolutely beautiful, contrasting dark and
bright colors to help set the tone as well as keep focus on the characters on stage.
The biggest reason to go see "Flashdance" would, of course, be for the dancing. Director
and choreographer Sergio Trujillo managed to create a perfect blend of ballet and modern
dance throughout the production.
"Steeltown Sky" begins with modern but then transitions to ballet. The two dance styles
continue to weave in and out of one another until Alex brings the two styles together in
the end. It was also nice that Trujillo took into consideration that although Alex has
natural talent, she is not a trained dancer. During the scenes with her and the other
ballerinas, the choreographer made sure there was contrast between them.
Although “Flashdance” picks up its speed in the second act, the plot is still too thin. It is
enjoyable from a music and dance perspective, which does make the show slightly worth
watching. For the most part the acting is good, but due to the script’s dialogue none of the
characters really shine as they should, especially the lead herself. Without depth
characters are boring and it is hard to find any real connection with them.
“Flashdance: The Musical”
By Tom Hedley, Robert Cary and Robbie Roth
At the Hippodrome Theatre through February 17
By Gillian Waldo
A FLASH IN THE PAN?
The current production of “Flashdance: The Musical” at the Hippodrome Theatre is full
of flashing lights, glamorous costumes and moving set pieces, but it lacks both a human
connection and impressive dancing. For all of the technical aspects of the show,
“Flashdance” fails to establish the grim working life of steelworkers in the 1980s and the
main character's supposed dancing chops.
The costumes and the bright lights are a distraction from the weak book written by Tom
Hedley and Robert Cary, but these technical aspects can't make up for the heart that is
missing from this production. If the characters were fully fleshed out the stakes would be
higher and the audience would feel a stronger connection to them. Another piece of the
story that gets neglected is the working class life of Pittsburgh. Working at a steel mill is
not glamorous, but the writers barely touch on what the blue-collar citizens have to face
every day.
Based on the 1983 movie of the same name, the musical follows Alex Owens (Emily
Padgett), a Pittsburgh steelworker with dreams of going to the Shipley Academy of
Dance. After work at The Hurley Steel Mill, Alex heads over to Harry's, the club where
she dances to supplement her income and express her passion for moving to the music. At
the mill, Alex meets the boss's son, Nick Hurley (Matthew Hydzik) who is attracted to
Alex but she plays hard to get. Their relationship is further complicated when Nick is
forced to fire workers.
The opening number, “Steeltown Sky,” finds Alex working with a compound miter saw.
Instead of coming out with a stunning first number, most of the cast members either slink
around the stage slowly or stand and sing, giving the number a static feeling. The wordy
lyrics don't help. Lack of articulation leaves the audience straining to understand what the
workers are singing about, a serious problem considering that this number sets up the
exposition for the rest of the piece. Dancers in street clothes perform simple
choreography and sing an upbeat tune as lights flash and set pieces come on and off. The
chaotic scramble leaves the audience wondering what the tone of the piece is.
The set itself is also very distracting. Parts of the mill are sliding off and on stage and the
background consists of several large panels of constantly moving images of Pittsburgh.
This gives the audience the sense of an extremely vibrant town, when in fact, Pittsburgh
was facing a serious economic depression during this time. Portraying Pittsburgh as it
truly was during this time period would have ramped up the stakes, giving more urgency
to Alex's dream of becoming a dancer and to the devastating cuts Nick later has to make.
In addition to establishing the setting, the initial musical numbers have to inform the
audience of Alex's dancing abilities, but the choreography Padgett has to work with is
neither technically impressive nor artistically inventive, leaving the audience wanting
more. Often Padgett is accompanied by several men in loose street clothes doing simple
hip-hop moves while she bops to the beat and watches.
It might have been more interesting to see Alex combine street moves and pirouettes or
other more technical movements to symbolize the two worlds she is torn between—
working class Pittsburgh and the Shipley Academy. Instead, the most common dance
move Padgett employs is running her fingers through her thick hair rhythmically. This
does nothing to persuade the audience Alex deserves to go to an elite ballet school.
The audience's lack of connection to Alex may have less to do with Padgett's
interpretation of her character than with the script. Padgett imbues every line she has with
enthusiasm, but with lines like, “I've been taking care of myself for a long time,” and “I'm
the music,” her character doesn't seem to have much depth. The lyrics she sings aren't
inspiring either: “It's better to fall and leap than to never leap at all.” She talks about
dancing more than actually participating herself. And when she does dance, particularly
at Harry's Club, the point is more to show off Padgett's incredible physique in booty
shorts and skimpy t-shirts than to actually appreciate the choreography.
Padgett's character is not the only victim of bad writing; really it's the downfall of the
entire show. Consistent bad jokes, tons of '80s references (“I work for the man. You work
for Rob Lowe.”) and shallow characters contribute to the superficial nature of the show.
If the writers and lyricists had spent more time establishing the lives of the steel workers,
the stakes would have been higher when Nick has to make cuts. They briefly explore the
plight of the steelworker Andy (Dan Kohler) but he only appears sporadically in scenes—
not enough to make an impact.
Even the main characters aren't very sympathetic. Alex's best friend, Gloria (Kelly
Felthous), is singularly focused on getting out of Pittsburgh and being a star. So much so,
that when her boyfriend, Jimmy (David R. Gordon), leaves to follow his dream of
becoming a comic, instead of congratulating him, she mopes around because she isn't
going with him. Gloria goes so far as to work for the rival Chameleon Club, in hopes of
meeting someone who can jump-start her career. Since she seems to care only about her
own success, the audience does not feel sympathy for her.
The two main African-American characters of the show, Kiki (Dequina Moore), a fellow
dancer, and Louise (Thursday Farrar), the caretaker of Alex's elderly dance teacher, give
great, funny performances, but the characters are both written as stereotypically strong,
sassy black women, an unoriginal choice on the part of the writers.
A more rounded character is Hannah (Joann Cunningham), Alex's old dance teacher, who
has the physicality of a grand dame and a sharp, witty mouth. She is the comic foil for
Louise, making unnecessary requests and jabs at her caretaker. The sleazy owner of the
Chameleon Club, C.C. (Christian Wheland), is also a pretty well developed character.
But his vocally clean performance does not match his unbuttoned shirts and cigarettes.
The numbers that do work are the numbers with original, intriguing choreography. In the
number “Inside,” set at the Shipley Academy, the students dance in military fashion,
giving the school an insular and dark tone. Towards the end of “Justice,” Nick sings with
the steel workers. They grab shovels and power tools and bang them on the ground
rhythmically. This lasts for less than 30 seconds, before they return to their static poses,
but it is a glimpse of the innovation that could have been used to create more dynamic
scenes.
A recurring problem with the production is the juxtaposition of several different elements
in the musical numbers. When Alex and Nick finally go out on a date to the ballet, their
dialogue is interspersed with the song “Manhunt,” sung by Kiki, who dances with two
men in S&M leather outfits. Instead of rooting for the couple, the audience feels as
though either Nick or Alex has malicious intentions due to the uneasy tone of the number.
Although the song does not advance the plot in a positive way, Moore's vocals add a
soulful element to the music of the show which is mainly centered around tinny drums
and shimmering guitars.
Other examples of the lack of cohesion are the scenes that take place in Hannah's house.
With the use of a fireplace and nice furniture, one would think Hannah lives in an elegant
mansion but the projection of rainbow hibiscus flowers as the backdrop completely
throws off one's sense of the set and cheapens it.
The actors of “Flashdance” do the best with what they have, but both the production team
and the writers may want to rethink their choices. Their lack of detail in regards to the
blue-collar lives of the citizens of Pittsburgh leaves much to be desired. Giving the
audience a sense of the gritty, tedious lives these characters lead would give the
characters more depth and strengthen the audience's empathy for Alex. If you are looking
for a feel-good but shallow flashback to the '80s, “Flashdance” is for you.