REVIEW -- STEPPING OUT
by Richard Harris
Performed by Drama Students at St Martin's College, Lancaster
Sponsored by Edwards of Lancaster

The Dukes, Moor Lane, Lancaster
Wednesday 18 to Saturday 21 January 2006

Kelly Wood as Rose, and other members of the cast

A hilarious and moving full-blooded performance

"I can't think and move at the same time. It's not natural".
So says one of the apprentice tap dancers at Mavis's evening class in the first few minutes of this amusing, rich and moving play. Just picture it: ex-pro tutor with a group of some ten students from a variety of backgrounds (all female apart from one painfully shy man, Geoffrey) and a fearsomely brusque pianist. Oh, and they're all beginners. Yes, complete beginners.

Not a pretty sight. But it gets worse as we meet the students.

There's the appalling Margo from The Good Life, Rita and Sue (though without the Bob too), a 'Little Britain' girl whose heart is several sizes larger than her brain, and another (from a certain Lancashire port) whose girth (especially in the bra department) is many times larger than anyone else's - and an ego to match...

Poor Geoffrey (whom one could initially mistake for Alan Bennett, but certainly not after he'd opened his mouth) doesn't know where to put himself.

Well, after walkouts, fallouts (social and nuclear), the sheer gritty determination of Mavis shines through in the face of insurrection from her students and intransigence from the pianist. Slowly -- sometimes very, very almost hopelessly slowly -- the reality of success begins to appear. Even for poor clumsy and nervous Geoffrey; so much so that Mavis plans to enter her troupe into a competition.

You can guess the rest; think The Full Monty. The victory on the dance floor symbolises a rebirth, a new chance for the failed relationships, the insecurities and the doubts. Good heart-warming stuff but, like the Sheffield lads, the success is hard won.

And the cast of eleven turned in a thoroughly commendable performance in all respects. Played in the round on a simple and effective set, the show came over as powerful, full-blooded and totally convincing. The pace was excellent, from the passion of the rows to the pathos of the more intimate, personal moments, ranging through tantrum to tenderness, passion to plangency.

I will not pick out any single member of the cast, but would justify that omission by noting a strong sense of teamwork and ensemble playing. This isn't easy when the characters are so diverse and varied -- it is all too easy for one or more to take over and upstage the rest.

In fact, the casting was so well done that all eleven had their individual moments, yet all equally contributed to the unfolding dramatic tensions as the action moved forward and -- wow! - to the triumphant ending. Tap dancing is team work, after all, and that is just what these youngsters gave us. Diction and clarity were excellent, and there were not a few moments of wonderful body language!

Playing it in the round can present all sorts of pitfalls and dangers, but director Adam Appleby more than rose to these challenges. Movement and blocking were imaginative and effective. The choreography, from Ruth Alderson, Tudor Davies and Jenifer Mary Morgan was simply spectacular. Lights, music and sound all contributed positively to the overall drama.

It is one thing to play the piano or tap dance well on stage. It is quite another - and infinitely harder -- to act doing it badly. The cast achieved this rare feat. Along with their fine supporting crew, they have scored a real hit with this thoroughly excellent production.

Copyright © 8 February 2006 Michael Nunn