Just two days from Strictly Ballroom the Musical's world premiere, Baz Luhrmann can't resist making last-minute tweaks as he strides on stage from the fifth row.
"I just want to direct something," the 52-year-old says, handing his microphone to a trailing assistant and offering his principals some advice before the entire company takes their partners and launches into the samba once more.
Produced by Global Creatures (responsible for shows including King Kong, War Horse) and Luhrmann's company Bazmark, this latest iteration of Strictly Ballroom is a lavish musical based on the beloved 1992 film, which in turn was based on the 1984 student play. It premieres at the Sydney Lyric theatre on Saturday following three weeks of previews. Advance feedback emerging from these early shows has ranged from satisfied to scathing, with Sydney theatre blogger Diva Knows Best declaring that "the mistakes of this production are legion".
Luhrmann points out that it’s a little early for criticism: "Memory wasn't in Cats when it opened," he says of the work in progress that preview audiences have witnessed.
Strictly Ballroom has clearly already taken on board some of this early feedback, trimming some 20 minutes of its running time since previews began late last month. That’s as long as the play was in total when Luhrmann directed and acted in the 1984 version with fellow National Institute of Dramatic Art students.
Set and costume designer Catherine Martin has approached the stage show reboot with the philosophy of remaining true to the film while amplifying its message.
“Taste is a very dangerous word,” Martin says in front of a stage backdrop shimmering with rows of sequinned curtains and the Coca-Cola sign that provides a backdrop to one of the film's pivotal scenes. "The ballroom world is a world of sartorial freedom – nothing is out of bounds.”
Luhrmann and his creative team – including original choreographer John "Cha Cha" O’Connell and co-writer Craig Pearce – bring Strictly Ballroom The Musical to life with a score arranged by Elliott Wheeler, who has commissioned new material from pop songwriters including Sia and Diane Warren. Thomas Lacey and Phoebe Panaretos take on the roles of Scott Hastings and Fran, the rebellious ballroom dancer and his wallflower partner who were played on screen by Paul Mercurio and Tara Morice.
Panaretos is equal parts “pumped” and “nervous” about taking her first large starring role in her home town – especially give the part comes with 30 years of history, 22 of those in a film that is now ingrained in the Australian collective consciousness. The financial stakes are also high, with NSW minister for tourism George Souris quoted as saying that he hopes the musical will generate $20m for the Sydney economy.
“I auditioned for this part for all of eight months, so I was put through the wringer and definitely tested and tried,” Panaretos says. “Through that process I think I discovered Fran, so coming into rehearsals was more of a celebration for me.
“Having Baz guide me through was amazing. Of course there’s a lot of pressure because Tara created such an iconic role, but the musical is a different level – what might have been told in the movie through a close-up, we’ll sing a ballad about it. So it’s different.”
