You may recall my interview with Jennifer Masters, creator of this show and co-founder of Masters of Choreography, the Australian company behind Beats on Pointe.

Georgia-Mae Rutland and Brodie Chesher in Beats on Pointe
Georgia-Mae Rutland and Brodie Chesher in Beats on Pointe

Now it is time to enjoy the full show, a fusion of ballet, street dance and hip hop, with thirteen talented and versatile dancers. As someone who enjoys all forms of dance, I can appreciate traditional work en pointe just as much as breakdancing and movement to the accompaniment of beatboxing.

This show does take a bit of time to lower the lights and get going, with a dance contest opener which reminded me of the gym hall sequence in West Side Story, as two opposing factions circle each other in competition.

Phillip Egan in Beats on Pointe
Phillip Egan in Beats on Pointe

Soon, though, ballerinas become street dancers, acrobats pirouette, and everything loosens up into a joyous celebration of music (whether Chaka Khan, the Jackson 5, Wham, Eminem, Bruno Mars or other pulsating tracks which melt into each other) and movement.

All the cast are energetic, gifted and dedicated dancers, from Danny Williams’s exuberant tumbling to the grace of Rebecca Selkirk, from the impish posturing of Brodie Chesher to the wiry athleticism of Taylor Diamond-Lord. Musicianship and rhythm is on display, too.

The company of Beats on Pointe
The company of Beats on Pointe

You’ll see lit-up costumes (so many changes of costumes, I lost count), inventive use of props, flashes of humour, head spins, torches, moments of beauty where the limits of what the human body can do is on display, and a fantastic soundtrack.

I spent the entire evening with a smile on my face, in the company of a show which sets out to entertain and does it beautifully, encouraging its audience to clap, shout, scream and engage.

The show continues at the Peacock Theatre until the 16 June, then tours. Photo credits Heidi Victoria.

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