’ve noticed you around. I find you very attractive. Would you like to dance with me?” And with these immortal words, the cheese o-rama dream factory that is “Burn the Floor” was off and cha-cha-ing. Underneath all the fringe, rhinestones, leather and sparkly eye shadow, there isn’t much choreographic substance and the talent of the world-class ballroom dancers recruited to be in “Burn the Floor” is wasted on rather conventional steps and floor patterns.

“Burn the Floor” is a tightly run production with impressive lighting and set design changes being carried out seamlessly. It is the spectacular lighting design by Colin Dwyer that carries the show when Jason Gilkison’s choreography becomes tedious, which happened in basically any number that didn’t feature the stunning vocalist Angela Teek. With her beautiful, powerful voice, her poise and elegance, Teek became a dynamic and refreshing stage presence amid the frenetic, chaotic energy of the dancers with their facial expressions that sometimes appeared coached and their tacky, tacky costumes.

And Teek isn’t a bad dancer, either. The best number in the show featured Teek, costumed in regal purple and looking positively luscious, singing the Irving Berlin song “Steppin’ Out with my Baby,” backed up by the boys of “Burn the Floor,” who were dressed in top hat and tails.

This number also happened to be one of the few numbers in the show in which the male dancers didn’t look hopelessly effeminate. Why couldn’t the men be dressed like men instead of pretty boys? No wonder there are such horrid stereotypes attached to male dancers, with shows like “Burn the Floor” touring the world.

One other question: Why was it that Gilkison only created ingenious, interesting and challenging choreography for the numbers that incorporated the singer? The other highlight of the show was a hot Latin version of The Doors’ song “Light my Fire,” sung by Teek and danced by one couple costumed relatively simply, sleekly and sexily in red. This was the one number that exhibited choreography that was comparative in difficulty and artistry to the quality of dance seen at international ballroom dance competitions.

Since the dancers of “Burn the Floor” are advertised as world class dancers, with plenty of trophies and titles to their names, they should be presenting their skills in more than just one number in a two-hour ballroom dance program. Instead, their talents were wasted on things like the cowboy number “So Hot,” which was so dirty in terms of concept and costumes, it can’t even be discussed.

It’s a shame that producer Harley Medcalf feels he has to package and sell ballroom dance with the same cheapness and sleaze that he sold Irish step-dancing with travesties in Michael Flatley’s “Lord of the Dance.” We can only cower in fear at the thought of which dance form he will corrupt next.

“Burn the Floor” has moved on, but this weekend at Kingsbury Hall there is “Tamango’s Urban Tap,” a world music and dance experience in a multimedia environment. “Urban Tap” is a fusion of music and dance encompassing Brazilian capoeira, freestyle jazz, tap, hip hop, an African stilt dancer, a singer from India and Australian didgeridoo players. The performers are supported by a DJ, live video feeds and large video screens to round out the experience.

“Urban Tap”—not to be confused with “Burn the Floor”—is at Kingsbury Hall April 11 & 12 at 7:30 p.m. Regular-priced tickets are $15 $32, but University of Utah students can get in for only $5 or $10. Tickets are available at the Kingsbury Hall box office, the Union desk or through ArtTix (355-ARTS).
megan@red-mag.com