S'wonderful, s'marvellous - the magic of old Broadway meets sharp new ballet in David Nixon's Gershwin extravaganza. Sub-titled The Genius of Gershwin in Song and Dance, Northern Ballet Theatre's latest offering has rhythm aplenty. Backed by twinkling stars on the art deco set, the NBT orchestra, resplendent in white tuxedos, take the stage with guest singers Barry Martin and Simone Sauphanor and young pianist Jonathan Scott to provide a succession of greats.
Nixon, the artistic director, originally created the work for Jim Orrante and Elizabeth Zengara when he was at BalletMet in Columbus, Ohio, and it was an extra treat to see them in action. Sassy and sinuous, Zengara commands the stage, slinking on and planting a kiss on conductor John Pryce-Jones at one point. She and Orrante are a red-hot combination, and his distinctive, highly physical style borders on assault in the Cuban Overture as he flings her into daring lifts amid a fusillade of fast moves. With his long hair and loud check jacket, he looks like he has strayed in from a Latino World Cup squad, and he smoulders in the sexy clinches.
The production is set to 11 Gershwin favourites, from the eponymous I Got Rhythm to Summertime. But Nixon has used the pieces to create a mix of moods, from show-stopping numbers for seven couples to wistful solos - all perfectly reflecting the music. Balanchine paid tribute to Gershwin with Who Cares? and there was more than a hint of the master in the opener, An American in Paris, which was a kaleidoscope of pure classical dance costumed in shimmering metallics.
Emulating the hoofers of old, Christian Broomhall and Simon Kidd danced a fast and jokey twosome to I Got Rhythm - strutting, leaping and trying to outdo each other only to collapse in a heap at the end. In contrast, Daniel de Andrade never rose from his knees to partner Desiré Samaai in a remarkable duo set to Bess You Is My Woman Now, with haunting vocals from Sauphanor and Martin. You expect him to leap to his feet, but he remains kneeling as he lifts her, wheels her around him then cradles her in his arms.
But Zengara out-vamped them all in Rhapsody in Blue, using the crouching Orrante as a chair with just the right kind of Noël Coward ennui before bursting into action. It is a strange choreographic mix of classical and modern, with tricky balances, semaphore arms and upturned feet that hint at Indian Kathak.
However, there is no mistaking the can-can in the clap-along closer, Girl Crazy. Unashamed razzmatazz here, with girls scissoring into the splits and a high-kicking chorus line for all. S'great.
At the Marlow Theatre, Canterbury (01227 787787) until June 8, then touring to Leeds.
