The dancing is really the one area here where there is a consistent, utterly stylish, utterly camp, utterly “too much” approach. The cast are all accomplished dancers and the routines ping with power and pleasure. Lane and Huddleston have done a superb job at ensuring uniformity of step and action; the group numbers are precise, with everyone exactly in time, all performing in riotous synchronicity. Both Thoroughly Modern Millie and Forget About The Boy are delicious and there is some seriously good tapping from George Hinson and Thomas Inge and the entire female cast.
Watching Julie Atherton, Simon Lipkin, Gina Best and Samuel Holmes work their magic, individually, in couples, and as a quartet, it was difficult not to wonder if there was actually anything, any material, into which these four could not breathe life, and let fly higher than it has any business flying. They certainly give I Love You, You’re Perfect, Now Change an energy, an enthusiasm, an ineffable joy which far exceeds its obvious potential.