Flying Into Daylight is described by many as Dirty Dancing for tango. In actual fact, this play is at its strongest when it when it deviates from that formula.
Okay, how’s about this for a story? There’s a young woman who doesn’t know what to do with her life, until the day she discovers tango dancing. It gives her a new purpose to her life, and yet friends and family don’t understand how much this means to her. She meets a free-spirited dance instructor who takes her under his wing. The chemistry between them is clear. Soon they’ll be more than just dance partners … Sounds familiar? Yup, this is pretty much the plot of Dirty Dancing, once you remove the word “tango” from that synopsis. And, classic though this 1980s movie may be, it suffers the curse of many classic movies: a formula so popular it gets imitated to death. I know that re-hashing film plots is a pretty effective way of selling lots of tickets without needing to be that creative, so I will admit I was somewhat sceptical about Live Theatre’s final play of 2014.
Well, hold on a second. There’s more to Flying into Daylight than a copycat of a popular film. This was originally a story by Victoria Fisher, which was adapted for the stage by Ron Hutchinson, who directed the play along with Live artistic director Max Roberts. The story is done as a two-hander, with Summer Strallen as Virginia, and Jos Vantyler as love interest Marco and everyone else. Also featuring on-stage musician-composer Julian Rowlands and on-stage tango choreographed by Amir Giles. It’s been described by some enthusiasts as the Dirty Dancing of tango – and I don’t think that’s a good description. Because this play, I think, is at its weakest when it’s similar to the plot of the film, and at its strongest when it goes its own way.