By: Paul Lisnek, Curtain Call Chicago

** ½ / 4

“Nobody Puts Nostalgia in the Corner”

Dirty Dancing—The Musical, now playing at Chicago’s Nederlander Theatre, certainly delivers the familiar and the expected feel of the beloved 1980s film: the Catskills setting, the romance between Frances “Baby” Houseman (a Jennifer Grey lookalike played by Annalese Starzec) and dance instructor Johnny Castle (a buff Blake Zelesnikar doing his best Patrick Swayze), the unforgettable lifts, and—of course—the climactic declaration that “no one puts Baby in a corner.” But while the production reliably builds toward its crowd-pleasing final scene, candidly, it too often feels like a carefully designed route to that one song and amazing dance moment, not a fully involving musical-theater experience.

The stage adaptation preserves the film’s basic plot with little alteration. Baby’s summer at Kellerman’s resort begins with family obligations and vacation boredom, then expands into a coming-of-age awakening as she becomes entangled in the working-class dance staff’s private world. The stage production, like the movie, addresses assumptions about class, romantic desire, loyalty, and youthful independence. All t hose themes remain here, but without the dramatic weight needed.

The acting, unfortunately, feels uneven. Baby and Johnny’s relationship lacks a sense of urgency; here it’s anticipated. It’s an unavoidable problem because the material is so deeply familiar to audiences, the performers need to find (or be directed to find) fresh detail in the dialogue and craft higher stakes. It feels like we are watching a reenactment of our favorite movie moments rather than a fresh interpretation with a new point of view.

There are, however, two very strong vocal highlights. Ethan Peterson playing Billy and Ashley Lalonde who portrays Elizabeth (she previously has played all three Schuyler sisters over time in Hamilton so she’s got the chops) provide some of the show’s most appealing musical work. They have a welcome vocal power and personality whenever they take the stage. And Peterson’s Billy gets the shows best numbers: Hungry Eyes (by Eric Carmen)  and (I’ve Had) The Time of My Life (by Bill Medley and Jennifer Warnes), which he shares with Elizabeth. Their voices inject energy into a mostly dramatically flat show. Imagine spreading their energy and range across the cast.

The choreography (by Darrell Grand Moultrie) as expected, supplies much of the evening’s momentum. Dance is, after all, the means by which Dirty Dancing tells its central story: Baby discovering confidence, and finding connection across social boundaries with Johnny.  The ensemble numbers have fairly strong movement, but it all leaves you wanting more complexity overall.

The opening night audience seemed mostly reserved in its response but was enthusiastic when the long awaited final scene arrives and understandably so.  Overall, nostalgia is doing much of the heavy lifting until that final scene. Then, the communal experience takes over to delight. One has to ask if the production’s journey is as memorable as the destination.

“Dirty Dancing: the Musical” will continue through – September 20th with performances as follows: