Tango After Midnight

PointeTango—John Hirsch Mainstage

This isn’t a couple of dancers rehearsing out of a basement or a rented, dingy hall. This is a big production, and a big production company—perhaps much bigger than the Fringe stage. As such, you expect it to be highly polished, highly professional, and perfect in every way—and it is.

As for the show, the movement, the music and the dancers exude sensual, sultry and sexy strides, as they glide effortlessly across the stage. The opening number highlights the ballet aspect of the show (afterwards, I heard rumbles among the audience who were surprised at the prominence of ballet moves; “pointe” refers to the ballet step, specifically going on toe).

As a tip for the audience, this is the ballet (and more); this is not the circus. You do not applaud after every move, as you would at the circus. You applaud at the end of the scene, and at the end of the production. Here, we have a lot of ballet tyros, so yes, you hear clapping at the end of every lift and every pointe. If you put yourself at the Royal Ballet in London, you would be the only one clapping.

The second number features more of a traditional tango sequence. The following songs provide a potpourri of numbers, including a showtune, Latinx folk, contemporary and classical. A fun, whimsical mini-plot on the screen provides some background and a great distraction while the dancers change.

It’s a beautiful performance—and I’ll reiterate—one that’s befitting a much larger stage than just a Fringe venue. You’re getting much more value than your $14 (or $10 ticket).

Ray Yuen