'Burn the Floor' sizzles, but marred by sameness

Despite the blizzard that started pummeling Chicago on Tuesday, the show still went on for opening night of “Burn the Floor” at the Bank of America Theatre in Chicago. And if the dancers were in any way disappointed by the low audience turnout, they didn't show it as they gyrated, spun and swept across the stage with the confidence of a troupe playing to a packed house.

A supremely talented and beautiful international dancing cast is one major plus of “Burn the Floor,” a 1999 ballroom dance revue that toured the world before it eventually landed on Broadway in 2009 and in London's West End the following year. Indeed, there are enough glistening sculpted male torsos on display to satisfy a bevy of bachelorette parties in “Burn the Floor,” while dragged-along husbands can feast their eyes on a variety of elegantly limber women.

Another major plus going for “Burn the Floor” is its preponderance of reality TV stars. Viewers who regularly follow “So You Think You Can Dance” will be overjoyed to see dynamic dance partners like Ashleigh and Ryan Di Lello, Anjya Garnis and Pasha Kovalev and other technically wowing dancers all backed up on vocals by “American Idol” finalist Vonzell Solomon (Peter Saul is the male vocalist).

But for theater or serious dance fans who like a plot (Twyla Tharp's “Movin' Out”) or want a distinct choreographic point of view in revues (“Fosse,” “Dancin'”), “Burn the Floor” will be something of a disappointment. Despite the variety of dance styles like cha cha, Viennese waltz, jive and rumba, there is a slightly synthetic sameness to the presentation of dances by Australian director/choreographer Jason Gilkison.

Very rarely do we get much characterization, save for dancers like Sasha Farber and Robbie Kmetoni playing the “little guy” either juggling too many women or trying to get the women's attention. And when we do get some suggested story conflict (the co-dependent romantic couple in the rumba “Burn for You”), the number still feels like generalized dance moves instead of being truly character-driven.

Most of the music is prerecorded, save for the vocalists and onstage percussionists Joseph Malone and Henry Soriano. This robs some of the spontaneity that could go into the show.

But if you want a high-energy dance revue filled with one ballroom exhibition number after another, “Burn the Floor” should do. It has a complex lighting design by Rick Belzer and glittery array of costumes by designer Janet Hine to keep the eyes interested throughout.

In Chicago's snowily cold climate, the amazingly beautiful and agile dancers of “Burn the Floor” surely give off plenty of heat to make you forget about the weather outside. Too bad the show doesn't warm the heart emotionally as well.