Dirty Dancing Performance Notes
Good afternoon and welcome to the Grand Opera House, Belfast, and this evening’s audio described performance of Dirty Dancing - the classic story on stage by Eleanor Bergstein. It has been directed by Sarah Tipple with choreography by Kate Champion.
This audio description service is brought to you by N.I. Sightlines and supported by the similarly named Sightlines in England, who kindly supplied these notes which have been slightly re-arranged. Your audio-describer for Thursday night is Kate Ingram.
The performance lasts for two and a half hours including one twenty minute interval.
Dirty Dancing is set in America in the summer of 1963. The action takes place at Kellerman’s holiday resort, in New York’s Catskill Mountains. The resort is populated by a variety of guests, both young and old, and a large staff who organise the many activities arranged to keep the visitors entertained.
At the start of the performance we are introduced to The Houseman family arriving at Kellerman’s for their summer vacation
Francis is known as ‘Baby’ as she’s the youngest at 17 years old. She’s petite, with a mop of shoulder length, very curly, reddish brown hair, which she neither styles nor attempts to secure back from her face. She wears no make-up. Baby spends much of her time wearing denim pedal pushers with a pink sleeveless vest top, or a white blouse with short puffed sleeves. She wears flat white pumps on her feet.
When wearing a dress she seems awkward, holding her thin bony shoulders stiffly. Baby appears in a sleeveless silk cocktail dress with pastel strips of green, blue, yellow and pink. She also has a sundress with thin shoulder straps, in a blue plaid pattern. Even when she’s ‘dressed-up’ Baby prefers to keep on her flat white pumps.
Baby moves with either the impetuous spontaneity of a child, rushing forward eagerly, or with a self-conscious shyness, shoulders slightly stooped, eyes lowered. However she also has her moments when she seems older than her 17 years, usually when she is talking about her political beliefs, when she lifts her chin, her eyes sparkling. Rosanna Frascona plays Baby.
Baby’s sister Lisa is a couple of years older - tall and rather gangly, with long dark brown hair, in loose long curls, held back from her face with an Alice -band. Lisa is always immaculately turned out in carefully chosen outfits – first a blue floral full skirt and crisp white short-sleeved blouse, with a matching white clutch bag. Later she wears a blue cocktail dress, and for lounging by the pool, a thigh length robe of bright yellow, with a bold pattern of blue sea-shells.
Lisa enters a talent competition at the resort, when she wears a Hawaiian grass skirt and cotton bra top, with large gaudy flowers on her head and around her neck and wrists. She has matching flowers on her slip-on mules, which make her feet look huge and ungainly. Jessie-Lou Yates plays Lisa
Lisa and Baby’s father Dr Houseman is played by James Coombes - a tall well built man in his fifties with neatly cut dark hair, a square jaw and a kindly reassuring smile. Dr Houseman has the energy and enthusiasm of a younger man, taking part in many of the activities on offer at Kellerman’s, wearing slacks and a polo shirt for a round of golf, or a white t-shirt, shorts and plimsolls for tennis.
Dr Houseman’s wife, Marjorie, is an elegant woman in her 40s. She has a coiffed light brown bob, stylishly fashioned with a fringe. Marjorie wears sleeveless frocks, which show off her slim figure, or loose cream trousers and a blue cashmere jumper to play golf with her husband. Julia J. Nagle plays Marjorie
It’s on the long narrow stage or walkway that we meet Kellerman’s resident singer and compere Tito Suarez, played by Colin Charles.
Tito’s a black man in his forties, with balding hair, who more often than not wears a tuxedo, sometimes with a cream jacket, sometimes black As well as leading his band of drums, trumpet and saxophone, Tito also sings and dances, suave in a tuxedo.
As part of the staff at the resort, are two dance teachers – Johnny Castle and Penny Johnson. Johnny is in his twenties, tall and handsome, with the muscular and graceful bearing of a dancer, as well as the swagger of a street-wise guy. Johnny’s hair is short at the back and sides but longer at the front, where it is swept back from his forehead. His jaw is square with a slight shadow of stubble. Johnny cuts a cool figure in tight black jeans with a tight fitting black t-shirt or black shirt, the sleeves rolled up above his elbows. When rehearsing he wears a black vest, showing off his well-toned chest, shoulders and arms. When he’s performing, or dancing with the guests he sometimes wears a short black tuxedo over a white shirt and bow tie, and black high waisted trousers. He also appears in a white tuxedo. Gareth Bailey plays Johnny
The other dance teacher, and Johnny’s dance partner, is Penny. She’s tall and slim, with a mane of long blonde hair cascading down her back and long lean tanned legs. When Penny’s performing she wears a variety of bright dresses, all sleeveless, with a halter neck or thin shoulder straps. The dresses have tight fitting bodices, showing off her figure, and full skirts that twirl and fly up as she spins and kicks. She favours rich colours – such as flame red, and orange, and always wears very high strappy sandals, in silver or gold, so when she is dancing with Johnny she’s almost as tall as him.
When Penny is rehearsing or teaching she appears in a cotton romp suit, with a black and white zebra stripe pattern, or a black sleeveless leotard with a high neck, her long legs bare. Claire Rogers plays Penny
Penny and Johnny set the standard for the dancing, which is fast, sexy and slick, the rhythms of the music fast paced and loud. The choreography is based on Latin-American ballroom, and rock. The company dance in couples with an erotically charged energy, gyrating their hips, their bodies pressed close. As the women spin and twirl their dresses fly up, giving flashes of bare thighs. They perform impossibly high kicks and the men display their rock hard muscles as they lift their partners, or clamp a hand around their partner’s raised thigh, which is wrapped around their waist. The music they dance to is either well known cover versions, performed by a band offstage, or the music performed by Tito’s band on stage.
Other guests at the hotel include Mr Schumacher played by Mark Faith, an elderly man who join in all the activities with sprightly enthusiasm. Mr Schumacher is portly with thinning grey hair swept into a side parting, and a small neat moustache. Mr Schumacher is always dapper in a shirt, waistcoat and cravat.
There’s also Vivian Pressman and her husband Moe. Vivian’s in her forties, tall and willowy. She has long thick blonde hair, stylishly swept up into a chignon, and a heavily made up face. Vivian is well aware of her sexual allure, and displays her figure to its best advantage in figure hugging revealing clothes. Her husband Moe is of a similar age, with neatly cut brown hair. Moe is smartly but casually dressed, and walks with the confident swagger of someone for whom money is no object, always ready with some dollar bills as tips in order to get what he wants. Sarah Cortez plays Vivian and Marlon Moore plays Moe
The Kellerman’s family resort is owned by Max Kellerman a stout man in his fifties, with square thick-set features. He wears an expensive double -breasted suit. His nephew Neil helps run the resort. Neil is thin and slightly nerdish, his hair neatly combed into a side parting. As part of the ‘management’ he dresses smartly, in a suit or jacket and tie. Michael Remick plays Max and Alexander Wolfe plays Neil
Other employees include Robbie, a student from Yale Medical School. Tall and suave, well aware of his good looks, he’s working the summer as a waiter at Kellerman’s. When not in his uniform of black trousers and white jacket Robbie wears smart casual clothes. Francis Haugen plays Robbie
And finally there’s Billy played by Wayne Smith - a short slim friendly guy in his twenties, who organises many of the activities for the guests. He scurries around, wearing a cardigan in the Kellerman’s burgundy red, clutching a clip-board in one hand and a megaphone in the other, through which he announces forthcoming events with tousled curly hair and a friendly smile. Billy is also a singer and performs some of the musical numbers live including, In The Still of the Night, and the final number - The Time of My Life.
Although the period is the early sixties, the clothes are more evocative of the 1950s. The political changes that would transform America were only just beginning and the fashions still retain a conservative conformity. The women wear knee-length frocks with fitted waists and full skirts over layers of petticoats, and high heels. The teenagers wear denim pedal pushers and flat pumps. Cocktail dresses are in abundance, made of silk and organza, sleeveless with elegant scooped necklines, some decorated with sequins and beads. The men have suits or jackets, or when more casually dressed, slacks with a polo shirt or short sleeved cotton shirt, open at the collar. In the evenings they wear dinner suits or tuxedos.
The guests at Kellerman’s often appear dressed for a particular activity – white shorts and polo shirts for tennis, artists’ smocks for a painting class, bikinis and swimming trunks for a dip in the pool, or cotton ‘romper’ suits – like an overall with shorts instead of trousers, for playing ball games. The colours are bright and vibrant – for day- bold blues, reds, greens and yellows. And in the evenings the softer pastel shades of peach, pale blue, mauve and pink.
When on duty the staff wear the Kellerman’s Resort trademark colour – usually a burgundy red short sleeved t-shirt with white piping and the word ‘Kellermans’ written across the chest in white. With the t-shirt they wear black trousers or cotton shorts. The chambermaids are in burgundy dresses and white frilly aprons and the waiters black trousers and short white jackets.
This fast moving stage production remains largely faithful to the original film – which has been seen by millions and whose characters have become so familiar to its fans. There are 26 cast members, 16 of whom are named characters - and one simple setting that remains in place throughout. The majority of the locations are created with the minimum of furniture and scenery, brought to life instead with images, both still and moving, projected onto a rear central screen as well as several smaller side screens. The images are all specially chosen to mirror scenes from the famous film version.
The main acting area is a large oblong sized wood floor. Framing the back half is a four metre high by eight metre wide screen. Above this central screen- sit the shows---- piece band on top of a hidden first floor level platform. For the most part they are hidden from view behind the projection onto the semi-transparent screen in front of them, but for the performance numbers at Kellerman’s, the band are lit with a soft light.
Onto the screen are projected still and moving images for each location. These include the spectacular view of the Catskill Mountains. The tops of fir trees fringe the horizon in the foreground, with the peaks of mountains beyond. For example at the pool, there’s a projected wooden fence with a life belt hanging on it. When we are inside one of the chalets there’s the projection of an open veranda. Through its wooden roof supports, we glimpse a shimmering lake along which the chalets have been built.
In front of the centre back screen is a panel of 3 slatted screens which can come forward or move back. Through the slats we can glimpse other scenes, for example bedrooms, when other activities are happening in front of them. Sometimes one can be lifter, sometimes 2 and other times they are completely removed to leave the stage clear for action.
On either side of the space there are four three-metre wide smaller screens, which disappear out of sight above the space. These side panels tend to reflect and complete the image on the rear central screen, but occasionally hold images of a second location as scenes are played simultaneously or as we move from one location to another.
The majority of the scenes are in the open clear sky, which changes mood to reflect the time of day; from bright clear sunlight, through orange sunset, to dark-blue twinkling star lit sky.
Later we move away from the public area to inside the staff quarters down in a basement, the central panels in the back screen slide open to form the entrance, and five metal shower-head style lights descend over the dance floor, hanging on long wires. A party is in progress, very different from the elegant entertainment that is going on in the public area. They’re wearing casual clothes - jeans and shirts – the men’s shirts unbuttoned to the waist, sleeves rolled up, the women’s tied up under their busts, to reveal their bare midriffs. Video images of the writhing swirling mass are projected onto the rear screen.
On another occasion a front screen lowers to mask the front of the space and we find ourselves by a fast moving river, water foaming over large rocks towards us. On this occasion the scene has the addition of a real tree trunk, which is lowered in to lie horizontally across the width of the space beyond the screen, as if forming a bridge across the water.
At the resort we move to various parts of the large complex. The central section of the screen can slide open revealing a space behind. This space can become a doorway or corridor. The opening also allows scenery to slide on.
In this way one scene can glide away on the left, as the other revolves into place from the right. Locations created in this way include Lisa and Baby’s chalet bedroom with a single wooden twin bed beside a small bedside table with a large radio on it. Chairs set around tables with white damask cloths form the restaurant. And four small chandeliers descend locating the ballroom. For these scenes the rear of the space is framed by a pink ruched curtain, and the screen above reveal the show band, now the Kellerman’s orchestra.
On occasions the rear screens part to reveal a long narrow stage or walkway, some eight metres long and a metre deep. The raised stage is framed with a waist-high handrail along its back edge.
When Johnny teaches Baby to dance, they make an awkward couple. They work in a rehearsal room, sometimes in front of a large full length mirror which is wheeled on. Johnny also takes Baby to a lake and a wheat field. These locations are projected onto a large screen which descends at the front of the stage. Johnny and Baby are lit behind the screen, so they appear to be standing either in the softly blowing golden wheat or the rippling blue water.
At the beginning of the show, as the audience are taking their seats, the centre of the stage is filled by a wide seven metre wide slatted screen which rises up out of sight. Projected onto this screen are soft white clouds, together with the show logo “Dirty Dancing” in large bright pink letters.
Good afternoon and welcome to the Grand Opera House, Belfast, and this evening’s audio described performance of Dirty Dancing - the classic story on stage by Eleanor Bergstein. It has been directed by Sarah Tipple with choreography by Kate Champion.
This audio description service is brought to you by N.I. Sightlines and supported by the similarly named Sightlines in England, who kindly supplied these notes which have been slightly re-arranged. Your audio-describer for Thursday night is Kate Ingram.
The performance lasts for two and a half hours including one twenty minute interval.
Dirty Dancing is set in America in the summer of 1963. The action takes place at Kellerman’s holiday resort, in New York’s Catskill Mountains. The resort is populated by a variety of guests, both young and old, and a large staff who organise the many activities arranged to keep the visitors entertained.
At the start of the performance we are introduced to The Houseman family arriving at Kellerman’s for their summer vacation
Francis is known as ‘Baby’ as she’s the youngest at 17 years old. She’s petite, with a mop of shoulder length, very curly, reddish brown hair, which she neither styles nor attempts to secure back from her face. She wears no make-up. Baby spends much of her time wearing denim pedal pushers with a pink sleeveless vest top, or a white blouse with short puffed sleeves. She wears flat white pumps on her feet.
When wearing a dress she seems awkward, holding her thin bony shoulders stiffly. Baby appears in a sleeveless silk cocktail dress with pastel strips of green, blue, yellow and pink. She also has a sundress with thin shoulder straps, in a blue plaid pattern. Even when she’s ‘dressed-up’ Baby prefers to keep on her flat white pumps.
Baby moves with either the impetuous spontaneity of a child, rushing forward eagerly, or with a self-conscious shyness, shoulders slightly stooped, eyes lowered. However she also has her moments when she seems older than her 17 years, usually when she is talking about her political beliefs, when she lifts her chin, her eyes sparkling. Rosanna Frascona plays Baby.
Baby’s sister Lisa is a couple of years older - tall and rather gangly, with long dark brown hair, in loose long curls, held back from her face with an Alice -band. Lisa is always immaculately turned out in carefully chosen outfits – first a blue floral full skirt and crisp white short-sleeved blouse, with a matching white clutch bag. Later she wears a blue cocktail dress, and for lounging by the pool, a thigh length robe of bright yellow, with a bold pattern of blue sea-shells.
Lisa enters a talent competition at the resort, when she wears a Hawaiian grass skirt and cotton bra top, with large gaudy flowers on her head and around her neck and wrists. She has matching flowers on her slip-on mules, which make her feet look huge and ungainly. Jessie-Lou Yates plays Lisa
Lisa and Baby’s father Dr Houseman is played by James Coombes - a tall well built man in his fifties with neatly cut dark hair, a square jaw and a kindly reassuring smile. Dr Houseman has the energy and enthusiasm of a younger man, taking part in many of the activities on offer at Kellerman’s, wearing slacks and a polo shirt for a round of golf, or a white t-shirt, shorts and plimsolls for tennis.
Dr Houseman’s wife, Marjorie, is an elegant woman in her 40s. She has a coiffed light brown bob, stylishly fashioned with a fringe. Marjorie wears sleeveless frocks, which show off her slim figure, or loose cream trousers and a blue cashmere jumper to play golf with her husband. Julia J. Nagle plays Marjorie
It’s on the long narrow stage or walkway that we meet Kellerman’s resident singer and compere Tito Suarez, played by Colin Charles.
Tito’s a black man in his forties, with balding hair, who more often than not wears a tuxedo, sometimes with a cream jacket, sometimes black As well as leading his band of drums, trumpet and saxophone, Tito also sings and dances, suave in a tuxedo.
As part of the staff at the resort, are two dance teachers – Johnny Castle and Penny Johnson. Johnny is in his twenties, tall and handsome, with the muscular and graceful bearing of a dancer, as well as the swagger of a street-wise guy. Johnny’s hair is short at the back and sides but longer at the front, where it is swept back from his forehead. His jaw is square with a slight shadow of stubble. Johnny cuts a cool figure in tight black jeans with a tight fitting black t-shirt or black shirt, the sleeves rolled up above his elbows. When rehearsing he wears a black vest, showing off his well-toned chest, shoulders and arms. When he’s performing, or dancing with the guests he sometimes wears a short black tuxedo over a white shirt and bow tie, and black high waisted trousers. He also appears in a white tuxedo. Gareth Bailey plays Johnny
The other dance teacher, and Johnny’s dance partner, is Penny. She’s tall and slim, with a mane of long blonde hair cascading down her back and long lean tanned legs. When Penny’s performing she wears a variety of bright dresses, all sleeveless, with a halter neck or thin shoulder straps. The dresses have tight fitting bodices, showing off her figure, and full skirts that twirl and fly up as she spins and kicks. She favours rich colours – such as flame red, and orange, and always wears very high strappy sandals, in silver or gold, so when she is dancing with Johnny she’s almost as tall as him.
When Penny is rehearsing or teaching she appears in a cotton romp suit, with a black and white zebra stripe pattern, or a black sleeveless leotard with a high neck, her long legs bare. Claire Rogers plays Penny
Penny and Johnny set the standard for the dancing, which is fast, sexy and slick, the rhythms of the music fast paced and loud. The choreography is based on Latin-American ballroom, and rock. The company dance in couples with an erotically charged energy, gyrating their hips, their bodies pressed close. As the women spin and twirl their dresses fly up, giving flashes of bare thighs. They perform impossibly high kicks and the men display their rock hard muscles as they lift their partners, or clamp a hand around their partner’s raised thigh, which is wrapped around their waist. The music they dance to is either well known cover versions, performed by a band offstage, or the music performed by Tito’s band on stage.
Other guests at the hotel include Mr Schumacher played by Mark Faith, an elderly man who join in all the activities with sprightly enthusiasm. Mr Schumacher is portly with thinning grey hair swept into a side parting, and a small neat moustache. Mr Schumacher is always dapper in a shirt, waistcoat and cravat.
There’s also Vivian Pressman and her husband Moe. Vivian’s in her forties, tall and willowy. She has long thick blonde hair, stylishly swept up into a chignon, and a heavily made up face. Vivian is well aware of her sexual allure, and displays her figure to its best advantage in figure hugging revealing clothes. Her husband Moe is of a similar age, with neatly cut brown hair. Moe is smartly but casually dressed, and walks with the confident swagger of someone for whom money is no object, always ready with some dollar bills as tips in order to get what he wants. Sarah Cortez plays Vivian and Marlon Moore plays Moe
The Kellerman’s family resort is owned by Max Kellerman a stout man in his fifties, with square thick-set features. He wears an expensive double -breasted suit. His nephew Neil helps run the resort. Neil is thin and slightly nerdish, his hair neatly combed into a side parting. As part of the ‘management’ he dresses smartly, in a suit or jacket and tie. Michael Remick plays Max and Alexander Wolfe plays Neil
Other employees include Robbie, a student from Yale Medical School. Tall and suave, well aware of his good looks, he’s working the summer as a waiter at Kellerman’s. When not in his uniform of black trousers and white jacket Robbie wears smart casual clothes. Francis Haugen plays Robbie
And finally there’s Billy played by Wayne Smith - a short slim friendly guy in his twenties, who organises many of the activities for the guests. He scurries around, wearing a cardigan in the Kellerman’s burgundy red, clutching a clip-board in one hand and a megaphone in the other, through which he announces forthcoming events with tousled curly hair and a friendly smile. Billy is also a singer and performs some of the musical numbers live including, In The Still of the Night, and the final number - The Time of My Life.
Although the period is the early sixties, the clothes are more evocative of the 1950s. The political changes that would transform America were only just beginning and the fashions still retain a conservative conformity. The women wear knee-length frocks with fitted waists and full skirts over layers of petticoats, and high heels. The teenagers wear denim pedal pushers and flat pumps. Cocktail dresses are in abundance, made of silk and organza, sleeveless with elegant scooped necklines, some decorated with sequins and beads. The men have suits or jackets, or when more casually dressed, slacks with a polo shirt or short sleeved cotton shirt, open at the collar. In the evenings they wear dinner suits or tuxedos.
The guests at Kellerman’s often appear dressed for a particular activity – white shorts and polo shirts for tennis, artists’ smocks for a painting class, bikinis and swimming trunks for a dip in the pool, or cotton ‘romper’ suits – like an overall with shorts instead of trousers, for playing ball games. The colours are bright and vibrant – for day- bold blues, reds, greens and yellows. And in the evenings the softer pastel shades of peach, pale blue, mauve and pink.
When on duty the staff wear the Kellerman’s Resort trademark colour – usually a burgundy red short sleeved t-shirt with white piping and the word ‘Kellermans’ written across the chest in white. With the t-shirt they wear black trousers or cotton shorts. The chambermaids are in burgundy dresses and white frilly aprons and the waiters black trousers and short white jackets.
This fast moving stage production remains largely faithful to the original film – which has been seen by millions and whose characters have become so familiar to its fans. There are 26 cast members, 16 of whom are named characters - and one simple setting that remains in place throughout. The majority of the locations are created with the minimum of furniture and scenery, brought to life instead with images, both still and moving, projected onto a rear central screen as well as several smaller side screens. The images are all specially chosen to mirror scenes from the famous film version.
The main acting area is a large oblong sized wood floor. Framing the back half is a four metre high by eight metre wide screen. Above this central screen- sit the shows---- piece band on top of a hidden first floor level platform. For the most part they are hidden from view behind the projection onto the semi-transparent screen in front of them, but for the performance numbers at Kellerman’s, the band are lit with a soft light.
Onto the screen are projected still and moving images for each location. These include the spectacular view of the Catskill Mountains. The tops of fir trees fringe the horizon in the foreground, with the peaks of mountains beyond. For example at the pool, there’s a projected wooden fence with a life belt hanging on it. When we are inside one of the chalets there’s the projection of an open veranda. Through its wooden roof supports, we glimpse a shimmering lake along which the chalets have been built.
In front of the centre back screen is a panel of 3 slatted screens which can come forward or move back. Through the slats we can glimpse other scenes, for example bedrooms, when other activities are happening in front of them. Sometimes one can be lifter, sometimes 2 and other times they are completely removed to leave the stage clear for action.
On either side of the space there are four three-metre wide smaller screens, which disappear out of sight above the space. These side panels tend to reflect and complete the image on the rear central screen, but occasionally hold images of a second location as scenes are played simultaneously or as we move from one location to another.
The majority of the scenes are in the open clear sky, which changes mood to reflect the time of day; from bright clear sunlight, through orange sunset, to dark-blue twinkling star lit sky.
Later we move away from the public area to inside the staff quarters down in a basement, the central panels in the back screen slide open to form the entrance, and five metal shower-head style lights descend over the dance floor, hanging on long wires. A party is in progress, very different from the elegant entertainment that is going on in the public area. They’re wearing casual clothes - jeans and shirts – the men’s shirts unbuttoned to the waist, sleeves rolled up, the women’s tied up under their busts, to reveal their bare midriffs. Video images of the writhing swirling mass are projected onto the rear screen.
On another occasion a front screen lowers to mask the front of the space and we find ourselves by a fast moving river, water foaming over large rocks towards us. On this occasion the scene has the addition of a real tree trunk, which is lowered in to lie horizontally across the width of the space beyond the screen, as if forming a bridge across the water.
At the resort we move to various parts of the large complex. The central section of the screen can slide open revealing a space behind. This space can become a doorway or corridor. The opening also allows scenery to slide on.
In this way one scene can glide away on the left, as the other revolves into place from the right. Locations created in this way include Lisa and Baby’s chalet bedroom with a single wooden twin bed beside a small bedside table with a large radio on it. Chairs set around tables with white damask cloths form the restaurant. And four small chandeliers descend locating the ballroom. For these scenes the rear of the space is framed by a pink ruched curtain, and the screen above reveal the show band, now the Kellerman’s orchestra.
On occasions the rear screens part to reveal a long narrow stage or walkway, some eight metres long and a metre deep. The raised stage is framed with a waist-high handrail along its back edge.
When Johnny teaches Baby to dance, they make an awkward couple. They work in a rehearsal room, sometimes in front of a large full length mirror which is wheeled on. Johnny also takes Baby to a lake and a wheat field. These locations are projected onto a large screen which descends at the front of the stage. Johnny and Baby are lit behind the screen, so they appear to be standing either in the softly blowing golden wheat or the rippling blue water.
At the beginning of the show, as the audience are taking their seats, the centre of the stage is filled by a wide seven metre wide slatted screen which rises up out of sight. Projected onto this screen are soft white clouds, together with the show logo “Dirty Dancing” in large bright pink letters.
