Johannes Radebe, Freedom review ★★★★★

Johannes Radebe is an extraordinary dancer; and in Freedom, his first and much cherished personal project, he comes across also as a talented choreographer and a very nice human being.

Freedom, a show with high production values, tells his story, from humble beginnings in the South African township of Zamdela to the glam and glitter of Strictly, including quite a bit of high camp, and you wouldn’t have it any other way.

The set (Andrew Exeter) is made up of a curved wall of corrugated iron covered in graffiti that provides a versatile backdrop for the various settings. Exeter’s lighting, too, is hugely effective, ranging from the sunny plains of South Africa to the muted tones of the ballroom.

Freedom starts in South Africa with an energetic Zulu war dance, led, of course, by Radebe in full warrior regalia. And again, you marvel at what a compelling dancer he is.

The next section takes place in a Johannesburg dive, and here the cast of 10 dancers, plus a powerful female singer, Anelisa Lamola, and a dancer who doubles as a singer, Hakeem Tinubu, launch into the dances of African urban youth, with influences ranging from Angola, Brazil and the Caribbean.

And then comes Radebe’s serious message: ‘freedom is where the fear of self-expression is no longer there’, he says. As an out gay man, whose journey to self-actualisation has been difficult and painful, he reminds the audience that homosexuality is still illegal in over 70 countries. And then he burst onto the stage in a crested gold turban, gold top and glittery black trousers, wrapped in a long cloth that seems to be a collage of the flags of countries where homosexuality is still banned. High camp indeed!

Act II, set in London, starts with a medley of West End musical numbers, from Cabaret to Sweet Charity, that give his cast an opportunity to show off before Radebe takes us through some of his favourite routines from Strictly, including a dreamy waltz and an intensely erotic tango danced with another man (Ben Rutter).

It all builds up to a finale of outrageous camp (except nobody is outraged), where Radebe takes to stage in high heels, lace-up patent leather boots and a series of extravagant feathered and sequined head-dresses, such as you see, for example, in the Rio Carnival.
Costume designer Helen Tsingos created with a dizzying array of costumes, mostly heavy on the sequins and paillettes.

Freedom’s cast is a little uneven, but it doesn’t really matter, because when Radebe is on stage, you simply can’t take your eyes off him. He is an extraordinarily gifted dancer, sinuous, with split-second precision in his gliding movements, his fetching smile transmitting a genuine enjoyment in his craft, and possessing that precious but indefinable quality, charisma.

In short, Johannes Radebe’s Freedom, with its pulsating blend of dance styles, is one of the most fun, feel-good shows around.