It was the smash-hit 80s film with a soundtrack any self-respecting teenage girl at the time could recite the lyrics to off by heart.
With its tried and tested dramatic theme of awkwardly middle-class girl Frances 'Baby' Houseman falling for the smouldering Casanova from the wrong side of the tracks, Johnny Castle, it couldn't fail.
But translating the production from screen to stage is more of a challenge for writer Eleanor Bergstein and director Federico Bellone.
Michael O’Reilly as Johnny, the role made famous by Patrick Swayze in the film, is very well cast as the sexy, snake-hipped holiday camp dance instructor who teaches the geeky, inexperienced Baby (Kira Malou in this stage version) more than just dance steps.
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He's a hit with the women in the audience and there are audible gasps of delight when, emerging from the bed, he gives us a cheeky bottom flash.
Malou's Baby is a little pantomimish in the first half - more class joker than swotty geek, with her clownish, manic knicker flashing and exaggeratedly bad dancing, but her character - like the chemistry between her and Johnny - develops in the second half and is truer to the film persona.
The action is fast-paced throughout, with artfully executed scene changes and there are no scenes that drag - there's simply too much material to fit in for that.
The mix of song, dance and dialogue is just right and all those iconic tracks we know and love are there, from Hungry Eyes to Hey Baby, Do you Love Me and, of course, (I've Had) The Time Of My Life.
The dancing is particularly impressive, with outstanding performances from Simone Covele's Penny, whose leg lifts in particular, are, it appears, unhampered by the bodily limitations of most other humans.
Those iconic Johnny and Baby moves are there too and that famous lift on the dancefloor after Johnny comes back to get his girl generates a massive cheer from the audience and rightly so - it's flawless.
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The lift-in-the-lake however is slightly less impressive, bringing to mind a Two Ronnies comedy sketch more than anything else. Still, it gets a big laugh, even if that wasn't quite the reaction hoped for.
The underlying themes of class and racism are well covered too, adding pathos to what would otherwise be just your average love story.
It's always a risk to take such a classic film and put it on the stage but on this occasion it definitely pays off.
It's a feelgood performance with a conscience and a talented cast make sure it pulsates with energy all the way through.
An impressive encore from the Kellerman's band at the end is the cherry on the cake of a deliciously nostalgic night out.
