The final number - even if the costume owes more to Jennifer Lopez than Jennifer Beals - is great. Julia Macchio can dance.
But this revelation comes as a relief and surprise after the preceding two-and-a-half hours: it is hard to know which is more ironic - the bad-dance first half or the no-dance second half. Either way, this is Crashdance.
The whole production is perplexingly skew-whiff, artistically and technically: ragged start, nasal singing, flat acting, no chemistry, stuttering microphones.
Lights bounce unpleasantly into audience faces. The drab set seems to have been pinched from a scrap metal yard.
Based on the 1983 hit film, the story is now generic and outdated: Parris Goebel would hardly see getting into ballet school as the pinnacle of success.