How We Made Strictly Ballroom: Inside the Cult Classic
Tara Morice, who played Fran, and Paul Mercurio, who played Scott, reflect on the making of Baz Luhrmann's 1992 film Strictly Ballroom, a movie that defied expectations and became a global phenomenon.
Tara Morice: Baz Luhrmann was a cool guy two years ahead of me at NIDA. After graduation, I joined his theatre company, Six Years Old, and the play of Strictly Ballroom emerged from that. It was inspired by Keith Bain, a ballroom dancer who left Australia for South America in the 1950s and returned with shocking new steps. We discussed the paso doble extensively, leading to Fran's Spanish immigrant background. I invented the name Frangipani because Sydney is full of frangipani trees; I often picked a flower for my hair on the way to rehearsals.
During the play, I met Craig Pearce, an old friend of Baz's who co-wrote the screenplay. Craig and I were together for 13 years and have a daughter. However, my casting as Fran was not guaranteed. I did seven screen tests over a year. Craig said he only thought of me when writing Fran, but I worried about our relationship if I didn't get the part. I felt ownership of Fran after working on her so long.
I learned I was cast the night before filming began. Even during production, I doubted myself: not pretty enough, not a good enough dancer—which is 100% Fran. Baz had me do pre-production work with Paul Mercurio. Paul was an extraordinary dancer from the Sydney Dance Company but had no acting experience, while I had acted but danced less. We met in the middle. Fran and Scott are the centre of their naturalistic world, surrounded by larger-than-life characters—a hallmark of Baz's unique style.
None of us believed we were making the film. Funding was hard to secure, and everyone told Baz it wouldn't work. But stepping onto the set was unforgettable. Fran's house was perfect. Since frangipani wasn't in bloom in winter, Catherine Martin had artificial flowers made and placed in the trees. We filmed until 2am to capture the goods train passing Fran's house.
Paul and I travelled the world for a year promoting the film. Strictly Ballroom paved the way for bolder Australian cinema, like Muriel's Wedding and The Adventures of Priscilla, Queen of the Desert. It changed perceptions, though Australia remains a blokey culture.
Paul Mercurio: I got a call from an eccentric named Baz, who said he was making a film about ballroom dancing and needed choreography for Scott's unconventional steps. I agreed. A year later, he called back with funding and asked me to audition for Scott.
I loved watching Baz work—so considered yet genius, a bit loopy. I have his line on my fridge: 'Dance your own steps.' I always did that, even as a young ballet dancer in the 1970s. Friends wanted to beat me up; boys didn't do ballet. Billy Elliot was my story.
What I love most is that Strictly made men dancing acceptable. A big bloke once told me his wife dragged him to the movie, and it was the best thing she ever did. People who would fight me were buying me beers instead.
The Cannes premiere was over-the-top crazy. From a little Aussie movie no one wanted to make to a midnight screening with a standing ovation was amazing. Having a wife and kids at home kept me grounded.
I used to get mobbed in Sydney. Schoolgirls chased me down the street. That doesn't happen anymore, sadly. Strictly Ballroom in 4K is in cinemas and on digital platforms from 12 June.
