As Robbie Kmetoni is flung into the air and looks as though he is about to take flight, it becomes quite clear that "Burn the Floor" will live up to any expectations the audience may have. It is precise, rhythmic, passionate, inspiring, engaging and perhaps most importantly, sensual — after all, is there any other medium besides dance that is quite so tactile or proxemic?

"Burn the Floor" is a revue-style show that highlights many different varieties of dance, from the cha-cha to the Viennese waltz to the lindy, jive, paso doble and many more names that are almost exclusively heard on "Dancing with the Stars" and "So You Think You Can Dance." This isn’t surprising, given that over half the cast has appeared in some incarnation of one of those shows. Regardless of the style, though, each dance is performed flawlessly.

The show lacks a coherent plot, or really any plot at all, but it’s clear that dance is the true focus here. The dancing itself is fantastic, even jaw-dropping at moments. The dancers seem to defy gravity, friction and any possible fears of being carried around upside-down, all while making everything they do look effortless. Appearing to lack concern for personal safety is the hallmark of a good dancer, but these dancers seem truly at ease with every single move they execute. Kevin Clifton in particular stood out as really getting into each character he portrayed and enjoying his time onstage, though the entire cast did a great job.

The staging is simple enough, with a bandstand featuring two decked-out drum kits and two dueling drummers. There are also two live vocalists, Vonzell Solomon and Peter Saul. Solomon and Saul are a nice addition to the show, particularly during the more soulful numbers, such as “Proud Mary,” but songs where they are visually featured tend to be weaker, as the real strength of the show is the dancing.

Despite the talent of the cast and choreography, though, the show is not without weaknesses. The gratuitous use of a disco ball can become obnoxious after flashing into the audience’s eyes one too many times and the costumes are almost painfully stereotypical dance costumes, with all the glitter, faux sweat and top hats those entail. The cast is able to wear them well though, but the fact of what they are still remains. The pacing of the second act is also somewhat off, making it difficult to pay attention to multiple similar dances in a row. Nevertheless, the quality of dance presented in each segment is so good that looking away or thinking of something else induces guilt for having missed some part of the show.

Perhaps the best part of the show, though, is that the audience does not really need to know much about dance to enjoy it. Popular culture has recently been inundated with dance influences — from the "Step Up" movies to the aforementioned TV shows and so on and so forth — so the audience may already be familiar with the forms presented in the show. However, the power of this show, between the choreography and cast, is such that even someone who knows nothing about dance could attend it and leave having appreciated the beauty.

Reach Katie Bueneke here.