Tango Fire, at Peacock Theatre, review You can't dance tangos in Uggs and a denim skirt any more than you can play Odette/Odile in a track suit. The high heels and slit-satin wiggle dresses are dictated by the choreography, but they also establish the all-important atmosphere of sexual exchange in which French-pleated belles with Barbie-doll bodies submit to well-tailored men - even as they dominate them. The five couples of "Tango Fire" offer a string of party pieces, each more outrageously acrobatic than the last. Melody Celatti and Gonzalo Cuello (one-time disciple of the immortal Miguel Angel Zotto) conjure exactly the right blend of sensuality and spatial awareness in their Tango Romantico, their lower legs swivelling in and out of ganchos and intrusiones with the speed and certainty of a lace-maker's bobbins. Long-term followers of the form may pine for the days when troupes like Tango Argentino and Tango Por Dos would include unfashionably chubby or mature couples in the mix, but there were no complaints from the matinee crowd who greeted the throws and lifts with Strictly-style squeals of delight. Constant changes of dress were covered by songs from the engaging Jesus Hidalgo and brilliantly improvisatory renditions of Piazzolla standards (like Adiós Nonino and Otoño Porteño) from the excellent young Quarteto Fuego.