Footloose

Anyone under the impression that 'Footloose' is all dancing, all singing and a fairly tame musical, is completely wrong in their thinking - this musical, adapted from the film of the same title, has love, loss, pathos and comedy relief - something the Americans are so good at, making for a superb show. It's a tale, by Dean Pitchford, of the coming of age of teenagers in a southern Bible-belt town, featuring songs of the 80's and the show doesn't disappoint with a brilliant live performance.

LIDOS chose this for their main show and did so wisely. It attracted new, young members and gave stalwart playing members a chance to let their hair down and enjoy the fun!

This production was directed by two company members, Paul Lonsdale and Becky Woods. The programme tells us that this was a directing debut for both of them - this cannot be possible, as this was a very well-thought out production, with class and style usually associated from more experienced hands! Alongside them, Dan Warren was once again, in charge of Musical Direction - is it just me, or are MDs getting younger in years but older in musical ability? His command of the orchestra and the on-stage vocals was first-class.

And now the cast - James Preston as Ren, the boy moved from his big city, Chicago, to the small backwater of southern Bomont, played his role with an assured natural style and superb singing voice. He was also an amazing dancer! Nikki Hosker as Ariel, the preacher's daughter going slightly off the rails, matched James in her acting and vocal ease - they made a perfect couple. Robbie Love as the Rev. Shaw Moore managed to convey his dilemma of maintaining his parishoners' lives without music or dance and yet feeling totally out of his depth in understanding his daughter, Ariel - his scenes with her and Ren were very emotional and well handled. He possesses a strong singing voice and committed acting ability. Hetty Hughes played an excellent Vi Moore, trying to be the balance between her husband and wayward daughter. The trio between her, Ariel and Ren's mother, Ethel (played so well by Claire Hoyland) was very touching and vocally immaculate. The three girl-friends of Ariel, Beth Rowett as Rusty, Lydia Murphy as Wendy Jo and Lauren Clarks as Urleen were spot-on as small-town gals, excellent in all they did. I could see that Will Sadler, as Willard, relished his role as Ren's nice-but-dim friend - his solo, 'Mama Said' brought the house down! Apart from co-directing, Paul also took the role as the villainous Chuck Cranston and did so with panache.

An ensemble, made up of minor principals and company members, made every scene they were in believable and had plenty of my favourite two EEs, energy and enthusiasm! The singing from everyone was strong - harmonies spot-on and the dancers were indefatigable!!

No production can maintain these high standards without a strong back-stage team - Firstly, the choreographers, Donna Wells and Emma Tempest, once again worked their magic on stunning choreography - this time, incorporating some cowboy moves as well! Everyone was well rehearsed, not a foot wrong and that takes patience in abundance!

Ian Thomson as Stage Manager worked himself and his crew very efficiently - I have watched Ian's progress over the years - he is so talented in all areas of stagecraft. The simple but effective set was augmented by projections, superb lighting and very well balanced sound for both cast and orchestra. Props were well-chosen and I was delighted to see stage movers costumed, so they blended into the performance!

As for costumes - these were well-chosen, a perfect picture and correct for the period - footwear and hairstying were as always of a high standard (Carolyn and Elaine - take a bow).

My lasting impression of this show was the appeal it had on the audience - if you do it 'right' on stage, it spills out into the auditorium - not a 'Footloose' wrong in this production and I sincerely congratulate you all,.

© NODA CIO. All rights reserved.