Footloose

 

In the days of Gilbert and Sullivan it was common for a show to have an alternative title and, if one were required here, it would surely have to be “Strictly no dancing”.  A plot which concerns a ban on terpsichorean activities seems an unlikely basis for a musical but, of course, common sense prevails and the show ends with the sort of all-out dance number you would expect.  Nor has the earlier part of the show been without some excellent dance work as certain characters attempt to remind others what they are missing.  It’s not a complicated story but, as is often the case, the addition of music to the original film drama increases the enjoyment. This is particularly true when that music comes in a variety of styles, adding light and shade, as is the case here.  

As ever with this Society, the whole production fizzes along with the abundant energy you would expect from a largely youthful cast, supported by a few more mature types as the story demands. The pace slackens a little towards the end but this is to do with the way the plot develops rather than any fault on the part of the Director and provides an opportunity for a few quieter, more reflective songs.  Nevertheless, there are several up-tempo numbers, all expertly performed by some experienced principals, supported by the rest of the cast.  I enjoyed the occasional contributions from a trio of girls (Ariel’s friends) acting as a sort of Greek chorus with their comments on the action.    

Luke Wilby gave a strong performance as Ren, as did Elisha Ainsley as Ariel, the couple at the heart of the struggle to remove the dancing ban.  It would have been a pity if such a ban had actually deprived us of their talents.  Charlotte McCamley gave a fine performance as the fast-talking Rusty and her scenes with slow-witted cowboy Willard provided some excellent comedy. Young Luke Morland in this latter role, his first for this Society, gave a thoroughly enjoyable, funny performance and thoroughly deserved his rousing reception at the curtain call.  Chris Wall also impressed as Reverend Shaw, the instigator of the dancing ban, albeit for what he felt was a valid reason and his song “Heaven help me” was well delivered. I also enjoyed the trio “Learning to be silent” from Ariel, Vi and Ethel, the latter being mothers of Ariel and Ren respectively, convincingly played by Lucy Evans and Susannah Todd.  Chris Mooney, doubtless an amiable character by nature, successfully transformed himself into the less than lovable and ultimately rejected boyfriend, Chuck. 

Scenery was fairly minimal but still needed to be well-handled and, although costumes were fairly simple, being modern day America, the much sought after school prom at the end provided a colourful ending.  Musical accompaniment was such that it added greatly to the enjoyment of the production, never threatening to overwhelm the singers with inappropriate volume.

This was my first experience of this show but it was an enjoyable one and I can appreciate why the Society chose to repeat it so soon after its production in 2010.  Attending on the last night, I was told of some excellent houses over the five performances and so it seems their decision was justified.  For once, the hard work which went into this fine production had its just reward.                         

            

 

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