Footloose

The stage version of Footloose was adapted from Dean Pitchford’s 1984 film of the same name, having its Broadway debut in 1998 but taking until 2006 to reach the West End. It is a familiar story of teenage rebellion intertwined with a love story and is ideal for a youth group with not only a theme that is easy to identify with but loads of named roles – something to suit everyone. In line with the group’s ethos of giving everyone a real theatrical experience, it is being performed in a real theatre with a live band and more technical support than you can shake a stick at – just look at the huge creative and production team listed in the programme! A show like this takes a huge team effort to reach the stage.

Top of the list are Director Paul Clements and Choreographer Helen Wallis who have produced some amazing performances from this group over recent years and raised their already high standard to even greater heights. This show has all the energy and big performances that you could wish for, underlining this group’s massive talent.

We were greeted by an almost empty stage, just a set of steps leading to a platform, that doubled as a pulpit. The proscenium arch was framed with beautifully realised graffiti and images were projected on the back wall. Take a big bow the set design and build team. That was all we needed, just the addition of furniture when required by the very efficient stage crew, and an intricate lighting design by Ian and Chris Pratt. Well-chosen costumes, wigs and make-up (Rachel Grech and Katie Clements), redolent of the 1990s, completed the picture.

Lead rebel Ren McCormack was played with just the right amount of innocence and a lot of strength by Arthur Westmorland. A great singing voice and a superb mover. He was well matched by Emma Moignard as the local minister’s daughter Ariel Moore, the perfect sulky teenager and another fine singer and dancer. For youth groups, older adults can be hard to play but Joshua Witt and Caitlin Biddlecombe were most convincing as Ariel’s parents Shaw and Vi, both getting their moments to shine and demonstrate their singing abilities.

With such a large cast I can’t mention everyone, but Paul Jaques impressed with his portrayal of Ariel’s druggie boyfriend Chuck; Ella Burgos had a sublime solo number as Ariel’s loyal friend Rusty; Fraser Ndahiro was perfect as Ren’s friend Willard and Sam Shirley shone as Cowboy Bob.

The entire cast was totally engaged throughout the show, chorus and solo singing was of excellent quality, interpreting Helen Wallis’s stunning, tight choreography, almost balletic at times, with great precision. They formed some wonderful images and filled the large stage with interest. The music from MD Harry Wells’ 8-piece band was spot-on – so nice to hear a live band for a change. They were hidden away in a back room which allowed sound designer Harry Hare to achieve the perfect balance between singers and musicians – so often a problem in this venue.

The quality colour programme (Rachel Grech and Gary Beale) was brimming with information and photos of the cast and the creative team. I always enjoy reading the biographies that the cast have written themselves and the messages from friends and family – so much more interesting than professional programmes!

Stage One have led rather a nomadic existence recently. Despite being in yet another new venue, and thanks to Paul Clements’ inspiring and imaginative direction, you have overcome all the obstacles and done it again – another fine, polished and totally professional performance! What a superb production it was – thank you!!

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