Footloose

WODYS latest production took us on a trip back to the eighties for a show based on a film that is comfortably twice as old as anyone on stage!  Not that that mattered, as this group of talented youngsters took to Footloose like ducks to water.

The curtain opened onto a simple but effective set comprising a pair of staircases either side of a long platform that ran the length of the rear of the stage.  This was imaginatively used to conjure up the various locations of the play, including a church, a high school and an impressive diner.  Good work by the stage design team, who also conjured a neat little set showing the Moore front door and living room. 

The show hit the ground running with a bright, vivid opening with a very eighties feel – plenty of pastel coloured head bands and leg warmers on show!  The opening tune – ‘Footloose’ itself – was very well performed by the whole cast, setting a high standard which was maintained throughout the production.  Singing, dancing and acting were absolutely on point, with a dedication to detail and accuracy that would put plenty of adult groups to shame!

The plot of Footloose centres on Ren McCormack – a young Chicagoan with a love for music and dance who, after his father leaves homes, finds himself in the small town of Bomont, where dancing is banned following a campaign led by a local minister.  Ellis Harding took on the role of Ren with confidence, making the character very believable and relatable.  His bumbling attempt to ingratiate himself with the Moore family was convincing, and his dancing feet did not let him down! 

Lined up against Ren was the Reverend Shaw Moore, a nicely understated performance from Alfie Thompson.  Eschewing the stereotype of a firebrand preacher, Alfie gave us a more nuanced take, showing a well-meaning man struggling to process his grief at the loss of his son.  This made his final act conversion to the dancing cause all the more convincing.

There was another very good performance from Caitlin Clements as the Reverend Moore’s rebellious daughter, Ariel.  In an effective, well sung performance, Caitlin showed Ariel’s frustration at the shackles that her father (rather unsuccessfully) tried to place on her – shouting at trains and breaking whatever rules she could.  She also gave short shrift to her would-be boyfriend Chuck, played by Kieran Lilley – spot on as a local wannabe lothario with a hint of the David Cassidys about him!   

One of the highlights of the show for me saw Ariel singing spotlit alongside her mother Vi (Maya Sumera) and Ren’s mother Ethel (Isabelle Mann) in ‘Learning to be Silent’ – excellently conceived and performed.  Maya and Sumera both turned in impressive performances as these strong women, each supporting their respective children with a quiet dignity.

There was plenty of humour in this show too, led by Sam Skyrme as Willard and Kate Sutton as Rusty – the best friends of Ren and Ariel respectively.  These two gave performances full of heart and fun, enjoying their own little romantic subplot, including a very entertaining scene at the top of the second half in which Willard learns to dance (sort of!) and Rusty asks ‘Let’s hear it for the boy’.  Willard’s sage advice in ‘Mama Says’, accompanied by a trio of likely lads, was also great fun.  

Further great comedy was evident in the double act of Wendy-Jo (Sophie Maidens) and Urleen (Lily Kidman-Beeson), who brought well-timed comic energy whenever they appeared on stage and provided great foils for Ariel and Rusty.  There were also many excellent performances in the supporting cast and ensemble, with everyone doing their bit to great effect.  The group numbers in particular were so polished and well-rehearsed, the singing, movement and dancing to a very high standard. 

This was director David Humphries’ 40th production with WODYS and his experience showed, with the show running extremely smoothly.  Choreographers Rachel Price and Katie McNamee once again brought great movement and energy to the group numbers, in particular during the line dancing scene and the riotous finale, in which the cast even got the audience up and dancing!  Musical director Harriet Amos led a seven piece band impeccably.

As we have come to expect from WODYS, costuming was to a very high standard.  I particularly liked the contrast between the Chicago-set opening scene, with outfits popping with colour, and the much more austere, subdued clothing of the Bomont churchgoers.  Congratulations to the Wardrobe team of Christina Humphries, Deborah Field and Emilia Humphries.  A word too for the lighting team and lighting designer George Humphries, who managed to light the tricky Swan theatre stage effectively throughout.  The efforts of these unsung heroes provided a great platform for the young performers of WODYS to shine. 

Congratulations to all at WODYS for another entertaining, and expertly delivered show.  Several members of the cast mention in their programme notes their desire for a career in acting, and given the high standard across the board it would be no surprise to see them succeed.  Well done all, and roll on The Wizard of Oz for 2026!

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