Footloose

Footloose is based on the iconic 1984 film of the same name starring Kevin Bacon and Lori Singer. It had its Broadway debut in 1998 but didn’t make it to the West End, for a relatively short run, until 2006. It has since become a bit of a cult classic with some of its songs becoming hits in their own right.

It tells the story of Ren McCormack, new boy in town, who questions the ban on dancing. He quickly teams up with rebellious teenager Ariel, the Preacher’s daughter, uncovers the reasons behind the ban and eventually gets it overturned. It’s a show with a big heart and is about more than teenage defiance, it also takes in loss, friendship, courage and forgiveness. It’s a fast-paced show with lots of action and movement, a big task for Director Laura Hinton to take on for her first time directing for PTG.

We were warmly welcomed in the foyer by Front of House people dressed cowboy style, giving us a hint of what was to come. In the auditorium we were greeted by a fabulous set. Jeanette Simpson and Andy Tubbs’ design having been brought to life splendidly by the huge set construction team. Props too were top class, especially the movable steps, used to great effect in the train yard scene. Scene changes were achieved rapidly and quietly by the crew and cast so that scenes just melted into one another. Lighting, designed by Chris Pratt and Ian Pratt, achieved some stunning effects adding greatly to the atmosphere. Costumes by Claudia Vogt, Beth Rubens and Sophie Baker, were redolent of American High Schools and the bright colours of the 1980s, with a particularly elegant set of outfits for Jacquie Arnott as Vi Moore.

Sam Sanders was totally convincing as Ren McCormack, immensely likeable and energetic, questioning why things were so different from Chicago in this backwoods town. He quickly becomes friends with Willard Hewitt, the tongue-tied, good hearted country bumpkin, played to perfection by Jordan Vince. They worked so well together you could feel the friendship building. Ren quickly finds an ally in the Preacher’s daughter, Ariel, played so believably by Ellie Henry. We could feel the teenage angst pouring off her as she fought against her very traditional and controlling father, Rev. Moore.

John Bishop and Jacquie Arnott made great parents, Shaw and Vi, for Ariel – he cold, disciplined and tough, she softer and loving, trying to see Ariel’s point of view; an excellent portrayal of a wife with divided loyalties. All three were clearly suppressing the loss of their son/brother.

Jack Mason gave Ariel’s bad-boy boyfriend Chuck Cranston, all the brooding sullenness and latent violence the character needed. Sophie Fugard turned in a stonking performance as the ebullient Rusty. You could feel how she longed for Willard to overcome his shyness and she exuded sweetness and fun. Mar Alonso gave us a very serious and strict Principal Clark, while Emily Watts as Ethel was a nicely supportive mother to Ren.

Singing by soloists and ensemble was consistently good throughout. MD Dennis Brombley had teased out the depths of the music, and I particularly enjoyed the harmonies in “Somebody’s Eyes”. Sound quality and balance (Tom Davison) were good too – one advantage of using pre-recorded tracks – dialogue and singing could be heard clearly and were never drowned out by the music. Scarlett Oakshott’s choreography provided lots of movement and beautiful images and was well executed by the cast.

The full-colour programme (designed by Jordan Vince) was top-quality with lots of interesting information about the show and the rehearsal process, plus photos of the cast and rehearsals.

This really was a collaborative production with a sense of community. Director Laura Hinton obviously had huge support from the cast and backstage people in bringing this complex show to fruition. The result was a hugely enjoyable evening’s entertainment, which did so much more than telling a superficial boy-meets-girl story, making us think and feel. Well done to everyone involved.

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