Footloose The Musical

Can I first get the embarrassing bit out of the way? I knew nothing of Footloose!  There we go, I’ve said it. It’s one of those shows that got away and has just not  been on my radar. I’ve not even seen the film! Ok I’ve finished blushing.  However I did do some homework and went onto YouTube and found an American  version that I watched just to give me a bench mark but boy did you exceed my  expectations.  

I would like to thank CLOC for their very warm welcome to Ian and myself. So  lovely to see Rosalind Francombe again after many years and although Chess was  the last show I saw of CLOC,s I immediately felt at home.  

SET AND LIGHTING 

The curtains were left opened as we entered the auditorium and I must say I was  very impressed with the set at first glance , certainly as good as any professional  static set you’d see these days. Great choice of 80’s soundtracks too, you could  actually see the audience bopping their way to their seats.  

One of the problems I had with the YouTube version I saw was the stop and start  every time the set was changed sometimes hardly covered by music but I must  say this was well drilled and mostly swift and to be honest I thought with Lynda  Prescott at the helm I expected nothing less. 

There was only one dead patch, it was a shame the house set couldn’t have come  on during the reprise of “Somebody’s Eyes” it was the only time the show stopped  all be it just for a few seconds. Reprises are often slotted in with this in mind.  The use of furniture and props were ideal. I really felt The Rev was right at home in  his arm chair and loved the atmosphere created by the lamp. The use of string  lights were well used and again created different moods. This was true of most of  your lighting design. Some very atmospheric moments were achieved and loved  the final lighting effect on Rusty at the end of “Let’s Hear it For The Boy” it was a  shame when some of the acting was on the upper level faces sometimes went into  shadow (I assumed caused by the projections) but a minor detail that did not  detract.  

A special mention too to the projections. They slotted in perfectly and wow did  they add dynamics to your set. Well chosen scenes. Although this is used more  and more these day groups don’t alway get it right but yours were spot on. The  front of stage both sides were also used to full potential also giving the actors room to move out so we never got that cramped feeling when we use big casts.  Congratulations to the scenic design and all involved in its execution.  

SOUND  

A very well done to the sound engineers. Just one or two late mics during the  opening number (split second) and I did find that dialogue didn’t carry as well into  the auditorium from up on the top platform, but the singing carried beautifully.  Sound effects worked well and overall a very good balance between vocals and  orchestra. Nice clarity of sound too.  

COSTUMES  

I would imagine these were fairly easy to source. 80’s fashion has been around so  may times and if like me there is always something at the back of the wardrobe! I  must say the choices made were full of colour which when lit looked fabulous. Just  my opinion but I’m never a fan of black but where it was used it was ok. Maybe  Ren could have worn Jeans at the beginning and gone to the blacks later towards  the dance? And maybe a couple more changes of top for Ariel? The gym scene  with the red and white looked very striking.  

ORCHESTRA 

I only noticed the orchestra once! So they were excellent and added just the right  accompaniment to the vocals. The percussion came over very strong in Let’s Hear  It For The Boy, maybe that was intended but did sound a little out of balance for  me but over all so so tight under the leadership of Mim Cartwright and I dare say  giving excellent back up as assistant MD Mike Fackrell. Great sound to the  opening of act 2 and beautifully let rip in the mega mix at the end. Congratulations.  

CHOREOGRAPHY/CHORUS 

I noticed this was your first time choreographing. Please do more!! You made very  interesting shapes and scenes with your choreography. I particularly liked when  you had the chorus in groups doing different moves. Maybe I’d have liked a bit  more of the bigger numbers using chorus up on the top Rostra you did at times  and it really spread the picture. Loved how you captured that real 80’s feel. I’m a  bit old fashioned and with somebody fronting a number ( for example Rusty in Lets  Hear it) I’d of liked her to have finished at the front of the stage with the chorus  behind and up above her. But I did love that final lighting effect! Also I appreciated  the making up of the motor bike. This really worked well.  

The CHORUS were always engaged. I was looking at everybody and focus was  always where it should have been and reactions appropriate. Movement and  dance was always strong and everyone capable of executing it. Well drilled. I like  it. 

ACTING  

This was of a very high standard and I do love it when everyone is well cast in their  roles. This enables the story telling to hit the audience perfectly.  

REN: What a good natural actor. I believed every word. A triple threat, sing, dance  and act! You really came into your own in “I Can’t Stand Still” great dance moves  and brilliant use of falsetto voice. The note at the end of act one wasn’t half bad  either. You’re monologue with Rev towards the end was pitched perfectly using  nice variety of voice and the scene on the bench with mum was very touching.  Congratulations  

ARIEL: Good actress, perfect for this role. Again you had it all. I really felt how  uncomfortable you felt when Rev came to give you the cardigan. You fronted your  numbers well and certainly became the focus but also became a team player  within the other numbers. Really good voice but what a beast “Holding Out For A  Hero” is. Huge range, you took the vocal where it had to go to suit your range and  it really didn’t detract from the number, loved the billowing cape.  I would have maybe liked to have seen a couple of different tops where costume  was concerned but all the choices were good ones. A good rounded thought  through performance. Well done.  

REVEREND: I last saw you in Chess and was seriously hoping I’d get chance to  see another of your performances. I was not disappointed. Great acting range  with a voice to die for. You were very real and believable. Every song had the  audience silenced. We felt your struggle right from the off especially with Ariel and  wanting to protect her. I think you judged the mood perfectly when finally swayed  by Ren to agree to the dance. Well costumed throughout. Congratulations.  

WILLARD: A big well done to you. Why? Because you didn’t caricature Willard. It’s  so easy sometimes when your the one with funny lines and and almost the town  buffoon. But you kept him real which made the audience fall in love with you from  the off. We got your character right from the start and the vocal in “Mama Says”  was a real high light for me. Great comic timing I could feel the audience around  me just smiling at you. Thank goodness you and Rusty got together in the end.  

VI/ ETHEL: I’ve put you both together as I thought you both did a great job. Very  believable as mothers and I could feel the struggle you were both going through.  Another High light for me was “Learning To Be Silent” I’m including Ariel in this. All  three of you soared, not an easy song and almost Sondheim ish but you handled it  perfectly and those harmonies were delicious! Beautiful voices in your other songs  too. Well done ladies.  

CHUCK: Maybe a tad young for this part but you so pulled off the maturity  needed. You were always focused and in the moment whether as chuck or part of  the company and the standing splits! Wow. What a great future you have ahead of  you. Well done. 

RUSTY/URLEEN/WENDY JO: What a trio. Well drilled harmonies throughout and  whilst doing quite complicated dance moves too. Well costumed throughout and  hair well styled. “Somebody’s Eyes” was brilliant, and I for one was pleased it got  reprised. 

Rusty excelled in the comedy and the vocal In “Let’s Hear It For The Boy” was  tremendous. That’s the one I went out singing.. and all the way home! I think we all knew where you and Willard were heading right from you’re first  scene together. You were made for each other congratulations.  

All other parts were of a very good standard whether it be acting or singing. I felt  this was a great team effort and the focus was always in the moment. A great  company age range which was perfect for a town setting.  

DIRECTOR  

This was a show that was handled with care. You had a great understanding of the  piece and between you and the choreographer you delivered a very worthy piece  of theatre. I had written very few negatives throughout and have covered most in  earlier comments I would only say we lost a bit of pace in a couple of the scenes  particularly towards the end of the burger bar scene and one of my bug bears is  that the suitcases for the McCormacks move were obviously empty. Hardly worth  mentioning but it always brings a smile to my face when I think of the struggle just  going on holiday with suitcase weight. Maybe a brick or two next time!  

You created wonderful shaping in the scenes and painted great pictures when all  the company were on stage, never did it feel over crowded. The train scenes were  a triumph with very good lighting and sound effects. Congratulations on what was  a very good choice of show for CLOC and maintaining the high standard. The  audience just couldn’t wait to get on their feet at the end they could hardly contain  themselves in the well known numbers as it was.  

I look forward to seeing the next CLOC show.  

Thank you once again for the very warm welcome from all at front of house.  Kind regards  

Mike Purnell 

 

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