Previous Productions - Footloose

Presentation
The stark scaffold structure set the backdrop for school, homes and railway siding. It also gave scope for visual interest in terms of blocking. Simplicity of design enhanced the pace as requisite furniture was utilised to establish the varying settings. Entrances were from the side, on top of and underneath the structure through double doors – although there was a problem with curtain SL. Also be wary of players being seen as they walk behind the set.

The lighting really contributed to the atmosphere here. Blocks of bright, primary colours established the mood of varying scenes; the clinical yellow of the church scenes presented a sense of suffocation, contrasting with the more shadowy effects for exteriors, particularly when Ariel was deceiving her gather. The white, backlit cross was also effective. White light during the very poignant scenes underlined the “truth” of these moments. On the whole, the light was suitable distributed – although the shadowing in the Moores’ bedroom during that key moment was distracting.

Head mics were well utilised, enhancing the projection of voices without disturbance. The echo used during the sermons added to the ambiguity of Moore’s personality and the train FX were well cued.

Costume
Your sponsor obviously contributes strongly to this aspect of the production. It was wonderful to see such an array of 80s colour a style. The modest frocks, pumps and cardis contrasted well with the tight jeans and rock chick hairstyles – Ariel’s physical transformation in Act 1 was very well achieved. Ren’s clean-cut appearance contrasted effectively with Chuck’s leathers, and longer length of dress and dark suits gave the requisite formal air for the adults. There was a colourful collection of fabric and glamour for the final dance scene.

Air and make-up were both in keeping.

Choreography
The initial glimpse of luminous leg warmers and latex tights set the tone for the nostalgic trip throughout he 80s dance moves. A really wide variety of steps and moves here, beautifully capturing my 80s disco memories (!) – shimmies, stretches and lifts; line dancing movements complemented Still Rockin’ and the pace, throb and variety of all the cast in Footloose established the requisite “wow” factor at the beginning. I also admired your courage – you had been very ambitious at times – especially considering the size of the stage. Occasionally this resulted in a lack of discipline and confusion of intent – for example The Girl Gets Around, when the sheer amount of movement and lifts detracted from the message of the song and communication of Ariel’s alter ego. I’m not sure as well that the choreography fully established the journey from physical restriction to release as is intended with this show. The gym number, although inventive, was again too busy and the communication of pent up physical frustration from these youngsters not fully communicated. However, there were many wonderful moments – those marvellous Village People icons in Hero, roller-skate humour in the Burger Bar, the discipline and fun of the well-rehearse clapping rhythm and the sheer exuberance of all of your cast throughout resulted in a much highly energetic and visually creative movement during the evening.

Musical Direction
From the onset the orchestra fully established the requisite pace for this upbeat production. Accompaniment, tightly executed, certainly enabled players to find the innate 80s rhythm of each number. At times the balance was a little overwhelming and accompaniment a little rushed, particularly at the beginning of Act 2 and in the finale, when some vocal strain was evident.

Singing delivery was both competent and rightly enthusiastic! Ensemble numbers were rhythmic, energetic and firmly harmonised, emitting such a sense of enjoyment and ultimately freedom from the stage. At times the demands of the dancing resulted in a lack of listening from the cast, undermining both diction and synchronism. However, there was clearly and inherent understanding of the mood of each number, resulting in an effective communication of both belt and ballad. Focus in the chorus of Somebody’s Eyes was excellent. Lead singing was consistently strong – not a weak link here; again the strength of the musicality lay in the communication of the story behind the songs – Learning to be Silent and Paradise were both moving and yet never twee. Well done. Ariel and Rusty both met the demands of their rock solos with energy and humour; indeed the musical direction successfully reflected the tone of this production – never overplaying the gritty emotion so that the “feel good” factor was always maintained.

Transition between score and libretto was very good.
 
Direction
This was a good choice of show for this young and competent cast whose energy and enthusiasm were highly infectious! In terms of concept and staging, this was an adaptation of the professional production that toured recently. And why not? The minimal, stark staging provided interest in blocking and levels – these being particularly effective during Ren and Rev Moore’s show down at the Town Hall; both characters speaking out here and not to each other, emphasising the breakdown on communication more effectively. Intimate scenes – the Moore’s home and railway siding - were also effectively created by this set. Scenes were changed very efficiently, and platers moved effectively from one setting to another.

Casting was good and consequently characterisation excellent. The latent energy of the teenage rebellion contrasted beautifully with their Bible bashing superiors. Gain,  cleat appreciation of the intention and tone of the how here; the isolation of the individuals – notable Rev Moore and Ren  was effectively communicated, but never overplayed; Rusty and Ariel’s teenage fantasies and search for love were explored but never taken too seriously. Ariel’s rebellion against her grieving family was evident but never detracted from her understandable quest for fun. Accents were well sustained – and not too nasal: well done! Diction and clarity were lost a little – particularly at the beginning of Act 2, but timing on the whole was very good, resulting in a well-shaped production that captured the highs and lows of its lovable characters very well.

 
Playing

Ren McCormack
Warm, enthusiastic, amiable and vulnerable – you managed to present a beautifully rounded picture of Ren through a wonderfully-paced spoken delivery and great energy and expertise in both dance and son. There was a real commitment to the part here – but you held the stage with such ease and the moments of pathos were never overplayed. Lovely rapport with fellow players as well – well done.

Ariel Moore
Again you found the balance between dutiful daughter and tormented teen…presenting a touching empathy for your father and believable pull towards boys who bring trouble. Again, your presence and ease meant that you led but never dominated the cast. Good command during Hero, rightly keeping in touch with the underlying humour here.

Ethel McCormack
A thoughtful performance you contributed to the portrayal of Ren’s vulnerability with sensitivity. There was an unforced quality in both word and song – but just be careful that you do not understate your deliver too much in this genre, as the balance of play with fellow players was effected a little on occasion.

Reverence Shaw Moore
This is a challenging part to play, presenting an emotional journey within the confines of an ostensibly “light” musical. You successfully portrayed the impervious nature of the Rev and then gradual revealed his uncertainty and pain. Some very well-pointed lines, appreciating the underlying irony…”Your mother thought you might be cold…” helped to portray your relationship with both wife and daughter. You rose to the emotional challenges of your final self-awareness well I think, delivering your final sermon with just the right touch of integrity.

Vi Moore
You really grew into this part and managed to portray a gentle, grieving, sensitive with and mother – but once again, you did not overdo the emotion. Slick timing, a lovely unforced clarity and your empathetic nature led to a very tender rendition of Can You Find it in Your Heart?

Urleen/Wendy-Jo
I really hope you don’t mind me putting you together, but you worked so very as a team it was hard to separate you in some ways. Strong performance from both girls here: excellent timing of libretto, great attack in singing and some wonderful moments of physicality – I loved the movement at the table at the beginning of Hero. All of these factors enabled you to give Ariel very strong support indeed.

Rusty
Another very slick, confident performance here you created a lovely portrayal of the scatty romantic! Again, excellent timing in spoken delivery – although just watch the clarity on those very fast lines. You also managed to hold the stage very well during the very busy Let’s Hear it For the Boy – although I would have liked to have seen you more centre stage during this number so that song and Willard’s dance movements linked more fully during this number.

Chuck
Well cast, you created just the right physical presence with a lovely undercurrent of menace. Good focus on stage meant that you sustained this atmosphere throughout and also created a strong rapport and some lovely humorous moments with your side kicks!

Willard
A very watchable player, you communicated Willard’s journey into self-awareness with humour and warmth. Great energy and control in your singing vocals, excellent physicality on stage and yet again a strong sense of collaboration as you worked with the rest of the cast. Well done.

The Rest of the Cast
Your commitment an energy contributed very firmly to this production – enjoyment oozed from the stage! Many lovely cameo moments here – Chuck’s sidekicks peeping through the curtain, the strong presence of Eleanor Roseby and the puritanical disdain of West and his wife.

Thank you so much for such an uplifting evening and for your very warm welcome and hospitality

Rebecca Thompson