Music: Tom Snow
Lyrics: Dean Pitchford
Director: Racky Plews
Footloose, the 80’s dance flick starring Kevin Bacon has hit the road in the form of a brand-new stage adaption based on the original screenplay by writer Dean Pitchford (who also pens the book for this production). It’s mostly known for its catchy pop soundtrack; the much-loved titular track made famous by Kenny Loggins in 1984 was nominated for an Academy Award for Best Original Song, so it’s no wonder that it’s this track that opens the show, setting the tone for an evening of pure, nostalgic fun that makes you want to dance in your seat.
On paper, it sounds too crazy to work; an all-singing, all-dancing, stage adaption of an iconic 80’s dance movie, presented by a cast of actor-musicians playing live on stage, simultaneously telling the well-known story of dance starved teens in the fictional town of ‘Bomont’…but it does! It’s a vivacious celebration of not only the multi-talents of its on-stage cast, but also of living life to the full… a welcome message given the current social, political climate. The colourful production provides just over 2 hours of pure escapism, which is just what a fun night at the theatre is all about.
Despite it being a well-known tale, Racky Plews’ direction ensures storytelling is paramount, making it priority that the narrative is easy for the audience to cling to and not lost amongst the kitsch jukebox score and Matt Cole’s fun and frisky choreography. Plews’ is clearly no stranger to providing a thrilling jukebox experience – this show is an example of how to marry together well-known hit songs from a chart-topping repertoire and interweave them theatrically providing drama, pathos, and spectacle. She weaves all aspects of this production together cohesively, ensuring it is attention-grabbing and anarchic, just like it’s plotline. Throughout, Cole’s choreography is energetic and makes use of the playful set pieces in the various locations during the story. It’s evident he has opted for a pure pop concert vibe, allowing the characters to face out to the audience and simply rock out. It was impressive that some cast danced the energetic routines as they instantaneously played their respective instruments.
Joshua Hawkins certainly steps up to the plate as leading man and is watchable throughout, packing a powerful punch from the offset with a clean pop-rock belt. He has an electric stage presence making him magnetic to watch. His raw, unpolished quality allows his clean-cut Ren to still come off rough and ready with bags of attitude and 80’s swag.
The show-stopping number of the show is, without doubt, Bonnie Tyler hit ‘Holding Out for a Hero’, led by Lucy Munden as Ariel Moore. This number features more of Matt Cole’s concert-esque choreography, as well as a wheely electric fan to add extra ‘80’s hairbrush-diva music video vibes, and a semi-naked Jake Quickenden, who wears nothing but skintight, gold, lycra hot pants (what could go wrong?) But amongst, what is a joyfully chaotic musical number, it’s Munden’s vocals that make this the biggest crowd-pleaser of the night. In fact, her whole performance is excellent. With a gorgeous pop tone (that’s very well suited to this role) and perfect placement and control, her musical numbers are stand out. The duet in act two, ‘Almost Paradise’ (pleasingly lit, by Chris Davey creating an atmospheric railroad tunnel) is vocally flawless from both her and Hawkins. It must also be said that she is a solid actress, giving an authentic and truthful portrayal, capturing her character’s predicament with just the right amount of turmoil whilst remaining a strong and empowering female character; exactly what you want in a leading lady. In some early scenes she verged on a little televisual – however, it was refreshing to see such authenticity in a jukebox musical. She is set for a glistening career in musical theatre if this performance is anything to go by.
Another noteworthy performance for this reviewer comes in the form of comedy duo Samantha Richards and Jess Barker. They play well off one another, and their scenes are playful and bouncy, creating an electric sense of pace and rhythm. Each displays brilliant comic timing, playing their parts with just the right amount of caricature, whilst remaining believable as teenage high schoolers from this era. Their rendition of ‘Somebody’s Eyes’ is stellar. Both are multi-faceted talents performers, showcased excellently in this production. The whole show utilises the actor-muso cast brilliantly. Geri Allen is a great storyteller, multi-rolling with ease, providing multiple comedy moments, and revelling in an array of contrasting characters, Betty in the diner being a particular audience favourite thanks to some brilliantly timed gags and physical comedy from Allen, who also plays flute in the show.
Jake Quickenden clearly loves playing his part in the show – and despite looking too modern for the period (thanks to his skin fade haircut and designer stubble) he delivers a crowd-pleasing comedic performance with gusto. His big number “Mama Says” is a memorable number of the night, thanks to his bold, unabashed character choices and Cole’s choreography. He is characterful and charming as Willard Hewitt and has a fun chemistry with his onstage partner Oonagh Cox, who has a naturally zesty and vibrant presence, making her naive and playful Rusty watchable throughout.
Darren Day’s performance as Reverend Shaw is solid and believable, yet maybe due to his honeyed tone and natural charm, he is a bit too likeable even as the obstacle in the narrative, given his ban on dancing – making his performance seem somewhat safe. It feels inevitable that he will eventually come around and lift the ban, meaning the stakes never feel quite high enough. He is totally at home providing drama, creating beautiful pathos in act two in his turn-around scene with Hawkins as Ren, giving some real gravitas just before the fun finale. His distinctively dulcet vocals tones are smooth throughout and he is an example of celebrity stunt casting done well in a show like this one.
The finale sequence is a celebratory culmination of the cast and creative’s multi-talents and has everyone up on their feet dancing in the aisles. It’s still sheer bliss to see a jam-packed auditorium, united with an onstage cast, celebrating the magic of live theatre in the aftermath of the theatrical drought caused by the dreaded pandemic. All involved deserved to cut loose after this run at the Opera House.
Running until 5th March 2022
The Reviews Hub Score
Fizzes with Energy
