Review: 'FOOTLOOSE'

 For a production of Footloose to succeed on stage it needs first and foremost a youthful, energetic cast. Paradox Performers have assembled a troupe that perfectly fills the bill for their inaugural production.

This 1998 Broadway musical tells the same basic story as Dean Pitchford's screenplay for the 1984 Kevin Bacon film. As adapted by Dean Pitchford and Walter Bobbie it works better as a simple straightforward retelling of the story, rather than using the songs to illuminate character. Ideally the score would do both but as assembled from spare parts as it is, it serves the story without really adding any insight.

"I Can't Stand Still" sings Ren McCormack, the transplanted youth who finds life in Beaumont, Texas a lot slower than his former life in Chicago, Adrian Baldauf emphasizes the young man's gawky charm. The script offers a few tantalizing hints at Ren's rebellious life before Beaumont, but despite having other characters tell us he has is always in trouble all we see is a kid whose worst offence is his romantic nature, which is an element Baldauf communicates very effectively.

Ren's opposite is Chuck Cranston, the cruel town bad boy played with plenty of attitude by Paul Charbonneau. He has the preacher's daughter, Ariel, wrapped around his finger. In fact, story wise, it would make more sense for Ariel to transfer her affections to Ren if he were more like Chuck.  But the script tries to make this contest more black and white. As a result, Chuck disappears too soon and for too long to be any kind of threat.

In the role of Ariel, Tara Lisowski impresses early on with her ability to switch from daddy's good little girl into town vixen. She brings fire to her dramatic scenes where she vows her determination to get out of Beaumont as soon as she finishes school. She also has a gorgeous voice showcased in her duet with Baldauf.

The musical tries to focus on her father, the right-wring preacher with tight control over the town leaders. Control that he has achieved through the tragic loss of his son (and three other teens) in a drunk-driving accident some years before. Using this as leverage he has encouraged a local ordinance against dancing. It is this ordinance that Ren fights, with support from Ariel and the local kids.  In the end, the young people win. The preacher also confronts the grief he has kept bottled inside.

In this production it is Greg Finney's performance that highlights Reverend Shaw Moore's hidden pain, which manifests itself in his stern façade. When Shaw lets loose with an eleventh hour plea, "Heaven Help My Heart" it is a moment of genuine pathos.

Then the joy of the final dance number takes the stage to end the show on a high note. Other highlights are Frank Manzo's hayseed Willard who stops the show with his number "Mama Says," and Alana Randall as Rusty stealing much applause with "Let's Hear it for the Boy."

Craig Downton, assisted by Samantha Stasiuk, stages the show at a tight brisk pace using  simple set pieces against projections to effectively establish time and place. The well-executed choreography by Lee Poulin is inventive and exhuberent.

Jordann Zaza's band provides great musical support, but at the opening night performance the sound system gave off some irritating static and crackles. Sound systems have long since become the norm in the Broadway houses but in a small space like the Alumnae one wonders whether there might be a better way to balance the singers with the musicians without resorting to electronic amplification.

For their first production, however, Paradox Performers have come up with something pretty good. They have taken a mediocre show and infused it with youthful energy making it entertaining and enjoyable.

Footloose, is presented by Paradox Performers at the Alumnae Theatre, 70 Berkeley Street, until June 14. Performances are Wednesday through Friday at 8 and Saturday at 2 and 7:30.  . Tickets are $28 and available at: www.paradoxperformers.com

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