Review: FOOTLOOSE, New Alexandra Theatre, 4 July 2016

In the mid-west American town of Bomont, a small tight-knit community are suspicious of any newcomer, and especially streetwise Chicago teenager Ren McCormack. Ren has arrived from Chicago with his mother Ethel after the sudden departure of his dad. Eager to move on from his recent loss and spread his wings in a new town, Ren's dreams are dashed when he discovers one curious fact about Bomont County: rock music and dancing are illegal.

Dean Pitchford's classic city kid-meets-small town story is just as inspiring in 2016 as it was when originally released in 1984. Ren is a typical restless teen who, as he sings, just "Can't Stand Still". His youth and optimism revitalise the spirit of the repressed townspeople, rousing them to support his cause and start dancing. Only Ren has the courage to stand up to Bomont town council, and the redoubtable Reverend Moore, persuading them to repeal the outdated ban. Ren's free spirit earns the respect of Ariel Moore (the reverend's daughter) and the couple strike up a romance.

Footloose is a classic film of teenage rebellion, yet the story doesn't make the easiest translation to the stage. Ren's shock when he's told about the infamous dancing ban is slightly dampened by the fact that the cast have already been singing and dancing their hearts out for the majority of the first act. In adapting this excellent film to a musical, the core message of Footloose is slightly lost in translation.

Racky Plews has assembled a crack team of actor-musicians who play an astonishing variety of instruments throughout the entire show. These talented performers play the piano, guitar, saxophone, oboe and clarinet live, whilst acting, singing and dancing all at the same time. Their level of skill and coordination is amazing.

However, the brilliant musicianship comes at a cost: the acting and singing across the board are quite weak. The dialogue often lacks conviction; the confrontational scenes between Ren and local rebel Chuck lack any tangible threat of violence or jeopardy. Whilst the ensemble singing is very strong - in particular the choral singing during "Somebody's Eyes" - some of the solo performances are not as polished as I would expect of a professional touring production. This may be due to the sound levels, which were quite harsh, with instruments occasionally overpowering the vocals.

The performance of the night comes from Luke Baker as Ren. A strong contemporary dancer, Baker fully embraces the gawky body language and expressive gestures of the Chicago adolescent. His interaction with Hannah Price as Ariel feels very touching and genuine, with stolen glances and a lingering first kiss. I particularly enjoyed Price's sultry, country-style vocals during the stunning harmonies of "Almost Paradise".

Nicky Swift shines as Ethel McCormack - her rich, gravelly vocals tug at the heartstrings during the emotional, multi-layered harmonies of "Learning To Be Silent".

Sell A Door's new production of Footloose is without its star performer on this occasion, as Gareth Gates is on vocal rest following doctor's orders. Unfortunately, this version is otherwise rather rough around The Edges: the lighting is haphazard, the sound imbalanced and many of the performances lacking drive and polish. I craved more passion and energy during blockbuster numbers "Heaven Help Me" and "Footloose". Whilst the company's actor-musician skills are hugely impressive, I fear they compromise the rest of the performance.

A spectacular megamix climax did lift the spirits. Packed with fire and vitality, the blockbuster finale drives home Footloose's enduring message of freedom and the drive to fight for what you believe in against all odds.

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