Footloose - 8 out of 10 stars
The Metropolitan Musical Theatre Company of SA
Tickets: Footloose Tickets
Footloose is a 1998 stage musical adaptation of
the 1984 film of the same name, with music by Tom Snow and lyrics by Dean
Pitchford. The story follows teenage Ren McCormack, who relocates from Chicago
to the conservative town of Bomont and dares to challenge its ban on dancing,
imposed by Reverend Shaw Moore. Beneath its upbeat pop-rock score lies a story
about community, generational conflict, loss, and the liberating power of
self-expression.
The Metropolitan Musical Theatre Company’s latest production
bursts with the kind of high-energy joy befitting its title. Brimming with
disco vibes and youthful enthusiasm, it delivers a toe-tapping, feel-good night
out—complete with its own “Megamix”-style curtain call choreographed by Lucy
Newman. Newman’s choreography is the show’s strongest asset: slick, varied, and
perfectly tailored to a cast with wide-ranging dance ability. She ensures
everyone moves with confidence and cohesion, keeping the visual energy
consistent throughout.
Musical Director Jaxon Joy leads an eight-piece orchestra
that handles the show’s classic hits with assured precision. Songs like Holding
Out for a Hero, Let’s Hear It for the Boy, and the iconic Footloose pulse
with rhythm and nostalgia, instantly connecting with the audience. Joy’s
musical leadership delivers the sparkle and drive that make Saturday-night
theatre electric.
Director and Set Designer Matt Smith helms the creative
vision, shaping a production filled with warmth, heart, and unfailing momentum.
His direction draws authentic relationships between characters, balanced with
crisp pacing and a keen sense of theatricality. The synergy across the creative
team gives Footloose its polish and emotional drive.
Leading the cast as Ren McCormack, Lachlan Steiger injects
charisma, humour, and genuine heart into the role. His boyish charm and nimble
dance work ground the rebellious energy that drives the story. Steiger’s Ren is
instantly likeable, balancing boldness with sincerity, and his chemistry with
Ariel feels natural and engaging. Their scene at the Burger Blast is
particularly well-played—full of wit and youthful spark.
As Ren’s mother Ethel, Danielle Greaves creates a loving,
resilient figure with a playful streak. Her comedic timing shines, particularly
when she surprises the audience with a slick (and funny) split during one
musical number. Greaves navigates the emotional undercurrent of Ethel’s
story—abandonment, resilience, and maternal care—with ease and warmth.
Vasileia Markou as Ariel Moore is outstanding, exuding
confidence and depth. Her portrayal captures Ariel’s rebellious spirit while
revealing her longing for independence and recognition. Markou’s soaring
vocals, particularly in Holding Out for a Hero with her trio
of friends, stand out as an Act One highlight, as do her boots!
Rodney Hrvatin delivers a measured performance as Reverend
Shaw Moore. The character’s arc—from rigid authoritarian to a father
rediscovering compassion—is handled with restraint. Hrvatin’s
command of dialogue and presence ensures the Reverend is layered and human
rather than one-dimensional. His contrasting relationships—with his daughter
Ariel, his wife Vi, and his congregation—add emotional texture and depth to the
production.
As Vi Moore, Jenny Scarce gives a heartfelt performance as
the Reverend’s quietly suffering wife. Her gentleness anchors several emotional
scenes, culminating in Learning to Be Silent, performed beautifully
with Ariel and Ethel. The trio captures a shared sense of frustration at being
unheard women, offering one of the show’s most poignant and introspective
moments.
Daniel Whitehead’s portrayal of Willard Hewitt begins as a
stereotypical small-town tough guy but soon transforms into one of the show’s
most endearing characters. Whitehead gives Willard a warm comic vulnerability
that wins over both Ren, Rusty, and the audience. His rapport with Steiger is
natural, particularly in their early confrontations and later bromance. The Act
Two sequence in which Willard learns to dance is infectiously funny, capped
by Mama Says—a playful number that showcases both Whitehead’s comic
timing and the camaraderie of his group: Ethan Braddock (Bickle), Caleb Wilhelm
(Jeter), and Will Faulds (Garvin).
Serena Cann, as Rusty, is a powerhouse of vocal talent and
charisma. Her rendition of Let’s Hear It for the Boy lights up
the stage with sparkle and sass, making her one of the show’s standout
performers. Cann’s chemistry with Whitehead’s Willard is heartfelt and
humorous. She’s well supported by Ariel’s other close friends Wendy-Jo (Iris
Nissen) and Urleen (Dani Panfilo), who bring vivacious personality and tight
ensemble work to their scenes. Together, the trio’s harmonies and unified stage
presence give Bomont’s young women a bright, rebellious energy that
consistently captivates the audience.
As Ariel’s jealous boyfriend Chuck Cranston, Alastair Veitch
delivers a sharply defined portrayal. His swaggering, manipulative tendencies
are clear from the outset, and his physicality—particularly in the darker train
track scene—project real menace. Veitch commits fully, portraying a character
audiences love to hate.
Matt Smith’s set design cleverly uses an elegant staircase
and modular elements that shift seamlessly between locations. The multi-purpose
design enables fluid transitions between homes, churches, diners, and dance
halls, supporting the show’s narrative pace. The backstage crew operates
smoothly and unobtrusively, aided by lighting choices that help disguise
changes and maintain visual rhythm.
Technically, the show is well executed. Early sound balance
issues were swiftly corrected, and from then on, the mix between vocals and
orchestra was solid. The lighting design is purposeful, expressive, and
detailed, heightening emotional beats while providing depth and atmosphere.
Smith’s holistic direction ties the elements together into a
cohesive, high-voltage pie. The show radiates community spirit, echoing the
core message of Footloose: the importance of connection, freedom,
and youthful joy.
A brief note to the audience: when the pre-show announcement
says photography is prohibited, it’s not merely suggestion. Taking photos
during a live performance disrespects the cast, distracts your fellow
theatregoers, and violates theatre etiquette. Leave the memories in your heart,
not your camera roll.
The MET’s Footloose is a vibrant and
thoroughly entertaining production. With dazzling choreography, energetic
performances, and a heartfelt message of liberation, it soars as a celebration
of youthful passion and the unshakeable power of dance.
- Andrew Broadbent
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