There’s an old saying (widely credited to 19^th Century Author Horace Greely) that says, “Go West Young Man”; now the good folks at the landmark Morgan-Wixson Theatre in Santa Monica California aren’t just ‘heading west’—they’re all’ about the ‘Midwest” presenting a forever favorite, “Footloose” in celebration of the film’s 40th year anniversary! Based on the 1984 box-office blockbuster of the same name and adapted from the original screenplay by Dean Pitchford (who also wrote much of the lyrics) the Music is by Tom Snow, with Additional Music by Eric Carmen, Sammy Hagar, Kenny Loggins and Jim Steinman. Now loaded with more modern-day influences and a diverse cast, this hit theatrical adaptation is also by Dean Pitchford and Walter Bobbie, while this new staging at “The Morgan Wixson” has been both Directed AND Choreographed by Niko Montelibano with Musical Direction by Abby Carlson. 

Interestingly enough “Footloose” (the film, stage-musical, remake, revivals, etc.) is principally inspired by actual events that took place in 1979 in the town of Elmore City, Oklahoma which, since its founding had prohibited dancing (ostensibly in an effort to curb excessive drinking by young people.) One of the most vocal proponents of the dancing ban was the Reverend F.R. Johnson who proclaimed, “No good has ever come from a dance.” He also felt that “when boys and girls hold each other, they get sexually aroused” (–naturally something also in need of prohibiting!) Due to this longstanding ban, the town had never held a high school prom. However, in February 1980, the junior class made national headlines when they successfully petitioned the school board to overturn the ban and allow them to hold—wait for it—a prom! Word also has it, that after a heated deadlock, the school board president broke the tie with his simple but pivotal declaration: “Let ’em dance!”

Widely hailed today as the film that helped define the 80’s generation (and certainly set the gold standard for that eras’ music,) the plot of “Footloose” is widely known and loved, acquainting us to “Ren McCormick”—a Chicago teen who moves with his mother to a small Ohio town called “Bomont” when his father suddenly abandons the family.  In a dynamic reimagining of the classic teenage rebellion story, this streetwise city boy finds himself a fish-out-of-water in the small decidedly conservative (Read: “Small Minded” to the point of repression) Midwestern town where Ren learns that rock music and dancing have been made illegal (dancing especially having been banned five years earlier.) After the rollicking opening: “Footloose”, our boy Ren informs his crowd that he and his mom are leaving the city for small town life and that this is goodbye. The songs, (adroitly working to ease the scene change) then shift effortlessly from rocking to more reverent as the club-dancers immediately shift from playing clubgoers to church members with the new number, “On Any Sunday”. “We’ve only been here two days and already Chicago seems a million miles away…” Ren relates forlornly; “But we were barely hanging on there; ‘Specially with my father gone there’s not too many places we could stay…and maybe I can stand it for a year, and maybe things won’t be so bad–and maybe I won’t miss my dad…and maybe we can start a new life”. Shortly after their arrival, our hero encounters the town’s stern, Bible-thumping, ultra-reactionary minister, Reverend Shaw Moore, who has initiated the ban. At the same time, Ren meets his match in the personage of the “Reverend’s” free-spirited, headstrong daughter, “Ariel”, and it’s not long until the pair team up with the aid of their classmates to challenge the outdated ordinance and revive the town’s stifled youth culture, declaring they will throw a “kick-ass party” to shake up Bomont—with their adventures all set to some of the finest and most iconic songs ever to grace and elevate the top 40 charts! 

  Although it’s safe to say that all the film’s most memorable moments remain here in some form,  having been adapted for the live stage, some viewers may be a bit disappointed that a number of the more ‘cinematic’ moments—such as the tractor race, Ren’s breath-taking solo dance in the hay silo, or Ariel’s daring ‘car switch (—while both cars are racing down the highway) have been necessarily excised but not to worry—these have been replaced by several not too grandiose moments that better emphasize the intimacy of the story. Indeed, with all the additional material (including numerous additions to the score) this is almost like a whole new property—but with plenty of affectionate nods to the original film. It still features that rollicking score, expertly augmented by most of the film’s very best chart-toppers. Familiar songs here include “Somebody’s Eyes”, “Holding Out For A Hero”, “I’m Free (Heaven Helps The Man)”, “Almost Paradise”, “Let’s Here It For The Boy” and of course, the rollicking title number (herein sung—and danced—in place of a traditional overture.) All those original numbers, which initially provided background music on the big screen, here have been cleverly incorporated into the narrative to be sung and enacted by the enthusiastic (not to mention supremely talented) 18-member ensemble.

  Director Montelibano has managed to strike a perfect balance between honoring the source material while interjecting fresh surprises in this latest production. His talent shines through, not only as a director, but also as a choreographer—and apropos of this, he couldn’t have chosen a better show with which to utilize his craft and expertise. One of the really cool things about this particular show is that it offers many opportunities for varied and exhilarating dance breaks and interludes, and you can bet Mr. Montelibano makes the most of every single one. Over and above the sporty opening (which is everything we could hope for given this song’s notoriety,) there’s also Ren’s preliminary solo “I Can’t Stand Still” in which he explains his philosophy and love of some fancy footwork through a sharp, animated divertissement. Subsequently, Ariel’s own anthem to the type of man she’s on the lookout for, “Holdin’ Out For A Hero” may involve her personal bit of introspection, but it literally explodes across the stage. Boasting some terrific vintage-but-jaunty 80’s era moves, once the entire group of girls at the malt shop she and her “crew” “happen” to be studying (which is also where Ren—coincidentally—works,) jump in to back her up, they do so in  high style! There’s also the resounding act break “Heaven Helps The Man” as Ren, Ariel and all their pals resolve once and for all this ‘ban’ on teen dancing needs to be eliminated—by how else? DANCING! After the entre-act there’s also the vibrant Country-Western moves in “Let’s Hear It For The Boy”. Through them all, we the audience get a first-rate cornucopia of entertainment enriched by the moves of Montelibano and his cast’s sublime choreographic dexterity.  It all culminates in one of the biggest, grandest “Prom” events, the likes of which only a 1980’s teen hit movie could conjure (—with the whole town joining in attendance!)

As our young hero “Ren Mc Cormack”, Carter Santos does a thoroughly laudable job basically ‘carrying’ this entire show. He is charmed with a boyish kind of straight-forward, guileless magnetism that’s quite appealing, which permeates every note he sings, every syllable he utters and every step he dances in this role. Yes: he’s out to start a revolution–and that revolution is going to be out on the dance floor! Vocally, Santos shines with “Heaven Helps The Man…” which he handily turns into a showstopper right before intermission. Before this, he raises the roof with “I Can’t Stand Still”–one of the most downright ‘fun”–and lively–song and dance episodes in the show’ (Count this one of the many bona-fide top-flight sequences’ of Act One too!) Suffice it to say that Santos is about as far from “Kevin Bacon” as you can get—but this is a actually a theatrically thrilling thing. Racial diversity in casting proves that this role can be played by more than just another “Ricky Nelson/David Cassidy/Justin Bieber” type knock-off. If anything, this approach opens up the part to a deeper and more varied resonance in the story, given that Ren comes from the big city to a small, supremely narrow-minded town (Face it folks, “Bomont” is no “Mayberry R.F.D.” or “Walnut Grove”!) Instead, he exudes a quiet, just-this-side-of quirky brand of “cool”—one that he shares in common with his on-stage counterpart, “Ariel” as well. Trouble is, in “Ariel’s” eyes, he is “cute maybe—but,” she asks: “can he really compete with ‘Chuck Cranston?” (the abusive misdemeanor-waiting-to-happen whom she is seeing behind her father’s back)

 The role of Ren’s headstrong ‘Girlfriend-to-be’, “Ariel Moore”, is depicted by Ms. Nico Fisher who is every bit as charismatic, likeable and talented as her leading man. Like Mr. Santos, Ms. Fisher also has a smooth pop-style to   her voice that’s well fitted to the material. Anyone whose been to “The Morgan-Wixson” knows it’s a more ‘intimate venue’ so ‘belting it out to the backrow’ isn’t (and in this case especially) as vital as getting a song’s message and feelings across. Happily, in this respect our two heroes excel and then some.  Although, save for a few short phrases in “On Any Sunday”, “The Girl Gets Around” and her part in the trio, “Learning To Be Silent”, we don’t get our first ‘real, savory’ taste of Ms. Fisher’s true vocal firepower until “I Need A Hero”—and then it’s an event worth waiting for! Here’s where our “Arial” positively electrifies and validates what she can do. Post Intermission, her defiant descant, “Dancing Is Not A Crime” is also another emotion packed ‘declaration-of-independence’—given just the right touch—not scalding, but with the right air of “I mean business” passion to make it nothing short of remarkable. Shortly thereafter, she and Mr. Santos team together to bring us the classic ‘Almost Paradise”—this time re-envisioned as a sumptuous duet that proves to be a major highlight for the show and a personal triumph for both those performing it.

As her father the “Reverend Shaw Moore”, Steven Didirick gives us a deeply religious, uber conservative (and slightly on the narcissistic side) prominent authority figure in the town. He asserts: “God Is Testing us”, of his daughter’s outing with friends (or really anything she’s experiencing in her life.) Didirick has both an enviably pleasant voice and an accomplished acting talent that each serve this part particularly well. Unlike the source material film though, here, the “Reverend” also sings giving Didirick the chance to amaze in his own right with such numbers as: “Heaven Help Me”, and the touching “Can You Find It In Your Heart?” (not to mention the big “Gala” finale/reprise of ‘Footloose”.) Right there with him most of the time is Sarah Marie who herself proves memorable in all the very best ways as “Vi”— Ariels’ devoted mom and the reverend’s equally dutiful wife. She brings an emotional equilibrium to the proceedings—and her major melodic contribution: “Can You Find It In Your Heart” is stunningly sung making for another standout musical ‘divertimento’ and yet another outstanding addition to this stage adaptation’s score. In the midst of Act One, “Vi”, Ren’s mom “Ethel” and “Ariel” all join together (in spirit anyway) for “Learning To Be Silent”—the ladies…well, “unique” ode to being overlooked and ignored. (Such is the life of a ‘good, decent woman’ in this town!) Either way, the three do create some exceptional harmony and it too is still another brilliant ‘addition’ to the score.

Ren’s ‘new best friend’ “Willard Hewitt” is played with great gusto and spot-on comic delivery by Tre Adair who gets his share of comedic moments in oh, so many ways. In fact, Mr. Hewitt is the “Comedy King” in this production–furnishing the goings on with numerous laughs (—both the big “Burlesque” “guffaw” magnitude and the smaller, subtler chuckle and smile kind.) He takes every comedic opportunity inherent to his character and proudly runs with it like he’s carrying an Olympic Torch! “Ariel likes trouble,” he tells Ren at one point; “And you’ve proved to just about everyone in this town that you are T-R-U-B-L!” Hewitt’s boisterous “Mama Says” is his absolute crowning moment—and the unquestionable “Crowd Pleaser” of Act Two (It even has its own ‘built-in’ encore!)  This is not forgetting his duet he shares with Mr. Santos, “I Can’t Stand Still”—which arguably, is among the first act’s best staged numbers (not to mention one of the best sung.) These all stand as still more proof (were any needed) that this young man has a decided gift for the declamatory form of singing and for bringing out the very best elements of the songs he sings. As Ariel’s “BFF”, Kara “Rusty” Pizzolo, Devyn Kontur similarly does a superior job leading both the sultry “Somebody’s Eyes” early in the first act, then again’ with the Act Two curtain raiser, ‘Let’s Hear It For The Boy”, staged as a group endeavor to ‘teach’ Willard how to show off-some fancy stepping out on the dance floor. As more and more couples join in, this one expands into one heck of a big and jubilant “group” intermezzo.

  More often than not, “Rusty” and “Ariel” are joined by “Wendy Jo” and “Urleen” (Played by Amanda Rodas and Chase Klein respectively.) These two complete this little high school ‘in’ group, and as such are on hand for numerous instances to sing backup–or better yet, provide some invigorating harmony in songs like “Somebody’s Eyes” or “Holdin’ Out For A Hero” before it becomes a full-on ‘dance-capade’(listen for their snappy scale-change too!) Not to be overlooked either is Luc Clopton as the town bully, “Chuck Cranston” (son of the local fire chief) “The rugged, dangerous High School Dropout/Drug Dealer who was recently evicted from a trailer park…” To this guy ‘reputation’ is everything, so you just know he’s determined to make things rough on the new kid, “Ren”. He does have one number in particular: “The Girl Gets Around”; sung in praises of Ariel’s supposed “promiscuity”—this sets us up to be aware of why her father is suspicious of ALL the young people in “Bomont”. Occurring early in the story, Clopton does incredible work with this number, which features a seething, pulsating vibration from Chuck and his buddies: Joaquin Hosfeld as “Travis” and Adam Derbigny as “Lyle”, (who themselves also invest the song with some stellar harmony!)

  Costume Designer, Samantha Jo Jaffray favors Reds and Blacks in her apparel choices as these clearly are the predominant colors, and it too, seems to be putting a new, modern spin on all those over-the-top 80’s fashions:  Red is definitely “Ren’s” color—and dig Ariel’s red cowboy boots–but there are other hues that catch the eye as well. Take for example: Willard’s Baby Blue Tuxedo—complete with cowboy boots and faded Stetson; or “Rusty’s” eye-popping silver lamé prom dress in the final scene. The simple brown and tan angular split-level set design by Justin Kelly-Cahill deploys a very stark, drab–almost geometric look and feel, but working in collaboration with Lighting Designers Cici Mao and Brandon John, who have created sharp and vividly colorful digital light designs (and the effects they encompass) things aren’t always what they seem. They have slyly outlined much of the more conspicuous “lines” in the set (such as stair banisters and such) which disarmingly allows them to remain well, “in the background”, until the right moments; then, they bring the entire stage ‘to life’ in a flash. A fine example of this is the opening, when the staid earth-toned background suddenly transmogrifies before our eyes supposedly into a gnarly 80’s era dance club in Chicago, which has the cast stepping out to the titular number. This tactic works magnificently for the major group numbers when more color is both needed and useful.

No need to “hold out for a hero” any longer—you’ve got a great one here (well, a whole cast of them really,) so “Everybody cut, everybody cut–everybody, everybody cut footloose!” Having opened on Saturday, June 29, 2024, “Footloose” will play through July 28, at the “Morgan-Wixson Theatre” located at 2627 Pico Blvd, in Santa Monica, CA. Showtimes are Fridays and Saturdays at 8:00 PM, with Sunday Matinees at 2:00 PM. The Morgan-Wixson Theatre is  Reserved seats can be obtained by logging onto: www.morgan-wixson.org , by phone at 310-828-7519 or by email at boxoffice@morgan-wixson.org. (Special discounts for Seniors, Military and Students are also available for this engagement.)

 

Production Photos By Joel Castro Courtesy Of Megan Ripchik, Joel Castro and “The Morgan-Wixson Theatre; Special Thanks To Megan Ripchik, Phillip McBride, Niko Montelbano & Scotty (in the Box-office) And To The Cast & Crew Of “The Morgan-Wixson Theatre’s” 2024 Production Of “Footloose” For Making This Story Possible.