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Ren McCormick............Adam Brombley
Ethel McCormick.................Jess Hunter
Rev Shaw Moore................Ethan Emery
Vi Moore.......................Emily Blackburn
Ariel Shaw.......................Sian Samways
Lulu Warnicker..................Emily Bassett
Wes Warnicker..................Charlie Foord
Coach Rodger Dunbar.....Ayrton Harper
Eleanor Dunbar...............Mollie Munday
Rusty.....................................Molly Berry
Urleen................................Jessie Wright
Wendy Jo................................Amy Allen
Chuck Cranston................Luke Marshall
Lyle.......................................Sam Barnes
Travis.................................Kieran Poling
A Cop..............................Edward Ndlovu
Cowboy Bob....................Ayrton Harper
Betty Blast..........................Mishka Cook
Willard Hewitt........................Milo Baker
Principal Clark....Brandon Cable Rogers
Jeter...................................Charles Clark
Bickle..................Brandon Cable Rogers
Garvin.................................Samuel Beer
Cowgirl......................Annalucia Navato
BOMONT CHOIR
Zoe Pimlott, Heather Bryant, Annalucia Navato, Maisie Creasey, Zoe Elliott, Mollie Munday, Ayrton Harper, Charles Clark, Brandon Cable Rogers, Ellie Murphy & Mishka Cook
PEOPLE OF BOMONT
Emilia Barnden, Jasmine Berry, Heather Bryant, Jack Callard, Edward Carrol, Siobhan Carroll, Tegan Cook, Maisie Creasey, Archie Crockett, Zoe Elliot, Niamh Foley, Tamzin Hampton, Scarlett Harris, Jacob Hogg, Phoebe Le May,
Eleanor Murphy, Zoe Pimlott, Rennee Saunders, Sienna Saunders, Robyn Slade, Anwen Treacher & Faith Williams
A review by Mark Donalds (District 10 NODA rep)
Footloose – Stage One Youth Theatre
My personal views of the show.
Footloose, The Musical, based on the 1984 film of the same name, is a high energy song and dance show that is not over-burdened with plot, but has plenty of smaller principal roles, giving opportunities for lots of cast members to shine.
Ren McCormack and his mother Ethel have recently moved to sleepy Bomont from Chicago and are dismayed to find that all avenues of entertainment, especially dancing, have been blocked by the Reverend Shaw Moore and the town council, following a tragic accident. Ren is not one to stand still and so begins his struggle to pull the town out of its mourning.
Adam Brombley, as Ren, exuded confidence and charm and you could easily understand why the Reverend and the council eventually gave in to his pleas. His strong singing voice and overall stage presence (and roller-skating skills) were well matched by Sian Samways as Ariel, the rebellious daughter of the Reverend. She gave a very gutsy performance as the youngster troubled by her brother’s death, and her scene with Ren at the derelict warehouse where they both revealed their past tragedies was beautifully touching. Ren and Ariel’s duet in Act Two, “Almost Paradise” was mesmerising, as they demonstrated how beautifully they could blend their voices.
Ethan Emery gave a great performance as the up-tight Reverend Moore and very effectively conveyed the age difference between himself and his daughter – something that is hard to do when you are all of similar ages in real life. His struggle not to let out the anguish he felt at the death of his son was really convincing. He also demonstrated a strong and melodic singing voice in his solos.
Molly Berry as Rusty, Ariel’s best friend, also gave a stand-out performance, not least in the number “Somebody’s Eyes” which, to my mind, was the best in the show with imaginative choreography and lighting really enhancing the music and singing - a real showstopper. Milo Baker as Willard Hewitt – was totally convincing as never the sharpest knife in the box, but brave and always willing to fight for his friends and stand up to bullies like Chuck Cranston (a nice, evil, gloating performance by Luke Marshall).
It seems unfair to single out some of the principals when the ENTIRE cast was SO good. Everyone was totally engaged and looking like they were enjoying every minute of the show, particularly so during the big dance numbers. Never, in amateur theatre, have I seen such well-executed, imaginative and vivacious choreography. Choreographer Matt Newman has brought this group to such a high standard - I could not see anyone on stage who was not giving their utmost in every number, with their faces as well as their feet, and turning in a totally professional performance.
The set was very professional too. A simple backdrop of a graffiti covered warehouse wall, enhanced with trucks and furniture, as required. Just enough - never too elaborate, and well managed by the hard-working stage crew. I was particularly impressed with the look of the burger bar – congratulations to the scenery team for achieving such high standards. The set would be nothing without lighting and here again professionalism shone out (pardon the pun). The lighting for “Somebody’s Eyes” and for the train passing the warehouse were particularly noteworthy.
The orchestra, under the sensitive baton of Dennis Brombley, provided an excellent sound, always accompanying the singers and never drowning them out. The sound system, apart from a few first night glitches, was also excellent, enabling every word to be heard. I must also praise the cast members who did not have microphones but still managed to project their dialogue well into the audience.
Footloose seems to be the ideal show for a vibrant youth group with lots of budding future stars. Stage One Youth Theatre, under the confident direction of Jacqui Ivemy, grabbed those opportunities with both hands and gave us a stonkingly good evening’s entertainment.
Mark Donalds
25th March 2017.
A show where dancing is a rather crucial plot point tends to require both impressive dance routines and excellent dancing. In Stage One's new production they were doubly fortunate with fresh, energetic and beautifully choreographed numbers and a cast more than up to the task of delivering these.
Director Jacqui Ivemy has an acute eye for detail and steered the action from the big lively numbers to the smaller quieter scenes with faculty and perception. It is to her credit that the many changes of scene were managed with little fuss and never distracted from the action. The musical arrangements and orchestra, under the direction of Dennis Brombley, were excellent.
The cast threw themselves into their roles with immense energy and commitment. The leads had great stage presence and all made the most of their roles. Milo Baker was particularly impressive as the big hearted, amiable Willard.
Karen Robson
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