Review: FOOTLOOSE at Cockpit In Court

1984. It was a rainy afternoon in Cincinnati when I decided to skip my afternoon classes, blow a doobie, and go to a local movie theatre to kill some time. I knew almost nothing about Footloose, except it had Kevin Bacon, and he was cute. I took my buzz into the theatre, and for the next couple of hours I was totally absorbed in the story of the big-city boy who has to relocate to small-town America—namely Bomont ("Where the hell is Bomont?" is a line from the opening song). Ren and his mom are navigating a new life after his dad takes a powder without so much as a by-your-leave. And as if the relocation were not traumatizing enough, the town they are forced to live in with an uptight aunt and uncle is about as conservative as it gets. This place would make MAGA followers look like far-left progressives. No dancing, no drinking, no partying, and you darn well better be in church every Sunday morning to receive the word of the Lord, in this case from Rev. Shaw. Predictably, there is the wild-child preacher's daughter, the town bully, the town doofus, and the other stock characters to be found in places like Mayberry and Hooterville. The only thing missing was Barney, Opie, and Aunt Bea. When Ren takes on the town council to reverse the law forbidding dancing, well, you kind of know where this goes.

The movie premiered in 1984 and was a big hit, thanks to some great dance sequences, some catchy tunes, and that aw-shucks cast led by the great-looking Kevin Bacon. Fast forward to 1998, and Footloose, The Musical arrives on the scene. Maintaining some of the original music, the score is less than impressive, with a few exceptions. The title song, of course, is expanded into a big finale, like the movie version. Tunes that were more background pieces have been moved front and centre and gussied up nicely, particularly "Let's Hear It for the Boy," "Holding Out for a Hero," and especially "Almost Paradise." What saves the rather thin script from becoming just another jukebox musical is the weaving of the original music written by Tom Snow, with lyrics by Dean Pitchford. That blend makes the piece feel more like musical theatre. The new material expands and contributes to the storyline fairly seamlessly, touching on themes from grief to authority, from the importance of forgiveness to religious freedom. It also opens up the stories of the moms and the preacher, giving us insight into their feelings. Personally, I would have liked to hear a little more about Ren's struggle to find peace after his father abandoned the family. Nominated for four Tony Awards, the show ran for more than 700 performances on Broadway. It also had a successful run in London's West End and has become a staple of local theatre companies ever since the rights were made available. But enough of the background chatter—let's talk about the production at Cockpit.

Cockpit In Court has built a fine reputation for quality entertainment, and this production will further solidify its standing as a pillar of the summer theatre community. Director Jake Stuart has assembled a crack team of theatre pros, both on and off stage. And off the top, let's give a shout-out to the unsung hero of almost every production, the indispensable stage manager. This is the one who makes sure everyone is where they're supposed to be when they're supposed to be there, tracks down the missing props, coordinates the movements of the indefatigable crew (most of the cast doing double duty), dries the tears, kisses the boo-boos, and keeps everything running as smoothly as possible. Hats off, Mr. Dan Morelli. He not only manages the stage, but also designed the set and coordinates the props. While the stage design might have benefited from greater attention to detail, he got the overpass exactly right. The graffiti-covered structure convincingly suggested a railroad bridge, giving the lead characters a place to climb, perch on the railing, and dangle precariously above the stage. Simple church pews and a passable altar give way to the homey kitchen of the Reverend and family. A cool-looking front porch with a working screen door is a nice touch as well. And I did love the diner set with the red accents. Nicely done. The whole set was well lit by Thomas Gardner. Heather Kohlbus did a great job with the rural 1980s costuming, and while I did have a moment or two when the sound seemed a little unbalanced with the band, for the most part Terry Edwards' sound design gave great support to the cast.

Music Director Charlotte Evans led a tight seven-piece band that captured the show's infectious rock score. And I'll tell you, there was a whole lotta rockin' coming out of that pit! The voices on stage were exceptionally well blended, and both band and voices sounded well rehearsed and definitely knew their musical stuff. Choreographer Lauren Stuart kept the large cast moving in sync, with some truly clever staging that worked well for everyone. What they may have lacked in technical dance expertise, they more than made up for with their enthusiastic exuberance. These kids were fearless, leaping and twirling like they were on something illicit. I have to call out my favorite by a mile, the song-and-dance number "Mama Said." Sheer fun! Choreographically, this number had all the right moves.

Director Jake Stuart made some smart choices with casting and staging. The show clips right along, made so much better by never letting the action flag any more than the script demands. Well focused and on point, he steered each scene with obvious attention, drawing distinctive interpretations from even minor characters.

This is a large cast, and it's just not possible to single out every moment or performance, but I have to shine a light on the ensemble, who sang great, danced greater, showed up, and showed out. They lit up that stage in every group number.

In the roles of the two mothers, Casey Lane and Suzie Eldridge wore their respective motherhood like a comfortable housecoat, sticking up for their kids and, with or without the husbands, taking the best care of their families that they know how. Both had excellent voices, appropriate reactions to the dramas they found themselves in, and were totally convincing.

The trio of girls that acted as almost a Greek chorus to the ingénue's lead were outstanding. Wendy Jo (Kara Neat), Urleen (Syd Goldstein), and Rusty (Rebecca Van Nostrand)—you have to love those character names. Special mention to Rebecca Van Nostrand as Rusty, who has terrific vocal range and comedic timing. And the boys in the number "Mama Said"—Lucas Baldwin, Austin Buerhaus, and Joshua Reginald Allen—stole the show. Led by probably my favorite character on the stage (after Ren, of course), Zachary Corey as Willard, this group of lovable knuckleheads, part Backstreet Boys and part Three Stooges, are hilarious.

Zachary Corey as Willard is all elbows and left feet, with an infectious smile, wide-eyed naïveté, and a surprisingly strong voice. Ryan Geiger as Rev. Shaw Moore is appropriately pompous and self-righteous, hiding behind his grief and lording his conservative values over the entire town. When he opens up and shows his pain, Geiger is very effective, and his stentorian vocals are exactly right.

Amelia Grace Watts' Ariel is a lanky, curvy ball of corn-fed pulchritude, leaving her preacher's daughter façade behind for Daisy Dukes and low-cut blouses anytime she's out of sight of the town's prying eyes. Her head of hair alone deserves a shout-out. How nice to find she's way more than that. She can be flirtatious one minute and convey a range of emotions from fear to defiance like a pro. Strong vocals, accomplished dancing, and fine acting. Check.

This is another one of those shows that sinks or swims on the strength of the lead character. Ren McCormick, as portrayed by Adam Kindley, is a total package. Tall, good-looking, and with a voice that belongs on musical theatre stages in shows like this one, this guy has it all. And on top of that, he's funny, touching, sincere, believable, and, man, can he act. Seriously. Did I mention that he's good-looking? It bears mentioning twice.

The finale of this paean to '80s musicals and sensibilities is a toe-tappin', boot-scootin', yee-haw shindig of a number, the one we've waited for, the eponymous "Footloose." The full cast in fancy dress, great lights, kick-ass musicians blasting away—it was exactly what I was hoping for. And while Footloose, The Musical is not my favorite musical of all time, it is certainly a perfect piece for a sunny July afternoon in Baltimore, full of spirit, outstanding talent, and enough high spirits to make you forget all about the dismal state of the world of late. Go on. Get Footloose. You won't be sorry.

"Footloose, The Musical" runs through August 2, 2026 at CCBC Essex, 7201 Rossville Blvd., Rosedale, MD 21237. For tickets, call 443-840-2787 or purchase online.

Reader Reviews

To post a comment, you must register and login.

Need more Baltimore Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...