REVIEW: FOOTLOOSE at Toby's - Let's Hear It for the Show!

Broadway, as is often lamented of late, is full of musicals based on films. For every acclaimed Hairspray and The Lion King, there is a drubbed Wedding Singer and Tarzan. All but a few manage respectable runs regardless of their critical reception, due mainly to their built in audience of film fans. One of the most reviled of those shows in recent memory was Footloose: The Musical, which squeaked through a nearly two-year run 8 seasons ago.

After Saturday's opening of Footloose: The Musical at Toby's Dinner Theatre of Baltimore, I was left wondering where the Broadway production went wrong, because what I saw was one of the most slick, fast-paced downright exhilarating shows of recent memory. Years of attending shows of otherwise even moderate acclaim at Toby's has taught me to expect nothing less than my money's worth, but here the company has gone well beyond expectations and has delivered a sure fire cure for the summertime (or any time) blues. As a member of the Class of 1984, when the soundtrack, movie and single, "Let's Hear It for the Boy" were number one the day I graduated, the property clearly has a special place in my memory, so it really means something to me personally to say that this production is actually an improvement to the classic 1984 movie starring Kevin Bacon. And it is, in every way.

Director Larry Munsey and choreographer Tina DeSimone, whose seamless work makes it difficult to tell where the movement ends and the blocking begins, grab the audience from the very beginning in an exhilarating, energetic and highly stylized rendition of the title tune. Through a haze of smoke and dazzling lights the very young, very attractive and extremely talented cast dance their feet off to the throbbing beat of the hit song, which then segues into the first non-movie song, "On Any Sunday", an ode to small town ways and religion that at once introduces the themes of the show while slickly introducing us to all the players and all the sides drawn before the music stops. The first of many gorgeous stage pictures created by Munsey and DeSimone is the almost cinematic blending of the two that in a few mesmerizing seconds takes us from the loud Chicago scene to the quiet pews of a church in Bomont, Texas. There you get a sense of dread and hope, as Ren (Kurt Boehm) and his mother (Tamarin K. Ythier) question their move, express hope at a new start, and realize that they are under a very high powered microscope by the name of Reverend Shaw Moore (Daniel McDonald), who uses God and his own power to effectively control the town and his daughter Ariel (Becca Vourvoulas). All of that happens in the first frenzied 7 or 8 minutes of the show. A few other scenes in the first act are equally powerfully staged with the same spine tingling theatricality, and the intervening scenes are no less powerful. The extended scenes that utilize the song "Somebody's Eyes" are chilling in the razor sharp delivery of the song by Ariel's best friends, Rusty, Urleen and Wendy Jo, acting much like a Greek chorus in cheerleader outfits, narrating a cautionary tale for our hero, pointing out the frightening reality of small town closed-mindedness. They blend in, separate and pop up all over the set, culminating in the ingenious use of a turntable where the townsfolk create mini tableaux of the obstacles Ren faces and spin by him as he walks about scared, angry, and alone. Is there a more beautiful a way to show loneliness than having a character surrounded by a crowded stage full of people? Stunning. And absolutely best of all is the amazing choreography in a show about not being able to dance, best shown in the act one show-stopper, "I'm Free" that put all exercise to music videos to shame. The entire ensemble is onstage morphing into and out of high powered calisthenics and subversive dance moves, which ends in the final image of the act, when behind them and above, Heaven-like is the minister and his choir again overseeing the whole thing.

Act two has its share of great moments as well, particularly the exciting, heartfelt "Let's Hear It for the Boy", the lovely duet, "Almost Paradise" and the laugh-out-loud funny, "Mamma Says". However, the best moment in act two is the confrontation scene between Ren and Reverend Moore, after the proposal to end the dance ban is defeated by a terrified and still-mourning Reverend and his town council, and Ren faces Moore in a showdown of wits and ideals. Both men give moving speeches about freedom, sorrow and facing down demons that are ultimately out of their control. The breakdown of Shaw Moore and the quiet dignity of Ren's boy-to-man transformation is an acting tour de force by these actors, reducing the audience to not well-concealed sniffles and muted joy. The result is one of the strongest scenes of sheer theatricality and human drama seen on any Baltimore stage in years, and the hand the scene got even though not a note was sung or a step danced evidences its power. And lest you think this Footloose is heavy-handed or even dour, fear not. The serious moments are powerful not just for their quality, but their brevity and tight direction. Even the quietest scenes whirl by with the same astonishing cinematic grace and sharp focus. That, in and of itself is sheer brilliance. Bravo, Mr. Munsey and Ms. DeSimone!

Technically, the show is masterful. The aforementioned turntable is used sparingly and therefore to great effect; the set pieces, drops and other backgrounds appear out of nowhere, a tribute to the quality and ingenuity of the set, designed by David A. Hopkins and gloriously lit by Lynn Joslin, who creates moods and settings with color and unobtrusive lighting effects. The sound, designed by Drew Dedrick and Jimmy Englekemire, is crystal clear and rock and roll loud when it needs to be. Musically, the show is equally flawless, under the direction of Mike Semancik and supervised by Doug Lawler.

In the usual standard-setting fashion of Toby's productions, Footloose has managed to find the most talented musical cast on any local stage today. From top to bottom, there is not a weak link here. They sing and dance like pros, and act with an energy and enthusiasm that is also currently unparalleled in its genuine and realistic delivery. They never forget that they are doing a theatrical, stylized production, but also are giving honest, layered portrayals. And how glorious to see that the entire ensemble has created distinct characters that have their own through-stories, even if they are never addressed directly in the script. Standouts in the ensemble include Christopher Wicks, Erik Keiser and Greg Burks as Ren's buddies, Matthew Moore as town dirtbag, Chuck Cranston and his boys, Jordan Klein and Frank Anthony are all terrifically nasty, but not over the top. And as the trio of best friends mentioned above, Jamie Eacker, Caroline Bowman and Natalie Finn do extraordinary work, and Ms. Eacker does a recording quality rendition of "Let's Hear It for the Boy". As the Reverend's wife, Kate Briante, gives a magnificently quiet, dignified performance as the wife who, like everyone in the town keeps her mouth shut and head bent. Her song with Ms. Ytheir, the Sondheim-esque "Learning to Be Silent" is yet another highlight in this jam-packed production.

Alan Wiggins, as dance-challenged shy boy Willard, who befriends Ren when everyone else turns their backs is very funny, has a great voice and gives a brave, full-bodied performance, which could have easily been one-dimensional and by the book. Add to that that he looks to be having the time of his life, and you get a one-man dynamo. His rendition of the charming and funny "Mamma Says" is elevated to show-stopper status with his infectious energy and the back up of his buddies.

As Ariel, a role that could easily be turned into a flat out rebellious bitch, Becca Vourvoulas is nothing less than brilliant. She is, at turns, the girl every boy dreams about, the woman every man fears, the daughter every parent adores, the rebel every parent loses sleep over, and the strong independent thinker every girl wants to be. She is absolutely riveting – when she is onstage it is hard not to look at just her – and is never, ever not completely in character, even when she graciously shares the stage with her co-stars or by necessity blends into the ensemble. A less secure actress would hog the stage and chew the scenery. She is in excellent vocal shape in the duet version of "Almost Paradise" and is reminiscent of Dreamgirls when she and her backup girls do a heart-stopping rendition of the classic "Holding Out for a Hero". In short, Ms. Vourvoulashas that "it factor" that is the dream of casting people the world over. I will be shocked if in a few years she isn't well on her way to stardom.

Filling the shoes of John Lithgow can be no easy task, but Daniel McDonald is more than up to it. His approach to the role is near maddening, as he takes that Mr. Rogers/televangelist/this side of condescending tone as he preaches. The kind of tone that you simply cannot argue with, and with such underlying force that you fear he may actually be channeling God Himself. Add to that a healthy dose of self-righteousness and an overall air of mourning, and have one of the most complex portrayals of recent memory. His impassioned speech and final number, "I Confess" are at once rousing and heart-breaking. And brilliant.

Finally, no production of Footloose will ever work without a decent Ren (the Kevin Bacon role). Happily, this production has nothing to worry about. Kurt Boehm is marvelous, in a star-making turn. He is the real thing – a triple threat actor-singer-dancer with charisma oozing out of every pore. His Ren is so multi-dimensional and carefully constructed that you see his side, as you should, but can also understand the cautious eye he gets from the rest of the town. That layer makes his take on the role revelatory – not only is he not mimicking Mr. Bacon, he surpasses him in what has until now been an iconic marriage of role and actor. Mr. Boehn is smart, exciting, sexy and charming, and that is a potent combination. Like his co-star Ms. Vourvoulas, he is also a gracious, giving performer. He takes the responsibility of carrying a show seriously, but never forgets that sometimes it isn't about him. I see another star in the making. 

For now, though, I urge you to get your tickets now for this amazing production while we still are fortunate enough to have these gifted young people all to ourselves. Add to that a dinner buffet that is scrumptious and an absolutely delicious specialty drink, the "Paradise" or non-alcoholic, "Almost Paradise", and you'll (to borrow a song from another movie-soon-to-be-musical, Dirty Dancing) have the time of your life. Don't miss this one!

PHOTO: Center, foreground: Kurt Boehm as Ren, and center, background: Daniel McDonald as Reverend Moore in Footloose: The Musical. Photo by Kristine Christiansen.