Footloose at Flat Rock Playhouse

Let’s here it for the boys! …and the girls — more properly, for the women and men — in the cast and behind the scenes of the new production of the stage musical Footloose at Flat Rock Playhouse.

The 1984 Kevin Bacon movie became a stage musical in 1998 and did OK on Broadway, but its “let’s put on a show!” vibe is perfectly suited for a more community-grounded organization like the Playhouse. We all know that the professionals at FRP can pull together a slick, seamless show indistinguishable from any 45th Street offering, but they’re also masters of the loose, kinda kooky musical that builds audience appeal with a more populist, “we’re just like you” approach. To paraphrase Dolly Parton, it takes a lot of time and energy to look this casual.

For Footloose, that means taking the polished pop songs delivered by international hit-makers in the movie — “The Songs You Love!” as the printed program puts is — and turning them into inspired expressions of the deliberately ordinary characters onstage. A standout is “Let’s Hear It for the Boy,” which in the movie is sung by Deniece Williams over a montage of city boy Ren (Bacon) trying to teach his country pal Willard (Chris Penn) how to dance. It’s a memorable sequence, but the song doesn’t really connect with the people we’re watching.

The stage show number has a similar plot point, but it’s sung by Willard’s would-be girlfriend, Rusty (Lucy Werner), in a country-and-western club while Willard (Jared Goldsmith) gets rhythm lessons from the whole ensemble. Candi Boyd’s choreography is creative and delightful throughout the show, but “Let’s Hear It” is an explosion of fun that practically had the audience climbing up onto the stage to join the fun.

From left: Lucy Werner, Maya J. Christian, Kaitlyn Louise Smith, and Saige Smith in a scene from Footloose at Flat Rock Playhouse.

And while we’re on the subject, let’s admit right up front that Werner and Goldsmith nearly run away with the show. Channeling 1990s Nicole Kidman in a perfectly pitched blond wig, Werner leads a trio of girls (along with Maya J. Christian as Wendy Jo and Kaitlyn Louise Smith as Urleen, both effervescent) who are not only gal pals to the female lead, Ariel (Saige Smith), but also serve as a kind of comic Greek chorus. The threesome get some of the best lines and brighten any scene they’re in. Goldsmith, a very funny Instagram/TikTok creator as well as an actor and singer, makes Willard a classic hayseed with heart — a perfect foil for protagonist Ren (J.J. Niemann).

I hasten to add that Niemann and Saige Smith are charming in the lead roles. You’ll recall that Niemann’s Ren is the Chicago lad transplanted to Southern small town of “Bomont” when he and his mother, Ethel (the warm and gutsy Kathleen Watson), are forced to take refuge with Ethel’s sister’s family after her husband deserts them. Smith’s Ariel is the daughter of the influential local preacher, Rev. Moore (Scott Treadway, balancing righteousness and vulnerability), who is Ren’s nemesis because he’s convinced the town to outlaw all dancing. (Yup, that’s still the crux of the plot.) Moore’s daughter Ariel is a rebellious teenager who’s not-so-secretly dating the town’s professional delinquent, Chuck (Edward Michael Escamilla, appropriately menacing, although handicapped by the show’s worst wig).

Scott Treadway (center) and ensemble members in a scene from Footloose at Flat Rock Playhouse.

Niemann and Smith have a pleasing chemistry, fine voices, and admirable dance skills, but the book (by lyricist Dean Pitchford) doesn’t allow them much of a sense of humor. Also on the serious side is Rev. Moore’s wife, Vi, played by the radiant Nicole Powell, who has the show’s most moving solo, “Can You Find It in Your Heart?” (one of nine songs by composer Tom Snow and lyricist Pitchford written for the stage musical).

In contrast, the comic highlight among the nearly 20 musical numbers may be a brief bit by Playhouse favorite Amanda Tong as a diner owner named Betty Blast, who briefly and hilariously steals “Holding Out for a Hero” from the female leads. The cast is expansive, too numerous to mention each by name, but Flat Rock regulars will recognize the talented Maddie Franke (who also serves as dance captain) and others in smaller roles, and will appreciate the enthusiasm and chops displayed by this summer’s crew of youthful apprentices in the ensemble.

The show is directed by FRP Artistic Associate Ethan Andersen, who clearly conveys its grassroots appeal and encourages the cast members to make the most of every moment. The (mostly) spot-on ’80s hair and makeup is by Matthew Oliver, while Tim Barham designed the down-to-earth period costumes.

J.J. Niemann (center), Jared Goldsmith (seated), and other cast members in a scene from Footloose at Flat Rock Playhouse.

FRP Scenic Designer Dennis C. Maulden created a remarkably versatile set without leaning on overwrought backdrop projections — the bane of many a modern musical. In fairness, I should add that FRP projection designer Clara Ashe-Moore Pagán’s contributions here, as in the recent Pride and Prejudice, are perfectly calibrated enhancements to the mood and milieu, in concert with Montana Kern’s sophisticated lighting design. Music dIrector and conductor Nathan Trivers leads the six-person band somewhere offstage, and they sound terrific.

In its “regular folks belt the hits” appeal, Footloose onstage paved the way for Mamma Mia!, which debuted a year later and eclipsed its predecessor in critical acclaim and longevity. But Footloose at Flat Rock Playhouse is just as fun and uplifting, and 28 years after its arrival, it is, to quote the Act Two opener, “Still Rockin’.”

Footloose runs through July 5 at Flat Rock Playhouse. For tickets and more information, visit flatrockplayhouse.org.

(Photos courtesy of Flat Rock Playhouse)

J.J. Niemann (center) and other cast members in a scene from Footloose at Flat Rock Playhouse.