‘Footloose’ is sadly out of step
The Coeur d’Alene Summer Theatre cannot be blamed for the dreck that is “Footloose.”
In fact, the CdA Summer Theatre gave this show its usual well-performed, professionally produced treatment. The energy and talent levels were, for the most part, up to this theater’s typically high standards.
The CdA Summer Theatre can’t even be blamed for choosing this show, since it proved to be a whoop-it-up crowd-pleaser on opening night. People love the ‘80s, and they love the 1984 movie, on which this stage musical is based. Giving the audience what it wants is not exactly the biggest crime a summer stock theater can commit.
Yet that doesn’t mean I have to condone it.
The case against “Footloose,” the musical, comes down to three main points.
First, the music consists of standard – that is, bad – ‘80s ballads and pop. Any musical that can list among its composers Sammy Hagar and Kenny Loggins is on very shaky ground indeed.
Second, the dialogue and lyrics consist of one cliché after another. When one character says to another, “Are you serious?” you just know the answer will have to be, “Serious as a heart attack.”
Third, and most damning, this musical has the most laughably inept dramatic structure of any musical I can remember. Ren McCormack, the singin’, dancin’ teen from Chicago, discovers early in the show that his new town of Bomont has banned dancing. Banned dancing? Will this singin’ and dancin’ musical end, perhaps, with everybody singin’ and dancin’ triumphantly? The suspense was killing me.
The plot, based on the movie, commits the dramatic sin of setting up an obvious straw man (the dancing ban) and then making us wait two long hours for that straw man to go down.
The cast does what it can with this plot. Ross Cornell is engaging as Ren. He also has the required dance moves. The trio of Haley Ostrander, Karyn McNay and Kendall Hartse provided the show’s best comic relief as a goofy kind of girl-group trio. Ostrander, as Rusty, was especially strong in her big number, “Let’s Hear it for the Boy.”
Callie McKinney Cabe and Tamara Schupman provided some refreshing grown-up perspectives as the two moms, Ethel McCormack and Vi Moore, respectively. Todd Hermanson brought some humanity to the role of the preacher (and chief straw man), the Rev. Shaw Moore.
Cara Cooley was good, also, as Ariel, the preacher’s rebellious daughter. It’s not her fault she had to prance around half the show in a pair of red cowboy boots (it’s written into the plot to show what a free spirit she is).
The choreography by Cornell can best be described as early MTV. That’s fitting, for obvious reasons. And I certainly can’t fault the company when it comes to energy, preparation and ability. Nor can I accuse director Michael Wasileski of failing to wring the most entertainment possible out of this material.
Yet I have never been able to warm up to this show. Then again, maybe it’s just me. I’ve never been able to stand “Grease,” either.