Bringing Home The Bacon

FOOTLOOSE

New Alexandra Theatre, Birmingham, Thursday 21st August, 2014

Familiar from the 1980s Kevin Bacon film, this is the story of Ren whose mother moves him from Chicago to the backwater town of Beaumont, where public dancing is banned by the town council, headed by a closed-minded but charismatic clergyman. Teenage rebellion is not far away, with newcomer Ren as the catalyst.

The New Alexandra’s STAGE EXPERIENCE project is an ambitious undertaking. A cast of 120 (that’s one hundred and twenty) youngsters flock on and off, every one of them giving their utmost. Director/choreographer Pollyann Tanner handles crowds with aplomb and also gets excellent performances from her main players, never for one second losing focus. It’s a remarkable achievement.

Matthew Russell leads the cast as Ren –an assured and skilful performance from this talented fifteen year old. Yes, that’s right: he’s only fifteen. He sings, dances and skips rope all at the same time without slipping a step, missing a note or stopping for breath. Great things must be ahead for this young man.

He is supported by a strong troupe of players. Molly Hope Williams (Ren’s mom) and Aneira Evans (Minister’s wife Vi) give their roles maturity and depth, and can certainly belt out the musical numbers when appropriate. Another belter is Georgia Anderson as preacher’s daughter Ariel (odd that he didn’t give her a Biblical name!), rebellious and misunderstood. Her “Holding Out For A Hero” is a rousing production number.

Outstanding is Nicole Appleby as fast-talking Rusty – she reminds me of Linda Lewis (oops, my age is showing) and her rendition of “Let’s Hear It For The Boy” is a highlight. Callum Connolly’s Willard is a splendid study in character acting, consistent, engaging and rounded. His big number “Mama Says” is a divine moment, slickly interpreted and executed – I have seen professional productions that fall miles short of this quality.

Man of the match for me though is Mark Stuart Walsh as the Reverend. His rich, deep singing voice has power and subtlety, and his characterisation brings warmth and vulnerability to what is essentially the villain’s role.

It’s an exhilarating production; the energy just pours off the stage. I have only one quibble and that’s with the sound – With a stage full of kids singing their heads off, the vocals just drop in the mix and the band overpowers them. This means that some of the big moments are diluted.

When it is revealed that the show has been put together in less than a fortnight, you realise it is more towering an achievement than you first imagined. Everyone else in the business may as well just retire.

Matthew Russell (centre) as Ren

Matthew Russell (centre) as Ren

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About williamstafford

Novelist (Brough & Miller, sci fi, historical fantasy) Theatre critic http://williamstaffordnovelist.wordpress.com/ http://www.amazon.co.uk/-/e/B008AD0YGO View all posts by williamstafford

2 responses to “Bringing Home The Bacon

  • mimi

    Please also note that many of the production team are ‘first timers’ and there for the ‘stage experience’ too. This team of 8 youngsters (16/17) ran this entire show with guidance from the professional production team. They also had just 2 weeks to learn their roles and how to use the equipment, many days working from 8 in the morning until 10 at night – long after the performers have left. Indeed, whilst the performers were partying away after the final show, these 8 stalwarts were still working to remove the set. Credit needs to be given to them too. This always seems to get lost in these reviews.

    • williamstafford

      I totally agree- Had I the time and the space I would have liked to have praised everybody involved in the show, on-stage and off.

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