‘Footloose’ makes you want to dance

NICHOLAS W. McCLELLAN/for the Van Wert independent

When considering my enjoyment of the Van Wert High School Drama Club’s production of Footloose, being performed this weekend, starting tonight, on the Niswonger stage, I have only one complaint: I didn’t stand up, cut loose … and dance (but trust me, I wanted to).

Footloose, adapted for the stage by Dean Pitchford and Walter Bobbie, is directed by the extremely dedicated and inspired Chad Kraner. Having not seen the original 1984 movie version in its entirety (or the most recent remake), I was certain the production would come across as a proto high school musical: bright, trite, and simple.

While the staging, choreography, story, and music were very bright and the story was simple, the expressive singing and acting by homegrown performers gave breath and meaning to major themes that could have been glossed over with a less talented cast and crew. As I skipped out of the NPAC after the performance (to the tune of “Mama Says”, one of my favorite numbers in the production), the purpose and power of dance twirled and whirled in my mind. Dance has the power to speak, especially for those who may feel uncomfortable or unable to do it with their own words.

If you are as unfamiliar with the story as I was when I visited dress rehearsal this week, the action follows Ren McCormack (Nick Krugh) and his mother (Elizabeth Lassiter) from Chicago to a small farming town. Ren is prepared for the inevitable adjustment period at his new high school, but what he isn’t prepared for are the rigorous local edicts, including a ban on dancing instituted by the local preacher (Jake Schaufelberger), determined to exercise the control over the town’s youth that he cannot command in his own home. When the reverend’s rebellious daughter (Sandy Nguyen) sets her sights on Ren, her roughneck boyfriend (Jesse Daniels) tries to sabotage Ren’s reputation, with many of the locals eager to believe the worst about the new kid. The heartfelt story that emerges is of a father longing for the son he lost and a young man aching for the father who walked out on him.

As is evident from the synopsis, the narrative is a bit cliché, but it’s a musical — it’s to be expected. What was not cliché was the varied and authentic emotions I experienced with the actors on stage, made all the more brilliant by choreographers Kim Pollock and Melissa Bloomfield (Bloomfield is also musical director). Their ability to direct the movements of both the leads and the company was very apparent. I was keen to watch as the chorus moved and filled the stage, waiting for a cast member to observe the feet of the person next to them or drop character. To my surprise, the chorus filled the large NPAC stage with high energy by consistently reacting to the action and delivering tight and clean dancing. They were one of the best company ensembles I’ve encountered in a high school production.

I was truly mesmerized as I watched the performers inhabit the spaces made genuine by the superior sets and lighting made possible by director Chad Kraner, Josh Schumm, and Matt Saunier. Every scene, from the streets of Chicago to the Bar-B-Que Dance Hall, was lit and dressed to the hilt. Expansive backdrops and dazzling light cues upped the performance by adding depth and realness to each scene. My favorite scenes were those set “behind the gas station” (complete with a huge and 100 percent real gas station sign) and the final scene involving a wall of floor-to-ceiling reflective streamers. The light did not bounce, but rocketed towards me; I literally moved backwards as the stage sparkled with a million lights.

Yet the performances by an exceptionally talented and polished group of local thespians were the real source of light in this production. Nguyen as Ariel Moore, the preacher’s daughter, delivered a well-rounded and likable character. She was subtle, but spoke volumes through her quiet characterization as she nonchalantly fixed her hair and inspected her nails during the first scene at the church. It was clear from the moment she took the stage she was a rebel. Her duet with Krugh (“Almost Paradise”) was also worthy of high praise.

Schaufelberger stood out through his portrayal of the fear mongering, close minded Reverend Shaw. His bombastic sermon attesting to the “evils of rock ‘n roll music” and its “endless chant of pornography” was enough to make Fred Phelps jealous. His dynamic characterization and ultimate change in character (learning that fear is not a healthy response to loss) was believable and very human.

LeAndryce Miller as Vi Moore, the reverend’s wife, had one of the best vocal performances of the evening. Her trio with Elizabeth Lancaster and Nguyen, “Learning to be Silent” was truly ironic as her beautiful and enchanting voice filled the vast space around me. I wanted to see and hear more of her than the production allowed.

Joe Linser as Willard, the dim sidekick to Ren, performed with the comedic timing of a veteran actor. His awkward and dopey characterization was a true treat to my evening and had me crying with laughter. The opening scene of Act II in which Willard learns to dance was phenomenal. In both vocals and acting, Linser was by far one of my favorite performers. Look out for his rendition of “Mama Says” — it’s absolutely hilarious and pitch perfect!

Which leaves me with Krugh as Ren McCormack (I’ve clearly saved the best for last). I am not sure where he was pulling his inspiration from, but it was working. The scene in which he confronts Rev. Moore brought a tear to my eye. I could see and feel the genuine anguish his character was experiencing. His dancing was clean and masculine, but also light and springy, complimented by his lovely voice. The optimism that he expressed while quietly acknowledging the character’s heartache was palpable. I encourage him to make his way to the stage again. He shines and easily takes on the role of leading man!

Ultimately, I was blown away by the convergence of so many talented young people and adults. The production was glamorous and bright, but occasionally dark, troubling, and thought provoking. I wanted to dance and still do I as replay the show in my mind. It brought me to tears with laughter and sympathy. Thank you, cast and crew of Footloose, the Musical for a wonderful evening of solid, free spirited entertainment.

Dance on down to the NPAC April 10, 11, or 12 by 7 p.m. to see this phenomenal production. Tickets may be purchased at the door or by calling the NPAC box office at 419.238.NPAC between noon and 4 p.m., Monday through Friday.