Musical Theatre/ Footloose: The Musical. At Royal Theatre, until May 10. Reviewed by IAN McLEAN.

The standard of home-produced musical theatre in Canberra is high and, on occasions, touring productions have failed to measure up to the local product.  

Thankfully, this was certainly not the case with Footloose: The Musical, playing a short season at the Royal Theatre as part of a two-month Australian tour. This was a classy, well-paced, high-energy show highlighted by outstanding dancing from a young, multi-talented cast.

The story, originally a 1980’s film, is based on reality and revolves around a conservative American Bible Belt town which banned dancing as a moral safeguard, intended to curb alcohol fuelled misbehaviour and to preserve the town’s upright image.

Some 80 years later the youth had had enough! Their protests divided the town, still fiercely opposed to dancing believing it led to temptation and sin, but finally the young people brought about change and the policy was rescinded.

The cast is headed by Gabriel Tiller playing Ren McCormack, the Chicago-raised new arrival in town who leads the revolution against the no-dance policy. He is a genuine triple threat! His singing was clean, clear and powerful throughout his extensive range, and this was matched by convincing, heartfelt acting and precision dancing. His natural stage presence has already led to a prosperous career since his graduation in 2022 and he seems destined for a fruitful stage future.

He was ably supported by Brittany Morton as Ariel Moore, the rebellious daughter of Reverend Shaw Moore, the principal upholder of the outdated law. That role, played with an appropriate degree of tenderness and passion by Stephen Hirst, was strong although a pitch issue was evident in his opening song, On Any Sunday.

The supporting cast was even throughout, but a powerhouse performance by Maddison Coleman as Rusty deserves special mention. Her interpretation of Let’s Hear it for the Boy was excellent as was her earlier song, Somebody’s Eyes, where she led the female trio. What a voice! Equally impressive was Maverick Newman in the dorky comic role of Willard Hewitt. His initial attempts at dancing were particularly funny.

There were a few late mic cues during Act 1 but, overall, technical production was fine. Tasteful and meaningful 3D projections enhanced the set, lighting was slick and effective and the small on-stage band was tight and accurate. Sound, although occasionally balanced in favour of the band rather than the vocals, was clean and solid allowing clear amplification of both spoken word and sung lyrics.

The required drawling accents at times became overly strident, which resulted in a lack of clarity with diction, but small quibbles apart, this was an enjoyable evening of high-quality musical theatre that was enthusiastically enjoyed by an appreciative audience.