Footloose As Presented by Trinity Musical Theatre

Public Adjudication 

Trinity Musical Theatre 

Footloose 

Thursday 28th November 2024 

This season appears to be turning into a celebration of the 80s, with shows such as ‘The Wedding Singer’ and ‘Rock of Ages’ getting plenty of outings. Trinity Musical Theatre continued the trend with their production of ‘Footloose’ at Griffith College. As a show, the script may lack substance and its premise may be a little far-fetched. However, the tale of one teenager’s crusade to overturn a smalltown ban on dancing is stuffed full of enough iconic 80s tunes, great dance numbers and comic opportunities, that it more than makes up for its lightness of plot. Trinity Musical Theatre capitalised on all these positive elements to produce a lively, exuberant production which was very entertaining but, unfortunately, let down quite a bit by its technical elements. 

This was Trinity Musical Theatre’s first time to produce a show in Griffith College and they will have learned a lot from the experience. The venue is not a dedicated theatre space but more of a lecture hall facility. Access to the auditorium was through a door at the back of the stage and patrons had to walk across the stage area to get to their seats. Front of house personnel were welcoming and all seemed in order as the audience arrived for this opening night performance. 

Conor Lawler made his directorial debut and he will have learned a huge amount to carry forward to his next theatrical venture. The simple set, with its open playing space and raised platform area, allowed for lots of options with the staging. This simplicity was used well by Mr. Lawler, allowing the show to flow without the intrusion of cumbersome set changes. Blocking was effective for the most part and there was good pace generally. Themes of grief and teenage rebellion were well played and the more sensitive, emotional scenes were beautifully realised. 

Philip Walshe did a fine job as musical director, getting a good sound from his band which captured the driving energy of the show’s classic 80s numbers and their clever arrangements. There was great work done with harmonies. The church choir at the top of the show sounded superb. Unfortunately, the band was too loud in places and vocals were drowned out, particularly in the more upbeat numbers where bass and keys were too high in the mix. Principal vocals were of a very high standard. 

Muireann Carey did well as choreographer, devising well-rehearsed and lively routines in a variety of different styles. From the exhilarating opening number to the energetic finale, every number was performed with gusto by a young, committed cast who were enjoying every moment on stage. ‘Holding Out For A Hero’ was an emotionally charged routine with great life and precision. ‘Let’s Hear It For The Boy’ was another standout sequence with great synchronisation from all involved. The energy that bounced off the stage in the ‘Footloose’ finale was simply infectious. 

Senan McCloskey played the lead role of Chicago teen, Ren, who moves to bible-belt Bomont after his parents’ divorce and takes on the Town Council in an effort to have the local ban on dancing overturned. Mr. McCloskey was charming but with a defiant edge and attitude that balanced perfectly with his likeability. He was at his very best when acting and had a really strong understanding and delivery of text. Mr. McCloskey had a good voice but struggled with his upper register on the night that I attended. Ren’s big solo, ‘I’m Free’ had the required passion and angst but lacked the higher vocal range necessary. His confrontation with Reverend Shaw in Act 2 was brilliantly played, with emotion that was most believable. 

Rachel Reid played Ariel, the rebellious preacher’s daughter who longs to escape Bomont and its overbearing restrictions. Ms. Reid was a fine actress with superb diction and a really good delivery of dialogue. She had a lovely emotional range, drawing us into her complex story of grief, rebellion and, ultimately, hope. She had an excellent voice, at her best in ‘Holding Out For A Hero.’ Her trio, ‘Learning To Be Silent,’ with Vi and Ethel, was one of the vocal highlights of the night. 

Eoin Daly was one of the standout performers of the show, playing Reverend Shaw Moore. He was very believable as the overprotective, smalltown minister, his strict exterior hiding the deep hurt caused by the loss of his son. He displayed a fine baritone voice in ‘Heaven Help Me.’ His final sermon, full of humility, was moving and from the heart. 

Juliet Hill delivered a beautifully sincere performance as Vi, the stifled preacher’s wife. We knew that she was broken-hearted at the loss of her son and struggling to support her remaining child without going against her husband. A skilled actress, Ms. Hill also had a most beautiful singing voice. Her ‘Can You Find It In Your Heart?’ was very moving, sung with a heartfelt vocal as she pleaded with Reverend Moore to reconsider. 

Carla Moran was an exuberant Rusty, bringing levity and fun to proceedings. Her acting was solid and diction was strong. Where Ms. Moran really shone though was with her incredibly powerful singing voice which left many jaws on the floor. She had a super range and wonderful confidence. Her performance levels were off the charts as she sang. ‘Let’s Hear It For The Boy’ was a musical highlight of the show. 

Isaac Casey was very funny as the slow-witted, socially awkward yokel with two left feet. His journey through ‘Let’s Hear It For The Boy’ was perfectly judged, as he transformed into quite the mover by the end of the number. I loved Mr. Casey’s fabulous country voice which was perfectly suited to the excellently performed ‘Mama Says.’ He had great comic timing but balanced this levity with the darker side of Willard’s character. 

There was an incredible strength in depth amongst the female vocalists in this show. Connie Angela McGowan as Wendy Jo and Laura Cole as Urleen were two phenomenal singers in their own right. My only regret was that they didn’t have larger roles to showcase their undoubted talents. They were both excellent in their roles, providing great support for Ms. Moran as part of their trio. 

Colm Lombard was a perfect choice for the role of Chuck Cranston, Bomont’s bad boy and overbearing boyfriend to Ariel. Mr. Lombard had great presence as the town bully. You just knew he wasn’t to be messed with. He sang so well too and was excellent in ‘The Girl Gets Around.’ 

Tomás Hartnett and Sean Treacy were suitably jockish sidekicks for Chuck in the roles of Travis and Lyle. 

Willard’s entourage was completed very well by Luke Reid, Senan McGuinness, and Daniel O’Brien as Garvin, Bickle and Jeter, respectively. 

Emma-Jane Nannetti played Ren’s mother, Ethel, with great sincerity and sensitivity. She was a devoted mother, trying to put her best foot forward. But the pain of being abandoned by Ren’s father was still there and Ms. Nannetti played this in a very subtle way. She shone in ‘Learning To Be Silent,’ a standout musical moment in the show. 

Anthony Daly saw his own opportunity to shine in the role of Cowboy Bob and grabbed it with both hands. His ‘Still Rockin’ at the top of Act 2 was a great number, very well performed. 

Channing Kehoe was a very stern Principal Clarke. They had great presence and they brought a great sense of authority to the role. There was strong support too from Megan Bolger and Niall Grogan as Lulu and Wes Warnicker, Emma Murray and Paddy Treacy as Eleanor and Roger Dunbar and Patrick Nyhan as the cop. 

A youthful, energetic ensemble showed great commitment to the show. Their well-rehearsed and performed dancing was uplifting, especially in the opening sequence and the standout ‘Let’s Hear It For The Boy.’ Vocally, this was a very secure show, with excellently performed harmonies which, unfortunately, competed against the band too often. 

Emer Munnelly’s stage management was organised and efficient but felt quite panicky at times as crew almost sprinted on to complete changes. The biggest issue from a stage management perspective was the lack of adequate masking which meant that we could see performers passing back and forth as they tried to get from one side of the stage to another during scenes. 

A very simple but visually appealing set allowed for quick transitions and multiple staging opportunities, with interior and exterior scenes played in what was an open playing space. The stage right church house and stage left barn structures were beautifully finished and framed this playing space very well. The wooden frame, upstage of the rostrum, broke up the black backdrop nicely. 

Lighting left a lot to be desired. It lacked creativity, precision, and any sort of theatricality. The bright, lino-type floor did not help matters, as there was a very strong ‘bounce’ which meant that everything was extremely stark. Cues and transitions were abrupt and jarring with very sudden snaps. On occasion, moving lights intermittently swept across the playing space for no apparent reason. 

Sound was a mixed bag. There were some great sound effects which added a layer of authenticity to scenes. The school bell, car, train, and crickets were all very appropriate and well timed. There were multiple late cues for microphones, suggesting that the operator was not familiar enough with the show or that enough tech time wasn’t available. Mic levels for dialogue, were set far too high. The level and balance of the band needed attention. Individual instruments were far too high in the mix at times, with bass, keys and guitar being the main offenders. 

Props were generally appropriate to the era. We had a nice podium for the Reverend and I liked the well-made protest signs. There were a few missed opportunities, perhaps. It felt strange for the trio at the Town Council meeting not to have any notes, pens, documents, or a glass of water. 

Costumes looked well and were generally suitable for the 80s Hicksville vibe of the show. The ensemble’s red tops and black leather for ‘Holding Out For A Hero’ were a great choice and there was good fun had with the very authentic looking cowboy hats and checked shirts. I felt that there could have been more of a dramatic distinction between Ariel’s more conservative, preacher’s daughter look and her more rebellious side reflected in her costuming.

Hair and make-up were simple but effective, with nothing looking out of place apart from black eyes for Ren and Ariel which did not look natural. 

Trinity Musical Theatre are blessed with some exceptionally talented people and this shone through their show, in spite of some poor technical elements. The energy and commitment from every single person on stage was palpable and I look forward to seeing this very talented company on stage again in the future. 

Pat McElwain 

Gilbert Adjudicator 2024/2025