Memphis

Bryan Fenkart as Huey

Book & Lyrics by Joe DiPietro
Music & Lyrics by David Bryan
Directed by Christopher Ashley
Musical production by Christopher Jahnke
Choreographed by Sergio Trujillo
Performed by Bryan Fenkart and Felicia Boswell et al.
Toronto Centre for the Arts, Toronto
December 6 to 24, 2011
Reviewed by Mary Alderson

In the Centre of the Radio Dial

Even though it’s based on a true story of a Memphis disc jockey in the 1950s, the musical Memphis is truly original. The high energy cast, witty dialogue and music combining rhythm and blues and rock and roll make it easy to see why the show won the Best Musical Tony award on Broadway in 2010.

Currently playing at the Toronto Centre for the Arts, the show is selling out quickly to very appreciative audiences.

The story starts with Huey Calhoun (based on real life DJ Dewey Phillips) visiting an all-black night club, where he’s not welcome. Huey, enjoying the music, becomes a regular and some of the patrons and staff learn to trust him. Huey finagles a job as a radio DJ, and plays the back music, scandalizing his employer. But they soon learn that the young whites love the “race” music and Huey’s program, in the centre of the radio dial, becomes very popular, with his nonsensical catch-phrase “Hockadoo!”

Huey falls in love with a beautiful black singer, Felicia, and fulfills his promise of getting her voice on the radio. But she is beaten by white vigilantes for being seen with a white man, their relationship going against the norms and even the laws of the day. Huey hosts a TV show with all black dancers – and he is given the chance to have a national program if he drops his dancers and changes to white dancers. But Huey remains loyal to his cast, and also to his city, singing about his love of Memphis. In the meantime, Felicia’s popularity grows and she moves to New York for a recording deal. Huey refuses to go with her, even though they could be open about their relationship if the lived in the north.

A love story fraught with prejudice and racism is developed through the use of music and we are living the creation of rock and roll. “Rock and roll is just Negro blues sped up,” we are told.

Bryan Fenkart is very good as Huey. We travel the journey with him, starting as a young idealist who refuses to see colour differences, to his coming of age and coming back even after the harsh reality beats him down.

Felicia Boswell is excellent as Felicia. She has a rich, powerful voice and the variety of songs – rhythm and blues, gospel, ballad and rock – allows her to show off her impressive range.

The audience loves Julie Johnson who plays Huey’s mother with attitude.  Her powerful voice offered great emotion. 

The script is written by Joe DiPietro, known for his humour in plays such as Over the River and Through the Woods, and I Love You, You’re Perfect, Now Change. His witticisms are evident throughout Memphis, but he also knows how to pull our heartstrings with the doomed, cross-race love story.

The vocals and dance are excellent, the story is well-told and it is easy to see how this show took the best musical Tony. Certainly well worth the trip to Toronto, or even New York.

Memphis continues at the Toronto Centre for the Arts (formerly the North York Centre), which is easy to find – just a few blocks north of the 401 on Yonge Street. There’s underground parking as well as a parking lot in back. For tickets, call Dancap at 416-644-3665 or go online to www.dancaptickets.com.

Cinderella

By Richard Rodgers and Oscar Hammerstein II
Directed by Heather Davies
Musical direction by Ryan De Souza
Choreographed by Kerry Gage
Performed by Alessia Lupiano, Kyle Golemba, Rebecca Poff, Steven Gallagher, et al.
The Grand Theatre, London
November 23 to December 31, 2011 **Held over to January 7, 2012
Reviewed by Mary Alderson

When a Fairy Tale Comes to Life

The classic fairy tale, Cinderella, comes to life on the Grand’s stage, and it looks just as you had always pictured it in your mind. Sets are lively and colourful and costumes are extravagant and beautiful. The story is true to the fairy tale with some humour thrown in. This production keeps children enthralled and adults interested.

Set designer Bill Layton describes the set as a delightful mix of Art Nouveau, Baroque stage design, European folk art, early French Impressionism and a smattering of magic. In this case, the magic is the best feature – with a pumpkin travelling around the stage, which transforms into a golden coach. The show opens on the main street of a quaint French village, reminiscent of the opening scene in Beauty and the Beast. Other magic includes human-sized adorable mice, a cuddly giant kitty cat, and proud, prancing horses!

Costumes are equally delightful: it’s a mix of modern and traditional fairy tale. Prince Chris (AKA Prince Charming) shows up incognito in a leather jacket with a scarf tossed around his neck, but later appears at the ball in proper prince attire. The mean stepmother goes shopping in her leopard fur coat, beehive hair-do, and Jackie Kennedy sunglasses, but later also dresses fairy-tale style for the historic ball.

The humour of the show comes from two characters – Jenny Hall as Joy, one of the ugly stepsisters and Steven Gallagher as Lionel, the Prince’s steward. Both these actors have superb comedic timing and provide laugh out loud moments every time they’re on stage. Hall is hilarious as she tries to cram her foot into the tiny glass slipper and as she bickers with her sister Grace played perfectly by Jennifer Stewart.

Gallagher sets the tone for fun with his song “The Prince is Giving a Ball”. His handling of the flirtatious step-mother, played by Susan Henley, is hilarious. Henley also supplies laughs as she hyperventilates about getting her daughters married off. She imparts her wisdom to her two ugly daughters, such as “Money doesn’t grow on trees, it’s inherited.”

New to the stage, Alessia Lupiano is a sweet little Cinderella, and Kyle Golembo as the Prince brings his charming good looks.

Rebecca Poff is a Fairy Godmother with attitude, and her rich singing voice is wonderful. Keith Savage as the King keeps us amused as he is trying to fit into his formal clothes for the ball. Robin Hutton as the Queen is delightful – she’s just another mother trying to find the right date for her son.

Credit for putting this fairy tale package together goes to director Heather Davies and choreographer Kerry Gage. It was so much fun to see all the little girls in the audience dressed in princess gowns and sparkling tiaras. This amazing spectacle will be one they always remember.

Cinderella continues at the Grand Theatre, London until December 31. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593 or visit www.grandtheatre.com.

The Wizard of Oz (Panto)

From the book by L. Frank Baum, adapted by Lorna Wright and Nicholas Hune-Brown
Directed by Tracey Flye
Musical direction by Steve Thomas
Choreographed by Mark Kimelman
Performed by Dan Chameroy, Jessica Holmes, Elicia MacKenzie, Yvan Pedneault, Ross Petty, Kyle Blair, Eddie Glen, Steve Ross et al.
The Elgin Theatre, Toronto
November 25, 2011 to January 6, 2011
Reviewed by Mary Alderson

“A Wickedly Wacky Family Musical”

If you’re a Wizard of Oz fan, you need to pay close attention to Ross Petty’s panto version, now on stage at Toronto’s Elgin Theatre. It strays away from L. Frank Baum’s book and wanders far from the Judy Garland movie version. It even makes the Broadway prequel, Wicked, seem ordinary.

Dorothy isn’t from Kansas anymore. In fact, she’s from Toronto – she’s a dedicated snowboarder and one tough girl who doesn’t suffer fools gladly. Which makes it difficult to be carried away to the Land of Oz, but she is totally surrounded by fools.

Those fools include Air Farce’s Jessica Holmes as Splenda the Good Witch. Holmes is hilarious as the narrator/hostess with a speech impediment. She also showed her improv skills in the production I saw, when she had to deal with an extra child who arrived on stage uninvited.

On Dorothy’s arrival in Oz, she’s met not by Munchkins, but by Aussies, of course. (Turns out, the Munchkins are all the kids in the audience.) The Aussies, according to script, are just a bunch of ethnic stereotypes in the Land of Oz

This production has the tin man doubling as a miner who is also Dorothy’s love interest. For Toronto theatre fans, this reunites Elicia Mackenzie and Yvan Pedneault who starred together in Rock of Ages. Mackenzie became well known when she won the TV show “How do you solve a problem like Maria” and took the lead role in the Sound of Music. Pednault starred in the Queen show, We Will Rock You.

Stratford actor Dan Chameroy reprises his role as Plumbum, a character he’s played in past pantos. Here Plumbum is Dorothy’s super cool Aunt, who is carried to Oz from Toronto in an outhouse. Another panto favourite is Eddie Glen who plays the Wizard. He’s a cross between Ozzy Osborne and Austin Powers, and as funny as Mike Myers.

Kyle Blair is a wonderfully brainless Scarecrow named Fig Newton. Blair delights with his shaky legs, tumbling about the stage while Steve Ross is excellent as the cowardly Lion.

The annual Christmas panto is the brain child of producer Ross Petty, who also plays the villain each year. The audience loves to hate him and he relishes the boos and hisses that come his way. Petty’s been putting on the panto for 16 years, taking a favourite familiar story, and making it strange and funny. This year, he is the evil Wicked Witch of the West, plotting and scheming against Dorothy.

Petty also gives more brand name promotion to their sponsors than most theatre productions. In fact, the shows characters promote the sponsors in filmed commercials that are projected on the big screen – and these are just as funny as the show. Aunt Plumbum and Dorothy go shopping at Sears with their Mastercard, and the Scarecrow and Lion spend the night in luxury at the Royal York. Later Eddie Glen explains how he makes a living delivering the Toronto Star between shows. Glen pitches the newspaper with great accuracy at the Wicked Witch. We also see Dorothy and her friends romping through Lowes as she plans her home renovations. Toto and the Lion enjoy a drink of water from the convenient Lowes toilet bowls.

The show includes absolutely none of the familiar Wizard of Oz songs, but instead the cast rocks out today’s pop music.

It’s a Toronto-based show and pokes fun at some Toronto icons. For example, when Mayor Rob Ford is carried away in a blizzard, the audience cheers — which begs the question: who voted for him anyway?

The panto is a family favourite, with lots of fun for the kids who get to yell out to Splenda the good Witch and boo at the Wicked Witch. Just enough slightly naughty jokes are included to keep the parents and grandparents laughing. Go for the corny jokes and don’t expect anything profound.

If you’re feeling confused and want to get back to the basics after seeing this version of Wizard of Oz, remember that the “real” story is on stage now in St. Jacobs.

The Wizard of Oz continues at the Elgin Theatre, Toronto until January 6. Tickets are available at www.ticketmaster.ca or by phone 1-855-599-9090.

The Wizard of Oz

Book by L. Frank Baum
Music & Lyrics Harold Arlen and E. Y. Harburg
Directed by Adam Furfaro
Choreographed by Linda Garneau
Musical direction by Peter Aylin
Performed by Amy Wallis, Stephen Roberts, Nick Settimi, Jonathan Whittaker, Jackie Mustakas, Brian McKay, et al (with Tilley as Toto).
Drayton Entertainment Production
St. Jacobs Country Playhouse, St. Jacobs
November 16 to December 18, 2011
Reviewed by Mary Alderson

And Your Little Dog, Too!

Pack up the kids and follow the yellow brick road to St. Jacobs for a visit to the Emerald City. The Wizard of Oz, now running at St. Jacobs Country Playhouse is a great family show – it has an engaging adult cast, an enthusiastic children’s chorus and best yet, an adorable real live Toto. In fact, Tilley who plays Toto, has an impressive bio in the program. A Norfolk terrier, she is reprising the role she played two years ago at London’s Grand Theatre, and continues to have audience appeal, getting “aaahhhhhs” every time she trots across the stage.

The story is well known, thanks to the 1939 movie. Dorothy runs away from home with Toto, afraid of the nasty old neighbour, Miss Gulch. A tornado hits Kansas, and Dorothy is swept away to the Land of Oz – or is she just dreaming after a bump on the head? She goes on a quest to return home, and finds new friends, Scarecrow, Tin Man and Cowardly Lion. Together they seek out the Wizard to help her get back to Kansas.

Amy Willis plays a feisty Dorothy. Wallis comes to the role, having played Anne of Green Gables in Charlottetown, making her Dorothy as mischievous as Anne.

Stephen Roberts is hired hand Hunk and The Scarecrow with spaghetti legs and a wonderful ability to tumble. His acrobatic skills make it easy to believe that The Scarecrow suddenly comes to life

The Tin Man and Hickory are played capably by Jonathan Whittaker, while Nick Settimi is Zeke and a hilarious Cowardly Lion, complete with the Snagglepuss voice.

The beautiful Jackie Mustakas is wonderfully horrible as the homely Miss Gulch and the hideous Wicked Witch. In fact, with her green face, poor posture and screeching voice she is not recognizable. It’s a good thing her own two children as part of the ensemble – if they had just dropped by the theatre to see the show, they would not know their own mother.

Brian McKay is a delightful Professor Marvel, sharing his hotdog with little Toto, and later plays the Wizard with warmth – the audience loves him despite the fact he’s a humbug.

The set is the only disappointment in the show. It opens in a straggly corn field and one wonders if the tornado has already gone through. Other times, they rely on painted backdrops, some of which are wrinkled. Thankfully excitement is added with the tornado, when the house, a cow, Miss Gulch’s bicycle and an assortment of other pieces of Kansas go flying around.

This is a show that children will enjoy – Dorothy and her trio create fun, while the Witch offers a bit of a scare, and the chorus keeps the show moving along. Of the 50 or so children in the ensemble, 16 to 18 are rotated into the show for each performance. The local youngsters keep the show interesting, and make it truly a family experience.

The Wizard of Oz continues with eight shows a week until December 18 at St. Jacobs Country Playhouse. Tickets are available at Drayton Entertainment at 1-888-449-4463, or check www.draytonentertainment.com

Mary Poppins

Rachel Wallace as Mary Poppins

Book by Julian Fellowes
Music & Lyrics by Richard M. Sherman and Robert B. Sherman
New songs, music and lyrics by George Stiles and Anthony Drewe
Directed by Richard Eyre
Co-direction & choreography by Matthew Bourne
Performed by Rachel Wallace, Nicolas Dromard et al.
Disney and Cameron Mackintosh with Mirvish Productions
Princess of Wales Theatre, Toronto
November 12, 2011 to January 8, 2012
Reviewed by Mary Alderson

Poppins Production Practically Perfect

The wind blew, the lightening crackled, and a new nanny popped in to the Princess of Wales Theatre on Toronto’s King Street. The Broadway tour of Mary Poppins has arrived in Ontario and, making it even more special, there are a dozen Canadians in the cast. I saw this production of Mary Poppins last Christmas in Detroit and at that time I was delighted to find five Canadians in lead roles. The increased Canadian content thrilled the Toronto audience on opening night November 12.

The plot of this musical production is an improvement over the 1964 movie. We still have the story of the very self-assured nanny, Mary Poppins, who comes into the Banks household to straighten up the bratty Jane and Michael. Their father is a miserable, cold grump and their mother is overwhelmed with trying to improve the situation. Writers have gone back to the original books published in the 1930s and added more magic to the story, which is narrated by chimney sweep and Jack-of-all-trades, Bert. Nicolas Dromard is a wonderful Bert, nearly stealing the show in front family and friends. Originally from Ottawa, Dromard delights the audience with his amazing walk up the wall, then tap dancing his way, upside down, across the proscenium arch, and then walking down the other side.

Blythe Wilson as Mrs. Banks shows the mother’s unhappiness and then brings the character into her own with feistiness by the show’s end. Wilson’s voice is beautiful, and she gives a touching rendition of “Being Mrs. Banks.” She has a lengthy list of credits, most recently playing the Baroness in Toronto’s Sound of Music, as well as key roles at the Stratford Festival. Unfortunately, you won’t be able to see Wilson as Mrs. Banks in Toronto – she leaves this week to go to New York, to take over the role on Broadway.

Wilson and her husband, Mark Harapiak, were looking forward to spending Christmas together at their Toronto home, after two years on the Mary Poppins tour, but she can’t turn down the Broadway opportunity. Harapiak brings comedy to Mary Poppins as the Park Keeper, having great fun with the role. You may remember Harapiak as King Arthur in 2009’s Camelot at Huron Country Playhouse, and also the Broadway tour that came to London’s JLC. As well, he was Coach Bolton in High School Musical in Grand Bend and St. Jacobs.

Laird Mackintosh joined the tour after playing Mr. Banks on Broadway, and has appeared in numerous Toronto shows and at the Stratford Festival. Like Mrs. Banks, he transforms during the show, changing from a wretched, detached father to a much kinder man.

Michelle E. White plays a Caribbean-flavoured Mrs. Correy at the delightful word shop in the park where Mary Poppins and Bert take Michael and Jane to improve their vocabularies. The word of the day is, of course, supercalifragilisticexpialidocious and the ensemble does a lively, choreographed sign language version of it.

Valerie Boyle brings humour to the role of the housekeeper Mrs. Brill. Boyle left the Broadway production to be at home in Toronto. She will be remembered for her performance as Sophie Tucker at Victoria Playhouse in Petrolia.

Janet MacEwen as the rag-tag bird woman shows the wide range of her beautiful voice in Feed the Birds. MacEwen, a long-time star of Canadian stage, moves the audience with her poignant “tuppence, tuppence”.

Other Canadian cast members include Josh Assor who shows off amazing dance skill as Neleus, the statue that comes to life; Eric Coles as the hapless Northbrook whose business benefits from Mr. Banks’ bank; Cory O’Brien who is a policeman and part of the ensemble; Sam Strasfeld who has the difficult job of swing, stepping in for cast members who are off; and young Camden Angelis who alternates in the role of Jane Banks.

Rachel Wallace is indeed, practically perfect as Mary Poppins, playing the proper nanny with just the right mix of primness and mischief. Her final fly across the audience brings cheers and smiles from all.

Mary Poppins is indeed a children’s show, but there is so much going on here – wonderful singing, amazing dancing, colourful costumes, interesting set changes (Bert comes out with his broom to move set pieces, such as the Banks house which resembles a pop-up book, as he narrates the tale) – that adults will also be charmed. Make the trip to Toronto before January 8 when the tour moves on.

Mary Poppins continues at the Princess of Wales Theatre, Toronto until January 8, 2012. Tickets are available www.mirvish.com or call TicketKing at 416-872-1212 or 1-800-461-3333.

To Master the Art

By William Brown and Doug Frew
Directed by Susan Ferley
Performed by Sarah Machin Gale, Geoffrey Whynot, Emily Andrews, Matt Bois, Leanna Brodie, Burgandy Code, Eric Frank, Thomas Hauff, Geoff Kolomayz, Jane Miller.
Grand Theatre, London
October 18 to November 5, 2011
Reviewed by Mary Alderson

Bon Appétit

Take one imposing actress playing a formidable character, add nine cast members, fold onto an interesting set, stir in a stimulating plot, and sprinkle with witticisms. That’s the recipe London’s Grand Theatre is serving: To Master the Art.

It’s the story of Julia Child and the writing of her famous cookbook, Mastering the Art of French Cooking. The play opens with the Julia and her husband, Paul’s, arrival in France in 1948. Paul introduces her to fine French cuisine and she is completely smitten. Paul works for the U.S. State Department, so Julia attends Le Cordon Bleu cooking school and becomes adept at French cooking. After 10 years of writing and testing recipes, eventually she and her co-author publish the legendary cookbook.

The story also includes subplots about the Childs’ joie de vivre, their intriguing past as possible wartime spies, their fascinating friends, her uncaring father, their political leanings, and the nastiness of McCarthyism, all of which make it an interesting tale. Letters from Julie’s father, friends and publisher are read aloud, with the sender on stage beside the recipient, closing the gap of time and distance between correspondents.

Julia’s witty repartee is evident throughout: when she feels jealousy towards a hostess who greets Paul warmly, she points out that Joan of Arc was burned at the stake, adding “It’s never too late to revive an old French custom.”

Sarah Machin Gale commands the stage as Julia Child, and well she should! She portrays the awkward mannerisms with the trade mark voice and unusual speech patterns very well. Julia, at over six feet tall, was a daunting character, and Machin Gale splendidly makes that clear. She also handles Julia’s witty lines perfectly, with excellent comedic timing.

Geoffrey Whynot is a doting Paul and Jane Miller is a rude Jane Foster. The rest of cast deserves credit for handling multiple roles very well – one forgets that there are only seven as they keep showing up in very different incarnations.

French is used often throughout the performance, and again the cast does well to remember lines in two languages. But even if you didn’t understand any French, I think you would still grasp the intent of the dialogue.

Anyone who enjoys gourmet cooking, an endearing love story and historical intrigue will appreciate this play. C’est un spectacle très intéressant!

To Master the Art continues at the Grand Theatre, London until November 5. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593 or visit www.grandtheatre.com.

Private Lives

By Noel Coward
Directed by Richard Eyre
Performed by Kim Cattrall, Paul Gross, Simon Paisley-Day, Anna Madeley, Caroline Lena Olsson
Royal Alexandra Theatre, Toronto
Mirvish Productions
September 25 to October 30, 2011
Reviewed by Mary Alderson

Due South meets Sex in the City

Just head Due South to Sex in the City – and war will break out when you hit Private Lives. That’s what happens when Paul Gross and Kim Cattrall get together.

You know all those carefully choreographed battle scenes you’ve marvelled at on stage at the Stratford Festival? How they swing those shining swords, fall down and not get seriously injured?

Well, Stratford’s Shakespearean wars have been trumped. Private Lives has the most amazing stage fight I’ve ever seen, and yes, I predict someone – Gross or Cattrall – is going to get hurt.

Paul Gross

The two Canadian stars are remarkable together. There is chemistry when they first kiss, but more tantalizing is their “anti-chemistry”: the way they fight. Gross is best known as the affable Mountie in the popular TV series Due South, while Cattrall is the seductive Samantha in Sex in the City.

Kim Cattrall

In Private Lives, now on stage at Mirvish’s Royal Alexandra in Toronto, Gross plays Elyot while Cattrall is Amanda. The couple was once married to each other, but when the show opens they have been divorced for five years. They are both honeymooning at a resort in the south of France with their new spouses, when they see each other on the next balcony. Their old passion is rekindled and they decide to run off together to Amanda’s Paris flat, leaving their new partners Victor (Simon Paisley-Day) and Sybil (Anna Madeley) behind.

In scene two, we find Elyot and Amanda lounging in her intriguing art-deco apartment. The set itself garners applause when the act opens. It’s an underwater themed room, with a bed in the centre and lounging couches on either side. A grand piano is covered with silver framed photos, and two large wall shelves are crowded with chrome knick-knacks. The most amazing goldfish bowl – well, a series of stacked bowls, in fact, are lighted and filled with real swimming goldfish.

It’s no surprise when a fight breaks out between this stormy couple and in the battle royal, the fascinating set is basically destroyed. The knick-knacks are scattered and even the elaborate gold fish bowl is damaged. I won’t tell you how the war ends – no spoiler here.

Gross and Cattrall go at each other like it’s their job. Their fight is a choreographed marvel. He is 52, she is 55: they demonstrate great stamina, and they are expected to repeat this display eight times a week. They both appear to be in excellent shape and the twists and turns in the epic battle are hilarious.

Domestic violence is not entertaining, but somehow they pull it off without becoming offensive. In fact, their battle is so ridiculous, that they satirize violence by making it look ludicrous. Like the 1989 black comedy movie, War of the Roses, where Mike Douglas and Kathleen Turner destroy a mansion, it shows the worst in marital battles, to the point that the whole thing is preposterous.

Gross has a wonderful charisma and of course, his charming good looks are accentuated by his debonair 30’s style jacket, tie and pleated pants. He has expert comedic timing and tosses off the Coward witticisms with perfect “flippancy”. Cattrall is a firecracker on stage; your eye can’t wander away from her. Fresh from appearing in the same show in London’s West End, she has perfected her English accent and mannerisms. Her energetic performance is great entertainment. The two supporting actors are excellent: Paisley-Day as the blustering Victor and Madeley as the chattering and stubborn Sybil. Caroline Lena Olsson is a hilarious French maid, sneezing over breakfast as she carries the food in on a tray.

I hope audiences will attend to enjoy the timelessness of a Noel Coward comedy, but I expect some will attend only for the star attraction of the two lead players. In fact, the opening show audience was anticipating Cattrall, and so they applauded when a blonde walked out – but it was actually Madeley as Sybil … how embarrassing. Those balconies in the Royal Alex are a long, long way up, so the mistake in identity is forgivable.

The dialogue is clever and with these two actors it’s a great show. It was a pleasure to watch Paul Gross again, after seeing him as Hamlet in Stratford about 10 years ago. I am also a big fan of his WWI epic movie Passchendaele. And of course, Kim Cattrall’s reputation precedes her, so it’s exciting to see her live. She is much more than just Samantha with a British accent.

Private Lives is a delightful Coward comedy, written in 1930. Despite being more than 80 years old, the love-hate story is still timely. An old episode of the TV sit-com Frasier is based on Private Lives, where Frasier goes on vacation, only to find his ex-wife Lillith next door. Whether it’s Elyot and Amanda or Frasier and Lillith, the battle of the sexes never ends.

Private Lives continues at the Royal Alexandra until October 30, and then moves to Broadway. For tickets, call TicketKing 416-872-1212 or 1-800-461-3333 or go to www.mirvish.com

Footloose

Stage adaptation by Dean Pitchford and Walter Bobbie
Lyrics by Dean Pitchford
Music by Tom Snow, and Eric Carmen, Sammy Hagar, Kenny Loggins, Jim Steinman
Directed by Heather Davies
Choreographed by Amy Wright
Musical direction by Floydd Ricketts
Performed by London & Area High School Students
Grand Theatre, London
September 20 to October 1, 2011 (Extra show added Sunday, Oct. 2)
Reviewed by Mary Alderson

Footloose And Fancy Free

There is no lack of enthusiasm and energy when the students take to the stage for this year’s high school project at London’s Grand Theatre.

Footloose is based on a true story of a small town where dancing was outlawed. In this version, like the 1984 movie, the town’s preacher, Rev. Shaw Moore bans dancing after his son is killed in a car accident coming home from a bar. Into this strict, stifling, small town atmosphere, Ren McCormack reluctantly arrives on the scene. He and his mother Ethel move to the town of Bomont to live with her sister, after Ren’s father abandons them. Ren befriends Willard and eventually wins Aerial’s, (the preacher’s daughter’s), affections. In the meantime, Ren also matures to lead a protest against the dancing by law.

Each year, the Grand Theatre holds auditions for London and area high school students – in the fall they produce a musical and in the spring there is play. The students work with a professional director, music director and choreographer. The High School Project is a London tradition providing young people with wonderful experience.

Footloose is a musical and movie known for its dancing, and this production doesn’t disappoint. Credit goes to choreographer Amy Wright for making the dance numbers lively and fun. The opening and closing numbers are high energy and very entertaining. A favourite scene is where Willard learns to dance, played by Ben Cookson with just the right amount of country bumpkin. Willard conquers dance and goes on to win Rusty’s heart. Cookson provides humour when he sings “Mama says”.

For singing skills, the trio of Wendy Jo, Urleen and Rusty, played by Allison Aspinall, Christine McKeon and Olivia Sinclair-Brisbane, is delightful. Also notable for her voice is Rebecca McCauley as Vi Moore, the preacher’s wife, when she sings the moving song “Can you find it in your heart?” Daniel Newton as Rev. Shaw Moore presents a beautiful ballad “Heaven Help Me.”

Andrew Varkaris is very convincing as the nasty tough-guy Chuck, while the lead characters, Gonsalo Arboleda as Ren and Chanel Danbrook as Ariel Moore charm the audience with their chemistry. Their duet “Almost Paradise” is emotion-packed. The rest of cast step up to the plate and perform well in various roles and in the ensemble.

Floydd Rickets, himself a high school project alumnus, is musical director for this production, finding the best in these young people. Congratulations to director Heather Davies for pulling the large cast together and capitalizing on the youthful energy.

Footloose continues at the Grand Theatre, London until October 1. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593 or visit www.grandtheatre.com.