Footloose the musical … is not a very good musical. It is campy to the point of cringe. The story shifts wildly between overtly self-serious and goofy. And the book is dated to the extent that, in the wrong hands, it could come off as tone-deaf. That said, NextStop Theatre Company’s production of Footloose is a high-energy, vibrant, and fun evening set to a nostalgia-tinged soundtrack. (And I did wear cowboy boots to this production.)
As we arrive, we are asked to share the songs that defined our high school years by writing them on sticky notes and sticking them to the wall. From the moment the band strikes up the title number, the cast beams with enthusiasm and energy, and the fun they’re having is contagious.
The musical, based on the 1984 movie of the same name, is itself based on a true story. Chicago transplant Ren McCormack, here played by Jeremy Allen Crawford, arrives in small town Bowmont to discover the town has an ordinance against dancing, because religion. The teens in the play go on to petition the council to overturn the ban. Remember how I said this play is dated? This type of thing doesn’t even surprise us enough to be called news today.
Crawford, with charm and eagerness, anchors the production with strong vocals, portraying Ren as awkward and clownish rather than brooding, and he delivers exceptional athleticism in songs like “I Can’t Stand Still.” Brigid Wallace Harper shines as Ariel with her charisma and vulnerability, bringing down the house with “Holding Out for a Hero.”
Kimberly Camacho (Rusty) is one of the evening’s highlights. Rusty is a role that’s easy to overlook, but it has the potential to carry the show with “Somebody’s Eyes” and “Let’s Hear It for the Boy.” Leading the adult characters, Carolyn Burke (Ren’s mom, Ethel), Jennifer Redford (Vi), and Brent Stone (Reverend Shaw) all bring a much-needed balance to their roles, offering a refreshing contrast while the rest of the cast embraces the energy of teenage hormones. This approach works well, and their performances provide pleasant breaks from the high intensity of most of the production.
And given the small space, that high energy does occasionally feel cramped, especially when the entire cast is on stage. Choreographer Stefan Sittig nonetheless has some fun moments, particularly in the pieces with fewer performers. “Somebody’s Eyes Are Watching” makes good use of the space, embracing the elevation of the multi-level set. And using the performers to model the car in the opening number was a fun touch.
Jack Golden’s set works on an industrial style that flips effectively whether it’s a church, a restaurant, or a bridge overlooking a river. Music Director Lucia Lanave has played to every performer’s strength, adjusting the band and vocal ranges so that each musical performance has a chance to shine. Along with Kenny Neal (sound design and Helen Hayes winner), the space and music feel comfortable to listen to, despite some unfortunate technical issues from what seemed to be aging music speakers.
Footloose the musical can easily be done poorly if approached lazily. Ricky Drummond has spoken previously of how he approached this musical with the intention of letting it speak for itself, but there are some decisive choices made that improve the work. The teenagers in the story are represented with a childish defiance, the adults with patient maturity. Some major problematic topics are softened or addressed — thank you for pivoting on the “Rap” btw (IYKYK). Ariel is brought in as a third for “Learning to Be Silent,” usually a duo between Vi and Ethel, adding an additional layer to highlight a paternalistic environment they’re all trapped in. (Although it’s wild that this song exists in this play and the only women-led songs afterward are “Let’s Hear It for the Boy” and “Holding Out for a Hero.”) Because of these choices, audiences can focus instead on the fun moments and celebrate this cast and crew’s talents.
I look forward to seeing this exceptionally talented cast and crew in future shows, but please no more Footloose. This show was a late addition to the season, and the last production selected by the outgoing artistic director Evan Hoffman, hoping to “embrace joy and silliness” during a challenging year. New artistic leader Heather Lanza has announced a season that focuses on change and embracing a world in transition, something Virginia and NextStop audiences can look forward to. Footloose at NextStop, in the meantime, allows for a raucous and fun conclusion to the Hoffman era.
Running Time: Approximately two hours and 30 minutes, with a 15-minute intermission.
Footloose plays through June 8, 2025, at NextStop Theatre Company, located at 269 Sunset Park Drive in Herndon, VA. Tickets, priced at $55 with a $2 convenience fee, are available for purchase online or by calling the box office at (703) 481-5930, extension 1. For more information, email BoxOffice@NextStopTheatre.org.
The program is available here.
Footloose
Stage Adaptation by Dean Pitchford & Walter Bobbie
Based on the original screenplay by Dean Pitchford
Music by Tom Snow; Lyrics by Dean Pitchford
Additional Music by Eric Carmen, Sammy Hagar, Kenny Loggins & Jim Steinman
Directed by Ricky Drummond
SEE ALSO:
NextStop Theatre Company announces 2025/26 season (news story, May 8, 2025)
