Footloose Steps Up for Senior Production
The Senior production of Footloose wasted little time finding its rhythm in Elliot Hall. That confidence allowed the story beneath it to come through.
On the surface, the narrative follows the rebellion of teenagers. Director Erin Meek digs deeper, describing it as “a story about people trying to understand each other… where empathy, growth, and joy all start with listening.” That idea sat firmly beneath the movement and music, giving the production weight.
Across the dual casts, the principal roles were handled with assurance. Luka Urlich’s Ren McCormack anchored the narrative with a steady presence on stage. Ariel Moore, portrayed by Violet Taylor and Sophie McIndoe, was given two distinct interpretations, each balancing strength with vulnerability. McIndoe reflected on the role as an opportunity to explore “the fiery yet sensitive teenager she is.”
In the second cast, Leo Luo’s Rev Shaw Moore was a standout. His performance was measured and grounded, allowing the character’s internal conflict to sit just beneath the surface. It was a portrayal that felt considered rather than imposed.
While the leads gave the story its shape, the ensemble gave it its pulse.
The larger numbers, particularly Footloose, were where the production found its full voice. There was a looseness to it, fittingly, a sense that the cast trusted the moment enough to enjoy it. That translated and the audience felt it.
Behind it all sat a live band that did far more than accompany. Under the direction of Head of Music Nate Collings, the show band was present in every scene, lifting transitions and driving momentum. As noted in the programme, their “energy and talent drive the heartbeat of this production.”
The production was equally assured. A cleverly modular set developed by staff Glen Mortensen and Garth Horsnell allowed of town of Bomont to shift seamlessly from church to school to dance hall without breaking rhythm. It kept the story moving, never overcomplicating what was already working.
What emerged across the four nights was a production that understood its own balance. High energy without losing control. Humour without undercutting its message. A cast willing to lean into both the fun and the discomfort the story demands.
As Luka put it, “Moments of stress, laughter, and triumph have truly formed this production into something marvellous.”
And perhaps that is what stuck. Because in the end, it was never just about dancing.
