PACA Productions: Footloose - Review by Benjamin Olivera

If there was ever a show to get your heart racing and your feet tapping, PACA’s Footloose is it. Bursting onto The Concourse stage with the kind of energy that could light up all of North Sydney, this production is a joyous, full-throttle tribute to the undeniable power of dance and the importance of living your true self regardless of tradition. This production was a great reminder for audiences as to exactly why this musical remainsa feel-good favourite for generations.

The direction of this production of “Footloose” brought a clear and confident vision to the production, expertly balancing the show’s high-energy spectacle with its emotional core. It was evident that Kate Gandy and assistant Kaitlin Hillier had a clear understanding of the true meaning of the story and key emotional beats as the pacing was tight whichkept the story moving while allowing these key moments to resonate. Gandy & Hillier drew strong, authentic performances from the cast, blending humour, drama, and heart seamlessly, which is difficult for a plot heavy show, especially a jukebox musical. Their clear and skillful guidance also ensured that every other element in the show worked concurrently in harmony to create a truly memorable theatre experience for all audiences.

Along with strong direction, this show also had a fantastic collection of cast members bringing this story to life from all different walks of life. Cameron Mayhew brought infectious energy and charisma to the role of Ren, capturing the character’s rebellious spirit and underlying vulnerability with ease. His powerful vocals and dynamic stage presence anchored the production, making Ren’s journey both believable and inspiring. Playing alongside him is Emily van Ameyde as Ariel. She delivers a captivating per performance full of sass and emotional depth and an interpretation of Ariel that I have never seen but I think I quite enjoy. Her vocal performance was extremely strong and nuanced, and herchemistry with Mayhew added an engaging layer of tension and tenderness to the story.

Photography courtesy of Grant Leslie

Playing older characters in a show is a difficult task due to the emotional and physical maturity needed to pull it off well, which is why I was so glad to see the 3 key older characters played by performers who possessed the skills, experience and emotional wisdom to execute these roles quite well. Lachlan Leighton is such a grounding presence on the stage, leading the cast well in the town of Bomont as Reverend Shaw Moore. He balanced moments of authority with moments of vulnerability well with skillful acting contrast,ultimately adding weight to the town’s moral struggle and thus adding considerable stakes to the show. Jessica Zamprogno plays the well-behaved yet independent wife very well, bringing a depth and warmth to Vi Moore, portraying a woman caught between tradition and understanding of change. Her performance not only added emotional complexity to the family dynamic but also came with vocals that are absolutely stellar and quite moving.Finally, Julianne Horne plays Ethel McCormack with a heartfelt sincerity but also a clear understanding of the humour that comes along with it. Although a small role, Horne should be commended for her performance as she stood out everytime she graced the stage, and had clearly put thought and preparation into the role.

My absolute highlight for this show, hands down, would have to be the combination of Cassidy Lobb as Rusty, Piper Escott as Urleen & Sophia Duncan as Wendy Jo. These three women know exactly what they are doing on stage, command the vocals with ease, effortlessly tackle harmonies and add a whole lot of charm to this funky little jukebox musical. Lobbhas such a powerful set of pipes which pairs wonderfully with her small-town charm persona that she puts on, making her chemistry with Farrell believable and sweet. When Escott graces the stage, you can do nothing but watch her. The way that she improvises to add to a scene is reminiscent of a seasoned actor, and she has the dance moves and energy to be such a force on stage! Duncan rounds up this trio with a beautiful soprano voice topping off each harmony, and the perfect balance of naivety and sass which is captivating to watch the transformation throughout the show. Keep an eye out for these three, their talent alone is of a level that is worth the ticket price in full.Angus Farrell absolutely shone as the lovable and awkward Willard, infusing the character with warmth and genuine humour. The southern accent that he adopted was near flawless and he perfectly grappled the essence of Willard through both their physicality and comedic timing, whichbrought levity and heart to the show’s lighter moments. On the opposite end of the scale, Daniel Stevenson is your typical macho man as Chuck Cranston, and a highly captivating one at that! He has the smooth dancing, the beautiful tenor vocals and the perfect mix of charm and authenticity in his acting choices. These choices result in Chuck being a multifaceted character that has reasons for being the way that he is, which is often overlooked in productions of ”Footloose”.

Musical director William Yates and assistant Jade Darbywas spot-on and extremely polished, balancing the iconic 80’s pop-rock score with the cast’s vocal strengths. The live band was tight and dynamic, driving the energy forward without overpowering the performers. Yates & Darby ensured smooth transitions between dialogue and song, while the cast delivered strong, confident vocals that brought both power and emotion to every number. The harmonies were also of note in this show, specifically that of the 4 girls. They were clearly very tight and well-rehearsed so the team behind it should be strongly commended on their hard efforts on this mammoth show.

Photography courtesy of Grant Leslie

The choreography, skilfully conceptualised and taught by Arnold Andrews and assisted by Jess Funda was a standout feature of the production, delivering high-energy, precise routines that perfectly matched the iconic music. Every dance number was packed with enthusiasm and flair, showcasing the cast’s impressive athleticism and timing. I must say that there was some energy missing from some numbers, but that is because of how hard the cast had been working already that week and I came towards the latter half of the week. Performing such a big show is no easy feat and the cast and creative team should be extremely proud of the work that they put on stage.

The set design, conceived by Marcelo Zavala-Baeza, was cleverly versatile, capturing the charm of small-town America with minimal fuss and maximum impact. Movable pieces, LED screens and a transforming proscenium allowed for smooth transitions between locations, like the church, high school, bridge and diner; helping ground the story and provide a versatile space with minimal sets. The design struck a smart balance between functionality and visually appealing, keeping the pace brisk without sacrificing atmosphere, and also adding a more modern twist to the 80’s classic.

The costuming, headed up by Erica Williams was fun, vibrant, and era-appropriate, capturing the spirit of the 1980s while giving each character a clear sense of personality. From denim jackets to bold colours and classic gym wear, the wardrobe added authenticity and flair without distracting from the action at hand. It made me want to go out and buy a cowboy hat myself! Truly a new wardrobe essential.

Photography courtesy of Grant Leslie

The sound design in the show elevated the production with polish and precision. Oliver Brighton created a crisp audiomix to ensure that the vocals and dialogue were always clear, while the live band blended seamlessly into the mix without overpowering the performers at all. Lighting cues, thanks to Ben McPharlin were sharp and dynamic, shifting between high-octane dance numbers and more intimate moments. My only wish was that there was more front wash lighting on the performers so I could more clearly see their facial expressions. The vibrant colour washes, spotlights, and well-timed fades, however, helped capture the mood of each scene and added a strong energy to the show's biggest hits.

In a world that often feels a little too serious, PACA’s Footloose is the perfect reminder of how liberating it can be to laugh, sing, and, most of all, dance your heart out. With its infectious energy, stellar choreography and top-tier production values, this show is more than just a night at the theatre, but an uplifting celebration of community theatre. Whether you're a musical theatre veteran or just looking for a feel-good night out, PACA’s production of Footloose at The Concourse is the kind of show that leaves you grinning, humming the tunes, and maybe even planning your next dance break. Don’t miss it! Cut loose and get your tickets while you still can.