An amateur production presented by arrangement with JOSEF WEINBERGER LIMITED
on behalf of R&H THEATRICALS

Ren McCormack: Lyndon Flavell
Ethel McCormack: Sarah Rose
Rev. Shaw Moore: David Gregory
Vi Moore: Liann Ruddick
Ariel Moore: Rachel Davies
Rusty: Anna Hough
Willard Hewitt: Leon Davies
Chuck Cranston: Tim Brown

Urleen: Dawn Shillingford
Wendy-Jo: Melanie Glazzard
Lyle: Adam Partridge
Travis: Jonathan Hunt
Jeter: David Shaw
Bickle: Patrick O'Donnell
Garvin: Ben Edwards

Lulu Warnicker: Cathy Moreton
Wes Warnicker: Fred Shaw
Coach Roger Dunbar: Steve Humpherson
Eleanor Dunbar: Maria Shee
Principal Harry Clark: Terry Gormley
Betty Blast: Emma Wilkes
Cop: Paul Tooby
Dolly: Julia Tromans

Emma Clayton, Cassie Day, Joanne Gubbins, Kerry Hodgkiss, Katie Lester,
Katie Linford, Emma Mitchell, Katie Newey, Adele Robinson, Hattie Rudge, Gaynor Tromans, Sian Weston, Jennifer Whittaker, Charlotte Wood,
Joanne Woodall

Katherine Amphlett, Rebecca Hadland, Emily Jeavons, Amy Pearson,
Nick Perkins, Dale Ramsey, Scott Sutherland, James Totney

Nick Perkins, Dale Ramsey, Scott Sutherland, James Totney

Katherine Amphlett, Emma Baker, Sandip Bhangu, Phaedra Brickwood,
Michaela Doherty, Rebecca Hadland, Jeanne Hunt, Emily Jeavons, Lizzie Lodge, Emily Noke, Nina Pearson, Lin Stokes, Julia Tromans, Jason Anderson

Backstage Singer:
Bernard Shaw

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Production Appointments

Director/Choreographer: Mike Capri
Musical Director: Jonathan Hill
Assistant to the Director: Steve Bracey
Accompanist: Tony Braddock
Production Secretary: David Shaw
Stage Manager: Margaret Taylor
Stage Director: Judi Davies
Sound Engineer: Peter Revill, Cygnet Sound
Lighting: Russell Pearson
Properties: Judi Davies
Scenery: Scenic Projects Ltd
Wardrobe Mistress: Kath Trigg & Ann Nation
Costumes: Triple 'C' Costumes and cast
House Manager: Mike Davies
Assistant House Manager: Kevin Gripton
Call Boy: Sheila Harryman
Prompt: Sheila Clift & Shirley Glazzard
Ticket Secretary: Lorraine Lovett
Programme Editors: Leon & Rachel Davies
Publicity Officer: Charlotte Wood

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Chicago. A group of young people have gathered at their favourite dance club to unwind and say goodbye to Ren McCormack.  Ren's father has walked out, so he and his mother are forced to move in with her sister's family in a small town nobody has never heard of - Bomont.

Ren soon finds himself at odds with the repressive atmosphere in Bomont, where the spiritual life of the community is overseen by the powerful local minister, Reverend Moore.  Ren is stunned to learn that dancing is not allowed anywhere within the town limits of Bomont.  His new friends explain that this law dates back five years to a car accident that claimed the lives of four Bomont teenagers.  In the flood of grief that followed that tragedy Rev. Moore managed to convince the Town Council to ban dancing.  The only person seemingly unfazed by Rev. Moore's iron-fisted control is his daughter Ariel.

Following a bout with her jealous boyfriend, Ren walks Ariel home and they find they have a lot in common.  But Rev. Moore forbids Ariel to see Ren again, citing him as a trouble-maker, despite his wife's pleas.  Annoyed, the minister walks away.

The next day, frustrated by his new stifling environment, Ren vows to "take on this town" and incites his classmates to throw a dance.

Ren drives Ariel and their friends 100 miles outside Bomont to a dance hall where they party into the night and teach Willard how to dance.  When Ariel finally arrives home her defiance infuriates Rev. Moore who denies that he has become too severe since the death of his son - one of the teenagers killed in the fateful car accident.  Angered he walks away again.

At the long awaited Town Council meeting, with Ariel's help Ren makes his case for a dance.  When the motion is defeated he is devastated but his mother convinces him that Rev. Moore "fixed" the vote and urges him to try again and speak privately with the minister.

Ren goes to the Reverend's home but after a brief discussion in which Rev. Moore is unable to share his fears and motivation for continuing the ban, he asks Ren to leave and turns away.  Appalled by his own actions it is only then that the minister realises how much the pain of his son's death has overshadowed his life and the lives of everyone in Bomont.  After a truggle with his conscience, he announces to hi parishioners that he has had a change of heart; that, in fact, a dance might be a good idea.

And so, for the first time in years, the young people of Bomont are able to dance freely and, as everyone joins in, the evening becomes not only a celebration but also and ecstatic expression of healing.  They dared to dance and "Everybody Cut Footloose!".

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Footloose review

"Society's birthday triumph" - Jerald, Smith, Express & Star, 20th October, 2009

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