L to R: Henry Metcalf, Anna Maria C. Ferrari, Alexandra Lopez, Laura Dodge, Jeremy Crawford, Kimberly Camacho, Darren Badley, Kaya Harrison, Amelia Jacquat, and Stephen Kime. Photo by DJ Corey Photography.
Everybody’s cutting “Footloose” at NextStop Theatre Company’s production of the 1998 musical based on the beloved 1984 film of the same name. With music by Tom Snow, lyrics by Dean Pitchford (with additional lyrics by Kenny Loggins), and book by Pitchford and Walter Bobbie, this is high-energy tale full of conflict, romance, and, of course, dancing. NextStop’s production, directed by Ricky Drummond, is led by a dazzling ensemble and filled with talent, heart, and the unabashed joy of youthful resistance, creative freedom, and expressive movement.
…a dazzling ensemble and filled with talent, heart…a truly jubilant production…
Running from his troubled familial past, Jeremy Crawford as the displaced Chicago teen who can’t stand still, Ren McCormack, brings a quirkier side to our hero than the traditional, cool-guy portrayal originated by Kevin Bacon. Crawford’s Ren, with noticeable signs of anxiety and self-doubt, comes across as more subdued, endearing him to audience members, juxtaposed with his inspirational demeanor among his peers. His portrayal translated well to his vocal and dancing skills, especially in his vivacious performance of “I Can’t Stand Still,” hitting high notes and dance beats with impressive stamina.
Carrying the most joyous and memorable moments of the production, however, was the female ensemble playing Ariel’s high school friends, which included Rusty (Kimberly Camacho), Wendy Jo (Anna Maria C. Ferrari), and Urleen (Amelia Jacquat). Together, their voices were incredibly powerful, their harmonies tight, and their characters all stand-outs. Jacquat as Urleen in particular, shines through every line delivery—witty, fully engaged, and uniquely captivating. Finding her face in any ensemble scene only goes to enhance the audience’s enjoyment of the performance. As Ariel’s best friend Rusty, Camacho, also shows off her strong leading vocals with embellishing riffs in the classic, “Let’s Hear It for the Boy.” The three friends joining Ariel (Brigid Wallace Harper) for “Holding Out for a Hero” was undoubtedly one of the best numbers of the production. Harper’s crystal-clear sound all throughout her vocal range made her the picture-perfect preacher’s daughter, with a little spunk on the side. A well-deserved ensemble shoutout should also go to Alexandra Lopez, whose track was one of the most demanding in the production. Covering three different ensemble characters, quickly switching between one of the town’s female elders, and two of the male ensemble, Lopez danced among the three roles with ease and agility, never missing a beat, and making her one of the most exciting characters to follow from scene to scene.
The set by Jack Golden, with its open concept and minimal design, combined with the colorful and inviting lighting design (by Hailey LaRoe, complete with practical effects like a beautiful, barn wedding-style string of light bulbs across the ceiling), established the quaint, small-town atmosphere while also allowing for plenty of versatile space for scene work and choreography. The backdrop was also eye-catching in its design, with hanging memorabilia showcasing multiple facets of the town’s history. While the set intersected with the story in one notable moment, with ensemble member Laura Dodge plucking a washboard off the wall to accompany “Mama Says,” there was a desire for more use of the unique pieces of the backdrop, especially in highlighting talked-about-but-not-seen story moments, like the accident that was the inciting incident to much of the show’s plot.
Fenced-in in the corner as part of the set, was the live, five-piece band, led by Matthew Dohm and music directed by Lucia LaNave. Always a delight to hear live musicians in the DMV, the band was the driving force behind the cast. It filled the production with immersive sound without overwhelming the performers, and smoothly following vocalists when needed. Even with a few microphone hiccups, sound designer Kenny Neal, in collaboration with LaNave, is to be commended for the well-balanced sound between the band and the performers, setting the musical tone for the production.
Complimenting the music, the choreography by Stefan Sittig perfectly encapsulated the exciting feel of the classic movie-musical. More notably, the way in which it seamlessly wove into the scenes and dialogue contributed greatly in presenting a unified look and flow to the show. In songs like “Somebody’s Eyes,” travelling between several different vignettes, the choreography used the space and stage creatively and to its full effect. The clear collaboration between Sittig and Drummond, allowed for the choreography to exist as an integral part of the storytelling in a musical so rooted in creative movement.
With lots of heart and a rousing ensemble, NextStop Theatre Company closes its season with a truly jubilant production of “Footloose” that serves as a testament to creative collaboration and the magic of live performance. “Lose your blues” and grab your dancing shoes (and tickets) to see this joyous production!
Running Time: Approximately two hours and 30 minutes with one 15-minute intermission.
Advisory: Contains suggestions of romantic and familial domestic abuse, as well as depictions of coercive sexual pressure within a teenage relationship.
“Footloose” runs through June 8, 2025 at NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170. For more information and to purchase tickets, please go online.
