Berkshire on Stage

There is something wonderfully timeless about Footloose. On paper, it is an unabashedly 1980s story: a Chicago teenager moves to a small Midwestern town where dancing has been outlawed following a tragic accident. It sounds almost impossibly dated. Yet beneath the pop soundtrack and leather jackets lies a surprisingly moving examination of grief, generational misunderstanding, faith, and the courage required to challenge tradition. Forty-two years after the film first captivated audiences, the musical adaptation continues to resonate because its central question remains universal: how do communities heal after unimaginable loss?

Playhouse Stage Company‘s production, now playing at Cohoes Music Hall, understands that balance beautifully. Rather than leaning exclusively into nostalgia, director Michael LoPorto embraces both the exuberant fun audiences expect and the emotional depth that gives the show its lasting appeal. The result is an evening bursting with infectious energy while never losing sight of the humanity beneath the choreography.

If there is one overriding strength of this production, it is the cast. Opening night revealed an ensemble operating at an impressively high level, with not a weak performance among them. Every featured role feels fully inhabited, every ensemble member contributes purposefully, and the chemistry throughout the company creates the sense of a genuine community rather than simply a collection of performers sharing a stage.

Leading the production is Jackson Majewski as Ren McCormack, the city teenager determined to shake Bomont from its self-imposed silence. Majewski possesses exactly the right combination of youthful confidence and vulnerability. Ren can easily become an overly cocky protagonist, but here his swagger masks a young man struggling to find stability after his world has been upended. His vocals are consistently strong, and he navigates the show’s athletic choreography with ease while grounding the character emotionally. It is an engaging performance that anchors the evening.

As Ariel Moore, Molly Kirby captures the restless spirit of a young woman desperate to escape the expectations placed upon her. Rather than portraying Ariel simply as rebellious, Kirby reveals the loneliness and frustration beneath her bravado. Her scenes opposite Majewski possess genuine warmth, allowing their relationship to develop naturally instead of feeling like a foregone conclusion.

Among the supporting players, several performances are outright showstoppers.

Lianelys Oviedo-Roman steals nearly every scene as Rusty. Comic timing is notoriously difficult, but Oviedo-Roman makes it appear effortless. Her performance radiates charisma, delivering laughs without sacrificing the sincerity that makes Rusty more than simply comic relief. When she launches into “Let’s Hear It for the Boy,” the audience finally gets to experience the powerhouse vocals that have been bubbling beneath the surface throughout the evening. It is one of the production’s undeniable highlights.

Jonah Wood’s Willard Hewitt provides another standout performance. Willard often serves as the musical’s lovable fool, but Wood avoids caricature by finding the character’s enormous heart. His comedy is impeccable, and his chemistry with both Ren and Rusty feels entirely authentic. By the time he triumphantly discovers his confidence on the dance floor, the audience is cheering not because the moment is funny (which it certainly is) but because Wood has made Willard so deeply endearing.

The evening’s finest performance, however, belongs to Patrick Ryan Sullivan as Reverend Shaw Moore.

Moore is one of musical theatre’s more difficult characters to portray. He cannot simply be an authoritarian villain; his resistance to change is born from profound grief over the loss of his son. Sullivan understands this completely. His theatre experience is evident in the remarkable nuance he brings to every scene. Rather than presenting a rigid preacher, Sullivan creates a father desperately trying to maintain control over a world that once spiraled into tragedy. His commanding vocal presence is matched by emotional honesty, particularly during his quieter scenes with Ariel and Vi. Even when audiences disagree with his decisions, they understand them and that complexity elevates the entire production.

His performance transforms what could have been a straightforward crowd-pleaser into something considerably richer.

Equally impressive is the ensemble, whose energy never wavers. Dance-heavy musicals succeed or fail on the commitment of their company, and Playhouse Stage has assembled an ensemble that attacks every number with extraordinary enthusiasm. The choreography by Gabi Bazinet-Douglas is appropriately explosive, capturing the youthful exuberance that defines the musical while making excellent use of the Cohoes Music Hall stage. Large production numbers feel expansive without ever becoming chaotic, and the storytelling always remains clear.

Musically, the production is equally satisfying. Under Brian Axford’s musical direction, the live band delivers a vibrant performance that captures the unmistakable sound of the 1980s while supporting the performers with precision and balance. The familiar score, from “Holding Out for a Hero” to the title song, never feels like a nostalgia concert. Each number advances the emotional journey of the story.

LoPorto’s direction deserves considerable praise for maintaining that balance. It would have been easy to stage Footloose as a carefree jukebox celebration, but this production continually returns to the emotional wounds shared by nearly every character. Whether examining the strained relationship between Ariel and her father, the loneliness of Ren’s new beginning, or the collective grief that continues to shape Bomont, the production never loses sight of the story’s emotional stakes. Consequently, the joyous finale feels genuinely earned rather than merely inevitable.

Perhaps most impressive is how cohesive the production feels. Every design element, from the clean scenic design (Benny Pitt) to the colorful costumes (Anne Croteau) and dynamic lighting (David Heguy), supports the storytelling without drawing unnecessary attention to itself. Nothing feels overdesigned or self-indulgent. Instead, each creative decision reinforces the show’s central message: joy can coexist with grief, and healing often begins by allowing ourselves to move forward together.

The standing ovation on opening night felt entirely deserved.

In an era when many productions rely heavily on spectacle, Playhouse Stage Company reminds audiences that great musical theatre ultimately succeeds because of people. Footloose certainly delivers the high-energy dance numbers and beloved songs audiences expect, but it also offers something deeper: a heartfelt reminder that communities are strengthened when compassion triumphs over fear and when the next generation is trusted to help lead the way.

Whether you grew up with Kevin Bacon sliding across a warehouse floor or are seeing Footloose for the first time, this production proves the musical still has plenty of life left in it. It is exuberant, emotionally satisfying, and exceptionally well performed from top to bottom. 

Playhouse Stage Company presents Footloose. Book by Dean Pitchford and Walter Bobbie. Lyrics by Dean Pitchford. Music by Tom Snow. Based on the original screenplay by Dean Pitchford. Additional music by Eric Carmen, Sammy Hagar, Kenny Loggins, and Jim Steinman. Directed by Michael LoPorto, Musical Direction by Brian Axford, Choreography and Musical Staging by Gabi Bziket-Douglas, Scenic Design by Benny Pitt, Costume Design by Anne Croteau, Properties Design by Gabby Mason, Production Management by Emma Cunningham, Stage Management by Sabrina-Michelle Francis.

Featuring Jackson Majewski as Ren McCormack, Hannah Thein as Ethel McCormack, Keith Dubois as Chuck Cranston, Lauren Shirnhofer as Vi Moore, Molly Kirby as Ariel Moore, Patrick Ryan Sullivan as Reverend Shaw Moore, Lianelys Oviedo-Roman as Rusty, Jonah Wood as Willard Hewitt, Olivia Stickles as Wendy Jo, Angela Billings as Urleen, Morgan Boynton as Lulu Warnicker, Brandon Jones as Wes Warnicker, Ryan Canavan as Coach Roger Dunbar/Cowboy Bob, Hayley Whitsett as Elenor Dunbar/Principal Clark, Jeremy Cintron-Ortiz as Lyle, Jesse Rulz as Travis, Evan Muench as Jeter Dinkle, Kaden White as Bickle Dinkle, Mika Holbrook as Garvin Dinkle with Jenna Cannistraci, Sophie Gels (Dance Captain), Rylle Huang, Alexa Mertes, Ella Dane Morgan, Zoey Russo, Aleks Smith, Maya Stengrevics and Ainsley Stone in the ensemble.

Playhouse Stage Company presents Footloose. July 28–August 15, 2026, at Cohoes Music Hall, 58 Remsen Street, Cohoes, New York. For tickets and information, visit Playhouse Stage Company at playhousestage.org.