Love. Fear. Insecurity. Acceptance.

Footloose: When I was first approached with directing the movie-turned stage spectacle my enthusiasm for the scripted product was less than enthusiastic. I had never seen the film prior, and I avoided the musical adaptation, but I was very aware of the dismal, critical press response the stage adaptation received. From that, I took blind prejudice against Footloose, The Musical.

Note to self: Never let assumptions provide your opinions. Such is Footloose.

After having read the script, looking beyond the flaws of the musical itself, my attention was caught by the people and the story at the heart of the work. This was not just a simplistic story about a ban on dancing. I discovered a personal connection, a familiar tale of people coping with change, having beliefs challenged and/or questioned, and acceptance of things new. Having been a transplant myself, many, many times into numerous small town communities across this country, several being my own Bomont (the fiction town for Footloose) I knew these people. I knew them well. The citizens of Bomont grabbed me. Most prominently Reverend Moore and Ren. My interest was further peaked by the personal survival stories of Ethel and Vi, and the frustration and loneliness of Ariel.

The fictional town and people of Bomont, located in what is now politically termed as a “Red state”, is Bible-Belt-Americana personified. While all observers of such a place and people may not share the social and political views of the citizens of Bomont and places like it, the principles of the people of Bomont are equally honest and noble in heart as are those with opposing beliefs.

Often convictions of reserved, conservative values believed righteous and correct by the holders stem from love, fear and insecurity. And those three words are the heart of Footloose, enveloped by acceptance.