Footloose - Teacher Support Workbook

teacher support workbook Page 1

table of contents About .................................. 3 History ................................. 8 Key Themes ...................... 15 Roles in Theatre ................ 24 Glossary ............................ 28

about drayton entertainment An award-winning, not-for-profit charitable organization, Drayton Entertainment produces the finest in live theatre at seven venues in southwestern Ontario. Each theatre maintains its distinct identity, but at the same time, combines the strengths and energy of all to provide an entertainment experience that is unparalleled.

The stage for success was first set in 1991, with the launch of the Drayton Festival Theatre. Under the leadership of founding and current Artistic Director, Alex Mustakas, the theatre was an immediate success. Since then, Drayton Entertainment has added the St. Jacobs Schoolhouse Theatre, King’s Wharf Theatre (in Penetanguishene), Huron Country

Playhouse (with two stages in Grand Bend), St. Jacobs Country Playhouse, and the Hamilton Family Theatre Cambridge.

Drayton Entertainment’s distinctive business model provides protection from the inherent fragility of the theatre industry, while providing an outlet for growth and prosperity. This has positive implications for artists and audiences – all of whom enjoy enhanced opportunities both on and off the stage.

By successfully balancing the competing demands of quality productions, fiscal responsibility, and community integrity, Drayton Entertainment has emerged as a true innovator and leader for arts and culture in Canada.

about the youth academy The Drayton Entertainment Youth Academy is Drayton Entertainment’s newest venture into inspiring the next generation of performers. First opening in the spring of 2022, the Youth Academy has sought to dismantle barriers surrounding theatre education and training, providing opportunities for young artists to grow their passion for performance alongside industry professionals.

“Our mission is to adopt equitable and inclusive principles and practices to realize a community where diversity thrives and aligns seamlessly with

Drayton Entertainment’s values. We aim to provide unparalleled opportunities that cultivate community, ignite imagination, boost confidence and develop a deeper, life-long appreciation for the performing arts.” – Academy Mission & Core Values Founded upon its four core values—respect, creativity, growth, and accountability—the Youth Academy welcomes performers from all walks of life into its hallways.

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the high school musical production Footloose is the Drayton Entertainment Youth Academy’s second High School Musical Production.

This production features a cast and crew made of local high school students who have had the opportunity to learn about the ins and outs of putting on a professional production. Aside from performance, students have had the opportunity to work in areas such as stage management, crew, set construction, wardrobe, lighting, and sound. The program is intended to reduce barriers to arts education and is offered completely free of charge for participants. Please enjoy the result of all the incredible work they have done to bring this show to life!

2023’s High Scho

ol Musical Prod

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synopsis Ren McCormack is a popular and energetic high-schooler from Chicago that knows how to have a good time. But when his father suddenly walks out of his life, him and his mother are forced to move to Bomont, a small country town where dancing has been outlawed. The adults in town, led by the powerful Reverend Shaw, are a closeknit group in agreement about one thing: the only thing to come of dancing is trouble. After struggling to fit in in his new home, Ren beings to push back against the oppressive beliefs of Reverend Shaw, becoming determined to show Bomont a different perspective. With the help of some new friends, including the Reverend’s own rebellious daughter, Ren decides to take on the dancing ban by throwing a prom for the town—but first they have to win the support of the town council.

“Deep way down in your heart You’re burning, yearning for some Somebody to tell you That life ain’t passing you by” Page 3

about the show Footloose emerged in its first iteration as a 1984 film starring Kevin Bacon. The film was loosely based on the true story of Elmore City, Oklahoma, after high school students in 1979 were prevented from throwing a senior prom due to an outdated dancing ban from the late 1800s. Eventually, the students convinced the town council to abolish the ban and were able to hold their dance. Screenplay writer Dean Pitchford heard of the incident in Elmore City and spent a week in town learning about the residents’ experience before writing Footloose.

Footloose was released on February 17, 1984 and became a major commercial success. The film was nominated for multiple awards, including the Academy Award for Best Original Song for both the titular song “Footloose” by Kenny Loggins and “Let’s Hear It for the Boy” by Deniece Williams. In 2011, a remake of Footloose was released by Paramount Pictures.

In 1998, Footloose was converted into a Broadway musical that premiered at the Richard Rodgers Theatre in New York. The show was nominated for multiple Tony Awards in 1999, including for Best Original Score and Best Choreography.

a jukebox musical Many of the songs in the musical Footloose are from the soundtrack of the 1984 film, making the show a jukebox musical. A jukebox musical is a musical created using pre-existing popular songs rather than original material.

Many jukebox musicals limit the types of songs they use to better suit the focus of the musical.

Shows like &Juliet and Mamma Mia! use songs from a single composer or artist. Other musicals focus on the life of a certain musician and will use songs that are performed or written by that artist.

Musicals like this include Jersey Boys, Tina, The Cher Show, and Beautiful: The Carole King Musical.

Some shows, such as Rock of Ages, will use music from a specific era to tell their story. The creator of a jukebox musical will build the show’s plot (whether fictional or based on real life) around the music to create a fresh and unique take on familiar tracks the audience knows and loves.

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character breakdown Ren McCormack Ren has recently traded in the big city for small-town life after his father walked out on him and his mother, Ethel. He’s trying his best to put his past behind him, but his new home has problems of its own. Ren tries to encourage Bomont to loosen its strict ban on dancing and live a little.

school dropout. His only ambition seems to be making sure he has control over Ariel.

Ethel McCormack Ethel has recently arrived to Bomont with her son, Ren, stepping away from a failed marriage and trying to make a fresh start. She’s got a sense of humor about her situation and a great need to make sure her son is adjusting.

Lulu Warnicker Lulu has recently invited her sister Ethel to stay with her and her husband, Wes, in the small town of Bomont. As Ren struggles to fit in with the rest of the teenagers, Lulu does her best to remain a patient and supportive host.

Reverend Shaw Moore Reverend Shaw Moore is the most influential figure in Bomont. His conservative, religious views became strident after his son Bobby passed away in the Potawney Bridge Accident while driving home from a big dance – in fact, he’s outlawed dancing altogether.

Ariel Moore Ariel is a young lady caught between her father, Reverend Shaw Moore’s, conservative beliefs and her own aspirations to experience life and enjoy it for herself. Ren ignites an excitement in her and she learns quickly that she has to stand up to her father to get what she wants.

Chuck Cranston Chuck Cranston is Ariel’s boyfriend and a recent high

Vi Moore Vi is married to Reverend Shaw Moore and, though she usually agrees with her husband’s point of view, she’s not afraid to disagree when the tensions rise and tempers flare in the house.

Wes Warnicker Wes is Lulu’s husband and a small-town kind of a guy.

He helps Ren find a job, but, unfortunately, Ren’s employment doesn’t last long. Wes grows impatient but continues to support his family in this tough, transitional period.

Willard Hewitt Willard is a country boy of few words and even fewer dance steps. At first, he may appear physically aggressive, but really he’s just a soft-spoken guy. He quickly becomes friends with Ren, and the unlikely pair lead the charge to bring dancing back to the town. Though at the top of the show he has two left feet, he commits to learning dance steps at the Bar-B-Que and dazzles the entire club.

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Rusty Rusty is Ariel’s best friend who talks a mile a minute and has a crush on the soft-spoken Willard. She’s unafraid to say what she wants, if only Willard would pick up on the clues.

Betty Blast Betty Blast owns the burger joint in town and gives the struggling Ren a job when he’s down on his luck. She has no trouble kicking anyone out of her restaurant if they’re causing trouble.

Urleen & Wendy Jo Urleen and Wendy Jo are part of Ariel’s group of girlfriends who stick together no matter what. While Urleen may be a little blunter, Wendy Jo is definitely a little more eccentric.

Cowgirl Bonnie Cowgirl Bonnie leads a band that frequents the Bar-BQue. She’s the club’s favorite entertainer.

Principal Clark Principal Clark is the boss at Bomont’s high school and an adamant enforcer of the town’s strict guidelines.

Coach Dunbar Coach Dunbar is a teacher at the high school who strongly supports the town’s anti-dancing laws. When Ren arrives, Coach Dunbar does not make it easy for him, and exacerbates Ren’s situation by pitting him against other students.

Eleanor Dunbar Eleanor Dunbar is a prominent member of the town council and Coach Dunbar’s wife. She, along with other council members, must decide on whether they should uphold its existing moral laws.

Lyle & Travis Lyle and Travis are two members of the wrestling team who don’t like Ren, the new kid in school.

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Cowboy Bob Cowboy Bob is a usual patron at the Bar-B-Que and takes a liking to Rusty when the high school teens visit the dance hall for the first time.

Cowgirl Jude, Cowboy Chet, & Cowgirl Laura Jo Cowgirl Jude, Cowboy Chet, and Cowgirl Laura Jo are part of Cowboy Bob’s entourage who are having a routinely good night dancing when the Bomont teenagers make a visit.

Bickle, Jeter, & Garvin Bickle, Jeter, and Garvin are teenage boys ready to help Ren and Willard take on the town’s laws.

Cop The Cop in town is the ultimate enforcer of the town’s strict laws.

in-class activities

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a brief history of dance Dancing is one of the oldest forms of human expression—in fact, studies of chimpanzees suggest that dancing existed in early primates, meaning humans may have been dancing since before they even evolved into humans!

Needless to say, dancing has been a central part of social, cultural, celebratory, and religious practices around the world for thousands of years as a result.

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strengthen community bonds throughout all levels of society.

Some of the earliest definitive evidence of dance as a cultural practice can be seen in the Bhimbetka rock shelter paintings in India, which are over 10,000 years old. While the exact history of dance can be difficult to trace due to a lack of physical evidence, these rock paintings clearly depict dancing as an important practice in periods as early as the Upper Paleolithic era—AKA the end of the Old Stone Age.

Indian classical dance is another example of dance being a central cultural practice used for storytelling, expression, and community.

The many different types of Indian classical dance can be traced back to ancient sources, particularly the Nāṭyaśāstra, an early Sanskrit text about the performing arts that discusses the meaning behind dance techniques, hand gestures, facial expressions, standing postures, acting techniques, and more. Indian classical dance styles are known for their storytelling through mimetic and abstract movement. The prominence of Indian classical dance has existed for many years and it continues to be practiced, adapted, and shared throughout the world today.

Since then, dance has continued to appear in various forms of archaeological evidence.

In Ancient Egypt, tomb paintings and carvings show evidence of dance being imbued in everyday life and culture. It is depicted as a key part of hunting and harvest rituals, community festivals, the worship of gods, and more, demonstrating its prevalence and importance in their society. In Ancient Egyptian culture, dance was a key part of expressing the human experience and the gift of life, helping to

Dancing has been used in many different ways throughout history. In addition to being a ceremonial, recreational, or religious practice, it has also been seen as a way of displaying status and wealth. For example, with the rise of the merchant class in 17th and 18th century Europe, grand displays of material wealth became a way of solidifying one’s place among a community. In England, one way of demonstrating wealth was through the attendance of dances where members of the community would so-

cialize and perform ballroom routines such as the quadrille, cotillion, or reel. Balls were an opportunity to display or gain status through community gatherings and building new relationships.

Dance continues to play an important role in the development of culture and community into the present day. Footloose, in its initial iteration, was a film created during the early 1980s. In the decades leading up to the film’s release, dancing became a key part of teenage culture and their spirit of rebellion. For teenagers in the 1950s, dance was a way of differentiating themselves from their parents with the emergence of new styles such as the jitterbug, swing, boogie-woogie, or bop. Widespread television in the 50s and 60s also contributed to the popularity of certain dance styles among teens, with shows such as Dick Clark’s American Bandstand broadcasting popular dances for teens across the country to tune into. The rebellious nature of dance continued into the 1970s with the rise of disco. Disco emerged as a popular style of nightclub dance and music that was a response to social issues at

the time, such as rising economic instability, racial tensions, and homophobia. Because disco grew in prominence in underground clubs that catered to Black, LGBTQIA+, and Latino dancers, the style initially saw backlash from the public. Disco eventually became more mainstream with artists such as Gloria Gaynor and Donna Summer, but was pushed back into club scenes due to public backlash against its subversive culture. Many still see dance as a hallmark of teenage rebellion and expression into the present day, a history that Footloose builds upon within its story.

Whether it is being practiced for ritualistic, ceremonial, or social purposes, dance has been an important part of culture around the world for thousands of years. Dance has been used as a way to bring communities together and impart new values and beliefs onto the next generation. Like how Footloose uses dancing to renew Bomont’s community spirit and celebrate freedom and self-expression, dance continues to be seen worldwide as a way to connect and share with others.

From the oldest times, people danced for many reasons. They danced so their crops would be plentiful or so that their hunt would be good.

They danced to show their community spirit, and they danced to celebrate. And that’s the dancing we’re talking about.” (REN, FOOTLOOSE) Page 9

dance in musical theatre

Dance and drama have been developing hand-in-hand for thousands of years. There is evidence to suggest that choruses in ancient Greece used to dance and sing their lines—making musical theatre almost as old as theatre itself! In musical theatre, dance is a genre-defining element that can be found in nearly every modern musical put to stage.

1943

oklahoma!

In 1943, Rodgers and Hammerstein’s Oklahoma! became one of the first modern musicals to prominently feature dance as a central part of its plot and storytelling. During the show, there is a 17-minute long ballet sequence that outlines the character Laurie’s conundrum of being torn between two potential love interests. The dream-like sequence is a form of expression that pushes the story forward and marries the spectacle of theatre with its substance, using dance as a method of showing the complex inner-worlds of the characters.

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1957

1964

west side story

fiddler on the roof

West Side Story is another example of a show that takes its dancing to the next level. Used to demonstrate the turf war between two warring gangs (the Sharks and the Jets), the climactic rumble the story builds up to is told through fast paced music and choreography.

However, dancing is not only used for conflict in the show. While the Sharks and Jets feud in the middle of a town dance, the two leads encounter each other for the first time and demonstrate they are falling in love through expressive choreography. In West Side Story, dance is a way to demonstrate taking a stance, freeing yourself from expectations, and fighting back against the status quo.

While not necessarily a show known exclusively for its dancing, Fiddler on the Roof features an iconic “Bottle Dance” where members of the cast perform choreography while balancing glass bottles on their hats. Much like Footloose, Fiddler on the Roof is a show all about its characters learning to navigate the balance between rich tradition and new ideas.

1975

1982

1996

2002

a chorus line

cats

chicago

hairspray

A Chorus Line follows the lives of ensemble dancers on a journey to make it in the performance industry. Throughout the show, the dancers must learn to achieve perfection as they navigate auditioning for a dance chorus—all while battling their own inner struggles. As such, the show’s numbers are known for their complexity and precision, demonstrating to the audience the duality between rigid choreography and artistic passion within the characters.

Famous for its supposed lack of plot, Cats is a show that takes its dancing to the next level.

Cats places spectacle at the forefront of its performances, requiring a cast of dancers able to execute complex and stunning choreography for the entire show. While often remarked at for being an “oddity” of a Broadway show because of its emphasis on music and choreography over a prominent storyline, Cats has remained a cultural phenomenon due in no small part to its showstopping dance numbers.

When it first opened in 1975, Chicago was not a commercial success.

However, Chicago has since become one of the most recognizable musicals ever after its revival in the 1990s— largely because of its iconic choreography by Broadway legend Bob Fosse. Since its 90s Broadway revival and Academy Award-winning film adaptation, Chicago has become a staple for musical theatre enthusiasts worldwide.

Hairspray follows Tracy as she chases her dreams of dancing on “The Corny Collins Show.”

Tracy learns new steps from African American students at her school, which opens her eyes to a new side of 1960s culture—and the racism they experience daily. Hairspray delves into the impact of African American culture on popular dance crazes of the 60s, demonstrating through performance its message of acceptance and fighting for progress.

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in-class activities Why do you think dance became such an important part of human history?

What about it differs from other forms of artistic expression?

If you could change the style of dance used in Footloose, what style would you change it to (ballet, hip-hop, jazz, etc.)? How would that style of dance help tell the story?

. to research ry to is h in ra any e hold f dance from il to let them o c n le u y o st c a n t w c w udents sele incing the to nificant? Ho st v g r n si u o o c re y a h e c e v e c a e n H a sp le of da em to write ts of that sty c e sp a t Then, ask th a h e? yle of danc that style—w st in is e th c e n c a d ra a emb t Bomont to will it benefi s. different era m o fr s e v o o w m m? nature Activity T ey come fro nce with sig a th d ra a e te e a th re f they udents c cial values o bonds? Do so y it e n th u t m Have your st n m se o ing c se moves repre ellion, or form a group? How can the b re , How do the g n lli te d for story y? Have fun ner, or with rt a a d t p n a se h it re Are they use w p e, suit the moves alon adapted to d n a perform the d e in ate! b es be com you can cre y h p ra g o re dance mov ho what new c and explore

Activity One

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further reading Frederick, Eva. “Dancing chimpanzees may reveal how humans started to boogie.” Science, 23 December 2019, https://www.science.org/content/article/dancing-chimpanzees-may-revealhow-humans-started-boogie Garofalo, Reebee. “Disco”. Encyclopedia Britannica, 10 May 2023, https://www.britannica.com/art/disco Library of Congress. “Nineteenth Century Social Dance.” An American Ballroom Companion: Dance Instruction Manuals, ca. 1490 to 1920, Library of Congress, https://www.loc.gov/collections/ dance-instruction-manuals-from-1490-to-1920/articles-and-essays/western-social-dance-an-overviewof-the-collection/nineteenth-century-social-dance/# Lidova, Natalia . “Natyashastra”. Oxford Bibliographies, 29 September 2014, www.oxfordbibliographies.com/view/document/obo-9780195399318/obo-9780195399318-0071.xml Mark, Joshua J. “Music & Dance in Ancient Egypt.” World History Encyclopedia, World History, 19 May 2017, www.worldhistory.org/article/1075/music--dance-in-ancient-egypt MasterClass. “All About Disco: Inside the History and Influence of Disco Music.” MasterClass, 7 June 2021, www.masterclass.com/articles/disco-history-and-influence Munsi, Urmimala Sarkar, and Stephanie Burridge. Traversing Tradition: Celebrating Dance in India.

Routledge India, 2016.

Powers, Richard. “Teen Dances of the 1950s.” Social Dance at Stanford, https://socialdance.stanford.edu/ Syllabi/teen_dances.htm#:~:text=This%20was%20called%20jitterbug%2C%20or,place%2C%20 sometimes%20without%20a%20partner Rudetsky, Seth. Musical Theatre for Dummies. John Wiley & Sons Inc., 2022.

Spencer, Patricia. “Dance in Ancient Egypt.” Near Eastern Archaeology, vol. 66, no. 3, 2003, pp. 111–21, https://doi.org/10.2307/3210914 Yashodhar, Mathpal. Prehistoric Rock Paintings of Bhimbetka. Abhinav Publications, 1 November 1984, India.

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key themes Each theme contains corresponding excerpts from the Footloose libretto. After reading each theme, have volunteers perform the excerpts to explore how different motivations can impact the characters. How does having an understanding of the show’s underlying themes change how the characters respond to one another? How does it change what they want during a scene? *Libretto: Italian for “booklet;” A libretto is the text (or “script”) of an extended performance piece involving music, such as an opera or musical.

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freedom and responsibility

The balance between freedom and responsibility is a heated discussion in the story of Footloose. While the teens of Bomont see the importance of being able to have fun and let loose, the adults worry for their ability to stay safe and grow into respectable adults.

Bomont enacted the ban on dancing because they believed it caused immoral behaviour that placed their children at risk. After the Potawney Bridge Accident, the adults blamed rowdy behaviour for the tragedy and felt restrictions would help keep the teens in line so they couldn’t get into trouble. Even within his own home, Reverend Shaw only becomes strict with his daughter Ariel after the incident, demonstrating how his beliefs have changed as a result of the tragedy. The Reverend believes that his strict rules, such as a curfew and constantly checking up on Ariel, will help keep her safe.

However, Ariel notes that his restrictions not only alienate her from being herself, but cause her to seek out more dangerous ways to have fun as a form of rebellion—such as dating Chuck Cranston because he is a someone her father wouldn’t approve of:

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SHAW

REN

Have you seen her with this Chuck Cranston?

The last time I walked in on the two of them…

Sorry, guys. It’s just that this whole damn town is so wound up.

VI

WILLARD

You told me.

Amen!

SHAW

REN

The boy has a record of arrests, Vi. VI

You guys have no place to blow off any steam.

And the more you object, the more intrigued she’s going to be.

You said it!

[…]

REN

SHAW

At least in Chicago we could go to the clubs.

I’m frightened about where Ariel is, what she’s doing…

VI

BOY 2

WILLARD Hey! Maybe we oughta take the Coach dancing.

You can’t expect her to sit home with us.

For the teens of Bomont, they understand that being able to dance and have fun is not the dangerous activity the adults believe it to be. Because they have all of their energy bottled up with no where to cut loose, they begin to act out. The teens see the benefit of having a certain amount of freedom and believe it will improve their lives, rather than hinder it:

In reality, the teens and the adults are both correct in their assessment of responsibility and freedom. While it is important for the teens to have the structure and guidance of the adults, they also need to be able to live their lives and have fun when necessary. At the end of the story, both sides realize the merits of the other, with the church community granting the teens their blessing and praying for their safety at the dance and the teens beginning to reconcile their relationship with the adults.

Even the rebellious Ariel begins to open up to her father again at the end of the story. Ultimately, the town of Bomont is able to achieve its happy ending when they reach a balance between healthy restrictions and cutting loose.

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2

PRINCIPAL

coming-of-age

A coming-of-age story (sometimes referred to as a Bildungsroman) is a story that features a young protagonist growing into a new stage of maturity in their lives, typically focusing on the transition between childhood and adulthood.

Footloose features the story of Ren McCormack as he learns to stand up for his beliefs while on a journey of self-discovery. Ren is seen by the town of Bomont as a delinquent and an outsider. He is routinely ostracised and forcibly defined by how other people choose to view him—violent, immature, and impatient. However, throughout the story, Ren learns valuable lessons about his own morals, values, and emotions and eventually grows to have a more mature understanding of who he is as a person.

Ren begins the story feeling lost and abandoned by his father, hating the way his life has been forced to change as a result of him walking out. Ren’s abandonment and subsequent move represents the previous chapter of his life coming to a close—he must leave behind the carefree fun of his childhood friends in Chicago for the next stage of his life in Bomont. In Bomont, Ren faces backlash against his bright and sarcastic personality, with his enthusiasm often being met with staunch disapproval from the adults of Bomont who demand maturity and responsibility from the teens:

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There’s no dancing allowed here!

REN What?

WILLARD Listen to the man.

REN Oh. Sure. Oops. School Property.

Not supposed to have any fun.

PRINCIPAL That sort of remark may pass for wit in Chicago, but here we speak simply. Let me make this as clear as I can: there is absolutely no dancing of any kind allowed at any time anywhere within the town limits of Bomont.

(REN starts to speak.)

Ever.

(REN laughs. No one else does.)

However, Footloose makes a point of demonstrating that Ren’s lack of maturity is not because of his desire to have fun. On the opposite side of the spectrum, many of the other teens follow a similar journey of self-discovery to Ren, but their immaturity is demonstrated by their acceptance of the unfair limits to their freedom in Bomont—quite the opposite of Ren. The journey to maturity the teens undertake is not one of learning to accept the rules placed upon

them; rather, maturity comes from them learning to trust their own judgement and define what they believe in for themselves.

In the pivotal scene where Ren goes to convince Reverend Shaw to support his dance, Ren demonstrates his newfound emotional maturity. In this scene, Ren realizes that both he and the Reverend are similar in their motives and shows how his interpersonal understanding has grown:

SHAW (Quietly, defeated) I do.

REN So, I guess I came to town frustrated and angry, and it felt really good to kick up a fuss. And I know it got people upset, and I’m sorry for that. But I’m just trying to move on. Cuz I’m so tired of looking back.

SHAW

(Shrugs)

Mr. McCormack, I would like to be alone!

And I can’t stand still.

REN (Empathetic) Sir, you already are!

(That stops SHAW in his tracks. Long pause. REN realizes that his words have stung deeply. Now calmly, kindly:) REN We both are. You and me. We’ve both lost somebody.

And even though people say they understand, they don’t really. I bet you stop a hundred times a day and wonder “why?” I do. I wonder why’d my Dad leave? Was it something I did? Something I didn’t do? Could I have made him stay? Maybe I could bring him back? But I can’t.

In this scene, Ren demonstrates his newfound maturity through his more understanding approach to Reverend Shaw’s perspective. He is able to empathize with why Reverend Shaw holds the beliefs he does.

Ren takes the step of acknowledging his own feelings about losing his father and takes responsibility for where he went wrong, encouraging Reverend Shaw to do the same. This self-reflection is emblematic of Ren reaching the conclusion of his coming-of-age journey from childhood to adulthood, a lesson that is key to his success at the end of the show.

(SHAW looks up.)

But I don’t have to tell you. You know what that’s like.

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3

SHAW

grief and loss

Grief and loss are the primary driving factors behind the conflict in Footloose. Ren’s move to Bomont and subsequent delinquency are spurred on, in part, by the pain he feels as a result of losing his father. In Bomont, the Reverend and the rest of the town are haunted by the loss of four of their kids, becoming overly protective as a result of their grief.

After Ren’s father abandons him and his mother, Ren grapples with the idea that he somehow caused his father to leave. By continuing to question his role in the circumstances surrounding his father’s departure, Ren causes himself more pain and strife. Similarly, the adults of Bomont are unable to reconcile their powerlessness in the face of the Potawney Bridge Accident and latch onto the idea that by banning dancing, they can prevent their kids from being hurt. However, both Ren and the adults of Bomont learn the importance of growing beyond the tragic events of the past. As Reverend Shaw puts it, they learn to lay down their burden:

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I’m standing before you this morning with a very troubled heart. You see, my friends, as your minister, I should be helping you to find the joy in your lives; last night I realized that I haven’t been doing that.

After all, we all remember that terrible night five years ago when the lives of four young people ended on the Potawney Bridge. Everyone in this community lost someone that night – a child, a neighbour, a friend.

I –Vi and I – we lost our son.

(He looks to his family) Ariel lost her brother. Now, somehow I got into my head that my loss was the greatest. That my pain was the deepest. And then, last night, someone much younger than I made me realize how tightly I had been holding onto that memory. A memory that has weighed me down as surely as a great stone. And in that moment, I did something that I haven’t done for a very long time: I laid down my burden. It was a terrifying moment. And it was exhilarating. This morning I offer you the same opportunity.

Whether intentionally or not, Ren and the adults of Bomont had been allowing their grief to dictate their lives. By acknowledging their pain and working to understand it, they are able to move forward instead of it weighing them down. While Footloose depicts the pain and difficulty of loss, it teaches audiences that acknowledging a persons’ grief is a key part of being able to heal.

4

language arts

Poetry

Exactly what constitutes poetry can be difficult to define. For many, poetry can simply be thought of as writing that is not prose. However, poetry’s defining factors go beyond merely what it is not. For example, famous writer William Wordsworth once described poetry as “the spontaneous overflow of powerful feelings.” Poetry is created when a person represents their thoughts and emotions through words, experimenting with grammar, punctuation, sentence structure, sound, metre, and imagery (among other elements) in their writing.

In particular, poetry is used to invoke a particular emotional response in its audience.

Because of this, poetry is often connected to how it impacts the body—the emotions inspired, sounds created, etc. In many ways poetry, music, and dancing go hand-inhand. As famous French poet Paul Valéry puts it: “Poetry is to prose as dancing is to walking.” Like how Ren expresses his energy through choreography, writers express themselves through poetry. *Prose: writing that is similar to how you would speak; writing without metre that uses conventional grammar and sentence structure.

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Lyric Poetry As discussed, poetry comes in many forms. The exact structure of a poem can vary wildly, with some forms of poetry having very specific rules to their style and others being more free verse.

In many ways, the lyrics of a song form a kind of poetry. Footloose is well known for its iconic soundtrack that eventually inspired the 1998 jukebox musical, with music and lyrics that continue to resonate with audiences decades after they were written. While not entirely the same, lyric poetry is a type of poetry where powerful feelings are central. What constitutes a lyric poem is very broad, but they are generally seen as an expression of the speaker’s emotions or state of mind in a particular moment. Lyric poetry is one of the oldest styles of poetry, having existed for thousands of years. In ancient Greece, lyric poetry was closely connected with theatre and performed with musical accompaniment. The lyrics of a song are a similar form of expression, outlining how a character feels, thinks, and acts during a particularly emotional moment in a show.

There is a common saying in musical theatre that a character will speak until they need to sing and sing until they need to dance. Essentially what this means is that as a character’s energy and emotions grow, they are driven to express themselves in grander ways— similar to Wordsworth’s description of poetry. One of the most famous songs from the Footloose soundtrack is the titular song “Footloose” by Kenny Loggins. Loggins’ song describes the moment where a person decides to release all of the emotions that have built up inside them during their typical everyday life, finally getting the chance to cut loose: Page 20

BEEN WORKING SO HARD I’M PUNCHING MY CARD EIGHT HOURS, FOR WHAT? OH, TELL ME WHAT I GOT I’VE GOT THIS FEELING THAT TIME’S JUST HOLDING ME DOWN I’LL HIT THE CEILING OR ELSE I’LL TEAR UP THIS TOWN TONIGHT I GOTTA CUT LOOSE, FOOTLOOSE KICK OFF YOUR SUNDAY SHOES PLEASE, LOUISE PULL ME UP OFF MY KNEES Loggins’ lyrics have many of the qualities of a lyric poem.

By using metaphors such as “hit the ceiling” and “tear up this town,” Loggins demonstrates the restlessness of the speaker, communicating the powerful emotion that is central to the song. “Footloose” is also from the perspective of one speaker detailing their own thoughts and emotions, another key aspect of lyric poetry.

Lyric poetry is also known for its use of metre, or an inherent rhythm created in a piece. Metre can be used in many ways, including to demonstrate a speaker’s state of mind or to show where key words are in a line. Similarly, composers and lyricists will use music to demonstrate key aspects of a character’s emotional state within a song.

In Loggins’ song, he uses the song’s tempo to build the energy of the first verse and chorus in connection to how energy is building in the speaker. The first lines of the song

span multiple bars of music and are slower in pace; however, as the song reaches it’s pre-chorus of “I’ve got this feeling…,” the pace begins to quicken before doubling for “tonight I gotta cut loose,” demonstrating sonically how the energy of the speaker bursts out in the chorus.

ARIEL Up here I can pretend I’m halfway to heaven…

I listen to the river…

(Indicating the girders) …and look what happens!

REN

SPEAKER:

METRE:

(Inspecting the girders)

The perspective a poem is from, could be the poet themselves or a character within the poem; the “voice” that is speaking the poem.

Rhythm created in a piece of writing through accented syllables and varying line lengths.

Whoa! This place is covered with graffiti.

ARIEL It’s not graffiti! It’s poetry. I call this place, “My Diary.”

REN You climb all the way up here and write poems?

Elegy One sub-type of lyric poetry is called an elegy. An elegy is a poem focused on loss and lamentation.

In particular, elegies are often written to try and communicate the unspeakable aspects of grief and are a way of re-examining the world through the perspective of death, sorting through overwhelming feelings of loss, and remembering those who have passed.

Towards the end of Footloose, Ariel tells Ren that she sometimes goes to the river and imagines she’s halfway to heaven, inspiring her to create poetry dedicated to her brother Bobby using spray paint:

ARIEL Uh-huh. They’re all dedicated to Bobby.

When Ariel goes to the river and writes to her brother, she uses poetry as a way to process and communicate the grief she experiences witnessing the results of her brother’s death. As writer Priscila Uppal puts it in her novel We Are What We Mourn, “the poets welcome the dead to sit down with us in our living rooms, recognize us, and tell us who we are.” Ariel’s poetry in Footloose is another example of the story’s emphasis on artistic expression in the face of tragedy.

Ariel’s use of elegy transitions into the second half of the scene where she and Ren sing the song “Almost Paradise” by Mike Reno as a duet.

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I THOUGHT THAT PERFECT LOVE WAS HARD TO FIND I’D ALMOST GIVEN UP YOU MUST’VE READ MY MIND AND ALL THOSE DREAMS I SAVED FOR A RAINY DAY THEY’RE FINALLY COMING TRUE I’LL SHARE THEM ALL WITH YOU CUZ NOW WE HOLD THE FUTURE IN OUR HANDS. WHOA, ALMOST PARADISE WE’RE KNOCKING ON HEAVEN’S DOOR ALMOST PARADISE HOW COULD WE ASK FOR MORE? I SWEAR THAT I CAN SEE FOREVER IN YOUR EYES. PARADISE! AND IN YOUR ARMS, SALVATION’S NOT SO FAR AWAY IT’S GETTING CLOSER CLOSER EVERY DAY

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Earlier in the scene, Ariel describes how the bridge makes her feel as though she is “halfway to heaven.” In this space, she feels a sense of vulnerability where she is able to connect with her brother Bobby and write poetry dedicated to him. The song “Almost Paradise” is an extension of this feeling of openness and emotional connection—even the name “Almost Paradise” is another way of saying “halfway to heaven.” Because of the work Ariel has done to understand her emotions and process her grief through self-expression, she is able to open up to Ren and begin a new chapter of her life. The lyrics of the song reflect the journey Ariel has gone through; the speaker describes how they had previously given up on finding love due to negative experiences, but eventually they were able to move through them in order to achieve happiness: “I thought that perfect love was hard to find / I’d almost given up / You must’ve read my mind.” As the song continues, the speaker demonstrates a new sense of hope for the future where they are able to achieve “salvation.”

Together, Ariel and Ren are taking control of their future and opening up again following the Potawney Bridge Accident.

in-class activities What other aspects of lyric poetry can you uncover in Kenny Loggins’ “Footloose”?

How does the song differ from a standard lyric poem?

Does Ariel’s graffiti on the girders really count as poetry?

Does poetry have to be words on a page, or could it be more?

What similarities/differences does Ariel’s graffiti share with different types of poetry (elegy, shape poetry, etc.)?

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roles in theatre R’S CHAIR

THE DIRECTO

The Director’s job is not an easy one, as it involves a host of considerations – everything from selecting the play, to casting, stipulating lighting and special effects desired, and approving set design.

Their word is final in matters ranging from promotion, costuming, choreography and staging, to set design and construction. They must study the play until they can visualize every aspect of it – how each character should look, speak, walk, dress; how every prop should fit into the overall picture; how each scene should be lit; how easily scenes can be changed, and how effectively they convey the mood and atmosphere they want.

They must work within a tight budget, yet produce a superior product that will draw audiences again and again. Not only must they know their theatre, its advantages and shortcomings, but they must also know the audience that comes to that theatre and their likes and dislikes – all of which must be taken into consideration. The more skilled the director at their art, the more cohesively the elements will flow together, and the more scintillating the performance will be.

Of all the people involved in putting on a play, the Director is far and away the most important. It is a challenging job – and one that is never noticeable when it is well done. The artistic success of a theatrical production can be measured by the prowess of its director.

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E

DUCTION LIN

ON THE PRO

The Executive Producer of a theatre company has the delicate job of combining business with art.

Working with the Artistic Director, the Executive Producer uses a budget to create contracts for all artistic positions – such as directors, actors, choreographers and musical directors. The Executive Producer creates the season schedule of performances to coincide with the contracts.

Another important task of the Executive Producer is to participate in theatre associations, thereby keeping current with industry standards. The Executive Producer is also responsible for securing the rights and royalties for productions by observing proper legal channels.

THE ACTING

BUG

It may seem like a glamorous life, but being a working actor is just that – work. From the time an actor receives a contract confirmation to when they begin to play a role, it is their responsibility to be prepared, mentally and physically.

Depending on the type of role and the amount of experience the actor has, research may be necessary to prepare for the performance. Once rehearsals are called, actors must learn how to work with other performers, the director, and technical staff to ensure a productive work environment.

Being in a highly creative environment can be both rewarding and challenging. Getting ideas from other actors, challenging each other to arrive at the best performance and honing your own skills are extremely satisfying. However, it can be frustrating and physically demanding as well. Different plays present different challenges – comedies rely on timing, musicals on singing and dancing. Dance routines must be memorized, vocals must be perfected, and the straight man can never crack a smile.

Aside from the work on stage, there is the preparation before the curtain rises. Costumes must be fitted.

Hair and makeup must be perfected. Lighting and sound cues may be changed once the director has fine-tuned the performance. In the end, it’s all worthwhile – with an adoring crowd on its feet.

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ENES TYPES

C BEHIND THE S

There are several roles behind the scenes, including but not limited to: Stage Management, Audio, Lighting, Set Design, Costume Design as well as builders, painters, wardrobe, and stage hands. It’s easy to forget the people behind the scenes. After all, if a technician’s job is done well, you shouldn’t think of them at all.

A jack-of-all-trades, a technician can be in charge of a follow spot to highlight a performer’s dramatic solo, or be backstage to move sets between scenes. They ensure the set is ready for each performance and make any repairs necessary for the next performance. Many help stage management with cuing actors and operate special effects.

L YES, GENERA

MANAGER!

The General Manager’s role in theatre is that of the business manager for the organization.

Working with each department, the General Manager is aware of all human resource matters such as hiring and firing, increase or decrease in ticket sales, structural and operational needs of the theatre and representing the theatre in the community, such as industry organizations. This position is closely aligned with the Artistic Director and Executive Producer.

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E

THE FRONT LIN

There are a couple of different “fronts” in the theatre. The public is most familiar with the Box Office. This department is responsible for booking tickets for patrons either in person or over the phone. They provide information on the show, the theatre, and any services they offer, such as Hearing Assist for the hearing impaired. They make reservations, accept payments, and update patron accounts.

Another area is Group Sales. Group tour bookings make up a large number of ticket sales in a season.

The Group Sales Department is responsible for contacting group tour operators, handling their ticketing requirements, updating files, accepting payments and providing other information, such as local restaurants and attractions. Group Sales representatives also attend tourism events that will generate interest in the theatre, either through independent sales, or group bookings.

Marketing & Development is the front line for media and corporate sponsors. In many cases there is overlap. A media outlet could become a supporter by providing advertising space/time free of charge, to the theatre. Marketing is the key for a theatre to spread the word. Each year it is important to have a marketing plan and decide what new areas to pursue to ensure growth of the audience. Development 2023 ’s High School Musical Produc n oftheatre.

Legally Blond is vital for the support oftiothe The price alone only supports a fraction of the cost of a e - ticket The Musical performance. The balance must be covered by corporation sponsorship, fund raising, grants and foundation support. These all fall in the Development Department.

Volunteers play an important role in live theatre. There is always a job that needs to be done and for many theatres, it’s the volunteers that do it. Whether it’s greeting patrons at the door, selling refreshments, answering questions or assisting with raffles, volunteers are some of the key players of a successful theatre organization.

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glossary ROLES IN THEATRE

DIRECTOR - The director of a show prepares cast members to perform their lines, choreography, songs, etc. in a way that suits their overall vision for the production. They are in charge of creative decisions and determining the unique direction the production will take.

ACTOR/ACTRESS - Someone who performs on stage or screen.

STAGE MANAGER AND ASSISTANT/APPRENTICE STAGE MANAGER When performances begin, the production becomes the stage manager’s show. They work behind the scenes to ensure everything runs smoothly, including cueing actors, sound, lighting, and music from the booth. The assistant stage managers work with the stage manager from other places within the theatre (such as backstage) to ensure the show goes off without a hitch.

SOUND AND LIGHTING TECHNICIANS Technicians are responsible for ensuring everyone onstage can be seen and heard. They work with equipment such as microphones, speakers, spotlights, and more.

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HAIR AND MAKEUP ARTISTS - These artists are responsible for the “looks” that go onstage during the show.

COSTUMERS/WARDROBE - The wardrobe team is responsible for finding, creating, and maintaining all the costumes worn onstage according to the vision of the director and the needs of the production.

SET DESIGNERS AND BUILDERS/PAINTERS The set designer is responsible for bringing to life the environment of the production. They create pieces to go onstage that communicate the setting of each scene to the audience according to the director’s vision.

PROPERTIES - This is normally shortened to “props” and involves all the pieces on stage the actors will interact with, pick up, and use to enhance the performance.

THEATRE VOCABULARY BLOCKING - The actor’s movements on the stage.

CAST/COMPANY - All of the actors in the entire show.

CALLBOARD - A place backstage where company rules, announcements, notes, and messages are posted.

CHARACTER - A personality that an actor or script creates.

CHOREOGRAPHY - The organized dance moves.

COSTUME - The clothing or outfit worn on stage by performers.

FRONT OF HOUSE (FOH) - Staff that work in the house (i.e. not onstage or backstage). Includes ushers, house managers, box office personnel, etc.

GESTURE - An expressive body movement.

GREENROOM - A gathering room for performers backstage.

HOUSE - The entire theatre beyond the front of the stage. Includes the audience, lobby, etc.

LIBRETTO - The book or text of a musical or opera.

MONOLOGUE - A long speech by a single character.

CRITIQUE/REVIEW - Opinions and comments that evaluate the actors or their performances.

MOTIVATION - The character’s reason for doing or saying something.

CUE - A signal that indicates something else is about to happen.

MUSICAL THEATRE - A type of play that contains music, singing, and usually dancing.

CURTAIN CALL - The section at the end of a performance where everyone comes out to bow.

PLAYWRIGHT - The person who writes a play or book of the musical (also called libretto).

DIALOGUE - The conversation between actors on stage.

PROPS - The items carried or used by actors.

DRESS REHEARSAL - The final rehearsal before the performance with costumes and makeup.

ENSEMBLE - The group of performers on stage (usually with multiple roles) that support the story. In musicals, this group typically does large song and dance numbers.

STAGE - The area where the characters perform – usually containing a set.

TECH BOOTH - Small, enclosed space towards back of auditorium that is used to house light and sound equipment. The stage manager often runs the show from the booth.

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STAGE DIRECTIONS DOWNSTAGE – The part of the stage closest to the audience.

UPSTAGE – The part of the stage furthest from the audience.

STAGE LEFT – The left of the stage, according to the actor’s perspective.

STAGE RIGHT – The right side of the stage, according to the actor’s perspective.

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Upstage Right

Upstage

Upstage Left

Stage Right

Centrestage

Stage Left

Downstage Right

Downstage

Downstage Left

FEBRUARY 14 TO 25

st. jacobs country playhouse

draytonentertainment.com/footloose

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