JAMM AQUINO / JAQUINO@STARBULLETIN.COM Wendy Jo, left, Rusty and Lyle, played by Katherine Jones, Heather Ensley-Maldonado and Will Giles, boogie away while Shaw Moore, played by Gordon Ing, casts a moody gaze over them in the background in the Manoa Valley Theatre production "Footloose."

Problems shackle
‘Footloose’ at MVT

It's been 21 years since "Footloose" captured the imagination of a generation as a hit film and a hugely successful soundtrack album, so it's not surprising that it would eventually be recycled as musical theater.

"Footloose" Presented by Manoa Valley Theatre, continues at 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays and Saturdays, and 4 p.m. Sundays, through Sept. 25. Tickets are $30. Call 988-6131 or visit www.manoavalleytheatre.com.

Dean Pitchford, the Saint Louis High graduate who wrote the screenplay and most of the original music, participated in adapting his screenplay for the stage. But if Manoa Valley Theatre's production had been what Pitchford had come up with in 1984, "Footloose" would be but a footnote in modern music.

Even going by the standards of the "B movie" teen-angst films that Pitchford borrowed from, the stage version is mediocre musical theater. What's worse, director/choreographer Deanna Luster's take on it never succeeds in cutting loose.

The opening number is a warning of what is to come. Kenny Loggins' recording of the title song was driven by some of the most recognized guitar riffs in mid-'80s rock. Any good guitar band can pull them off, but MVT's neutered arrangement lacks the key riffs and never reaches its flash point. If that weren't enough, the dancers display the occasional tentativeness of a talented ensemble that didn't rehearse enough to be comfortable by opening night.

As with the problematic opening to MVT's "The Graduate" earlier this year, this opening gives notice that we should lower our expectations and hope for the best.

Still, there are some good individual performances.

Arthur "AJ" Johansen (Ren McCormack) lives up to his reputation as a top dancer in local theater, playing a basically decent teen who loves to dance. Johansen distinguishes himself with his footwork and adds show-stopping star power with his acrobatic prowess. He is also credible in the potboiler role of a James Dean-like teenager exiled to a small town where dancing is illegal.

But as a singer Johansen is barely adequate. Give him an E for effort, but director Luster should have huddled with musical director Nanilisa Pascua and found some way to keep Johansen from being stretched so far beyond his natural range.

No such problems exist for Trice Marciel as Ariel, the rebellious daughter of the local preacher. Martial isn't called upon to match Johnson's gymnastic routines, and she has it all as dancer, actor and vocalist.

Heather Ensley-Maldonado (Rusty) is a delightful surprise in the secondary role of Ariel's closest friend. Her sparkling rendition of "Let's Hear It for the Boy" is actually more appealing than the vintage Deniece Williams video version. It makes more sense in context as well.

Katherine L. Jones (Wendy Jo) and Kayla Haunani Kashimoto (Urlene) join Marciel and Ensley-Bruce in a spirited "Holding Out for a Hero." They maintain a fine balance between poignant longing and comic irony, even while making onstage costume changes.

The four share such good comic timing elsewhere that it's easy to imagine the entire show reworked as a musical comedy. Terry E. Howell Jr. (Willard Hewitt) stands out as well as the good-natured small-town doofus who becomes Ren's protector and best friend. Howell also distinguishes himself as the lead voice in "Mama Says."

Kristin Kashimoto (Vi Moore) displays unsuspected vocal talent with two beautiful numbers. Kashimoto has been known best for bawdy comic roles. Her work here is an eye-opener.

"Footloose" should be a triumph for Gordon Ing (Reverend Moore), long a second- or third-tier performer, who has a major role here. Ing's performance builds in strength from number to number -- "I Confess" is the pivotal emotional moment -- but a persistently malfunctioning microphone mangled his performance.

Actually, Ing's sputtering microphone was only the worst of the problems on opening night. Musical director Nani Pascua was charming when she stepped forward to sing "Let's Make Believe We're in Love," but her musicians were so loud on other numbers that the singers were lost in the cacophony.

Make no mistake, there are some winning performances to be enjoyed, but Pitchford's adaptation doesn't have the high-voltage "everybody cut, everybody cut" spirit that made his screenplay resonate. Neither does this production.

MVT's "Footloose" is scheduled to close Sept. 25. Don't bet on it being extended.