Footloose by MTS at The Fire Station in Sunderland Review
Written by Stacy for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
There’s something uniquely electric about a college production that bridges raw, emerging talent with a full-hearted passion for performance - and MTS’s rendition of Footloose at Sunderland’s Fire Station proves just that. From the moment the first beat dropped to the final rousing reprise, this was a production that crackled with youthful verve, fearless choreography, and an ensemble that refused to give less than everything they had.
Directed with a confident and thoughtful hand by Luke Maddison, the production captured the rebellious spirit of the 1984 film while crafting moments of emotional sincerity that gave the story real heart. Maddison struck a careful balance between high-energy spectacle and grounded storytelling, ensuring that character development was never lost amid the show’s vibrant musicality. His direction brought clarity and momentum to the narrative, drawing out strong performances from the entire cast and maintaining a consistent emotional throughline that elevated the material beyond its jukebox origins.
Every single student on stage gave it everything they had. You could see it in their expressions, their movement, and their unwavering dedication to character, no matter where they were placed in the scene. There was a refreshing sense of unity in this cast - no one faded into the background. Ensemble members performed with the same fire and attention to detail as the leads, which created a full and immersive stage picture throughout.
At the heart of the show was Freddie Scott as Ren McCormack, whose energetic performance and stage presence brought real depth to a character that can often veer into cliché. While his vocals were solid, it was his natural charisma, physicality, and ability to navigate the emotional highs and lows of the role that made him a standout. Whether dancing with reckless abandon or handling scenes of grief and conflict, he delivered a performance full of confidence and nuance.
Opposite Scott, Annie Edwards was a powerhouse as Ariel Moore, delivering a performance that crackled with intensity and emotional complexity. She brought a fierce, defiant edge to the role, but balanced it beautifully with moments of tenderness and vulnerability. “Holding Out for a Hero” was a genuine showstopper - not only for her vocal strength but for the magnetic stage presence she commanded throughout. Her chemistry with Ren felt authentic and compelling, while her scenes with Reverend Moore (played with gravitas by Harvey Johnson) were layered and affecting, revealing the inner conflicts driving her character. Edwards’ performance elevated the emotional stakes of the show and marked her as a standout in her own right.
Speaking of the Reverend, Johnson delivered a performance that was grounded and layered, portraying a man caught between faith, tradition, and paternal love. His solo “Heaven Help Me” was a quiet highlight - a restrained, contemplative moment that offered a refreshing contrast to the show’s high-octane numbers. Alongside him, Abbey Tilley brought a sincere and mature presence to the role of Vi Moore. With understated strength and emotional intelligence, she conveyed the quiet resilience of a woman trying to hold her family together. Her songs were delivered with warmth and clarity, adding a gentle poignancy that deepened the emotional texture of the production.
The supporting cast also deserves their flowers. Loughie Martin as Willard Hewitt was a crowd favourite, delivering a hilarious and lovable turn that perfectly complemented the more serious elements of the story. His comedic timing was spot-on, especially during “Mama Says,” which had the audience in stitches. Abbie Smart as Rusty was equally delightful, with a vocal performance in “Let’s Hear It for the Boy” that practically raised the roof. Dan Burlison brought a brooding intensity to Chuck Cranston, capturing the character’s volatility with confidence and menace. His presence added tension and edge to every scene he appeared in, rounding out the ensemble with real impact.
Choreography, led by Lori Beth, was tight, creative, and unrelenting in its energy. The ensemble delivered complex routines with both precision and personality, lending even the smaller numbers a West End-worthy polish. The iconic title track “Footloose” ended the show with a joyous, infectious energy that had the entire theatre clapping along. What truly stood out was how well-rehearsed and in sync the cast was. In a production where group movement drives so much of the momentum, that level of polish made all the difference.
What truly elevated this production, however, was the palpable sense of ensemble unity. There was an unmistakable energy among the cast—a shared joy, mutual trust, and a genuine commitment to telling this story. That’s not something you can manufacture. It speaks volumes about the training and spirit fostered by MTS, and the dedication each student brought to the stage.
As with many productions in non-traditional spaces, some sound issues occasionally interfered with lyrics or made it difficult to hear quieter dialogue. The Fire Station isn’t a purpose-built theatre, and while that brought a unique intimacy to the performance, it also meant that moments got lost in the acoustics. Still, these were minor disruptions in what was otherwise an infectiously spirited performance.
In a world where professional productions often dominate the spotlight, it’s easy to forget how thrilling student theatre can be when done right. This Footloose wasn’t just a college production - it was a celebration. A celebration of passion, hard work, and the kind of raw, unfiltered energy only a young and hungry cast can bring. For MTS, this is another triumph, and for Sunderland, a reminder of the incredible talent being nurtured right here in the North East.
Footloose plays at The Fire Station in Sunderland until 12 June.
★★★★★
