Sometimes at the Edinburgh Fringe, the shows you end up seeing almost by accident can be some of the most interesting.
I had a spare couple of hours and decided to browse through The Space’s programme to see what tickled my fancy. However, in this case, it wasn’t actually the show that persuaded me through the door – it was the cast.
Before the performance, I spotted members of the company actively handing out flyers and trying to encourage people to come along. Not a marketing team or somebody hired to promote the production, but the young performers themselves, putting the work in and trying to build an audience for their show.
I remember thinking: that’s dedication.
So, reader, it worked. I went. Beware this was a preview show, so the final version may be different when you watch.
Regular readers of Theatre Village will also know that I have a particular soft spot for youth theatre. After all, youth theatre is where my own love of theatre began, and I think it’s incredibly important that young performers are given opportunities to get onto a stage, take creative risks and experience everything that comes with putting on a production – including, apparently, standing outside at the Edinburgh Fringe convincing passing reviewers to come inside!
Cup and Dagger presented this youth version of Footloose, and for anyone unfamiliar with the story, the premise is fairly straightforward: when dancing is banned in a small town, one determined teenager challenges the rules and sparks a rebellion.
The production began enthusiastically, with the energy of the company immediately on display. As the story unfolded, the characters became established and the cast settled into telling a story that mixes teenage rebellion, friendship, family conflict and, naturally, plenty of music and dancing.
One thing that particularly impressed me was the scenery.
At the Fringe, especially with productions working within tight turnaround times, I’m accustomed to seeing a solitary chair, table or strategically placed box doing the work of an entire set. Cup and Dagger were considerably more ambitious.
The scenery actually helped tell the story and establish the different environments, rather than simply sitting behind the performers. There was also clever use of a backlit board, which added another visual dimension to the production. For a youth show operating within the practical limitations of the Fringe, considerable thought had clearly gone into how the stage would be used.
Performance-wise, things were a little more inconsistent.
There were some definite standouts. Rusty was particularly impressive, bringing confidence, personality and strong stage presence to the role. Willard was another highlight, and the scenes involving these characters often gave the production an additional spark.
Unfortunately, I don’t have the performers’ names to credit them individually, but both deserve recognition for what they brought to the production.
Reverend Shaw Moore was also well played, although I felt there was room for a little more strength and authority in the performance. This is a character carrying considerable emotional weight within the story, and pushing that performance slightly further would have made some of the confrontations considerably more powerful.
My biggest disappointment came with I’m Free.
This should be one of those moments where the ensemble absolutely takes hold of the audience. It’s effectively a fight song – youthful defiance exploding onto the stage – and I wanted the number to bring the house down.
Unfortunately, it never quite got there.
The choreography felt somewhat restrained and lacking in the energy the song demands, while the musical arrangement didn’t help matters. Rather than feeling like the production had suddenly burst its restraints, the number felt surprisingly subdued. With a stronger arrangement and much more attack from the ensemble, this could have been one of the highlights of the entire show.
That said, one number doesn’t define a production.
What remained throughout was the obvious commitment of a young company working together to tell the story. There was enthusiasm on that stage, some very promising individual performances and a genuine sense that the cast wanted the audience to have a good time.
And I did.
Footloose: Youth Edition isn’t a flawless production, and there are areas where greater consistency and confidence would lift it considerably. But youth theatre isn’t simply about producing polished performers; it’s also about giving young people the opportunity to learn their craft by actually doing it – rehearsing, performing, working as an ensemble and discovering what connects with an audience.
Cup and Dagger have brought an ambitious, energetic and accessible production to the Fringe, and there is talent within this company worth watching.
It’s also a family-friendly choice, so if you find yourself with a gap in your Fringe schedule and fancy something upbeat, accessible and performed by a young cast clearly committed to what they’re doing, give them a chance.
After all, that’s exactly how I ended up there.
https://www.edfringe.com/tickets/whats-on/footloose-youth-edition
Overall Rating: ★★★☆☆ – 3 Stars
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I agree, and have to metntion the character Chuck, small part however well executed for a young actor. A fun morning out
Like the article also captured by the cast distributing flyers. So stopped with family and had a fun hour of musical theatre. The review highlights the wonderful cast and points out rightly Chuck. Good to see the future of theatre growing up.
Like the article also captured by the cast distributing flyers. So stopped with family and had a fun hour of musical theatre.