FOOTLOOSE: THE MUSICAL, Hale Centre Theatre, West Valley City, continuing through Sept. 1 (984-9000). Running time: 2 hours, 15 minutes (one intermission).
WEST VALLEY CITY — They've turned up the heat at Hale Centre Theatre — and not just because the air-conditioning broke down during the first Saturday matinee performance of "Footloose: The Musical."
HCT has produced dozens of Broadway musicals over the past several years, but this is the first to have a live rock band, disco lighting, two full-size vehicles (a car and a pickup truck) and a working motorcycle.
The scenery, lighting and sound design team (Andrew Barrus, Spencer Brown and Mike Williams) also has a new, state-of-the-art tracking system — tiny tracks built into the stage, transporting a variety of props in and out. Church pews and a pulpit glide smoothly into place, then glide right back out, soon to be replaced by gasoline pumps.
But the real "hot" action is center-stage, with sizzling dances, a terrific cast and a full-scale musical that sticks pretty close to the original 1984 filmed-in-Utah movie. The popular songs from that film (notably the title song, "Let's Hear It for the Boy," "Almost Paradise" and a couple of others), have been augmented by several new tunes written for the stage version.
The Saturday night cast (which had a couple of performers pinch-hitting from the alternate cast) added considerably to the tuneful heat wave.
Daniel Tarasevich keeps things revved up with his agile dancing and strong voice. He plays Ren McCormack, who's moved from Chicago to a small, Midwestern, ultraconservative hamlet, where he's always on edge. Ren single-handedly stirs up the old-town values, and captures the staid preacher's daughter in the bargain.
Playing opposite Tarasevich is Emily Morgan Jeppson as Ariel Moore, the feisty daughter of the minister, and firmly under his thumb . . . or so her dad thinks.
As the plot goes, it's pretty much the kids vs. the adults.
Other fine performances, on the adult side, are David Weekes as stubborn Rev. Shaw Moore, who has a couple of the production's most moving solos; Fawna Gillette Jones as Vi Moore, his concerned wife; and Georgia Sorensen Marshall as Ethel, Ren's divorced mother. The latter two have one of the best duets in the show, the poignant "Learning to be Silent."
Standouts among the students are Jon Copier as Ren's best friend, bashful Willard Hewitt; Erin Royall (who plays Arial on alternate nights), as Rusty, Willard's girlfriend; and Benjamin T. Brinton, who is single-cast as the angry, rebellious Chuck Cranston.
JaceSon Parker Barrus delivers the goods as director, keeping the focus sharply on the crucial battle between Ren and Rev. Moore. Marilyn May Montgomery's energetic choreography and Kelly DeHaan's small band add to the energy. (The musicians move into the center of the action for the country-western "Bar-B-Que" segment, showcasing Wanda Copier as country singer Irene.)
Despite the heat, this is one "cool" show.
E-MAIL: ivan@desnews.com