Everything I learned that gets me through the worst, I learned at my Mama’s knee. And I invite her along plenty to come see musical theatre, out and about with me. And while she couldn’t make it to the opening of Cockpit in Court’s Footloose— my Mama says, it doesn’t matter, if you’re a first-timer or you been there before, you better get your tickets to see that show, before they ain’t got tickets no more! And she’s not wrong— I called her and gave her the blow-by-blow and told her how sold-out the house was last night, how the audience had Ren-fever and simply could not sit still (physically or vocally) because they were so hyped about the hype flying off the stage? And Mama says— get your tickets! And my Mama ain’t never wrong. Cockpit in Court is finishing their 2026 summer season with a stupendous blockbuster production of Footloose and it likely will sellout so do not wait or hesitate or you’re going to be finding yourself with a major case of the mopes that even all the dancing in Bomont can’t fix! Directed by Jake Stuart, with Musical Direction by Charlotte Evans, and Choreography by Lauren Stuart, this sizzling, show-stopping sensation is the hit of the summer, hands down.

At first there was a healthy dose of skepticism upon encountering the cavernous and wholly empty stage (which did not un-empty itself after the opening number in the switch from Chicago to Bomont), though Lauren Stuart’s conflagration of choreography (which we’ll get to) necessitated such a vastly open play space. The lone fence-post back-drop with the roll-in pews and the white church windows were doing nothing for me, if I’m totally honest. But after that initial scene in the church, the fluidity of scenic transition by keeping certain furnishings on casters, mobilizing the whole cast as scene-crew, and some other wild components, the set made perfect sense. There is a brilliant method behind Scenic Designer Dan Morelli’s madness. And I swear, the front porch of Rev. Moore’s house looks familiar. Maybe it’s been seen…somewhere over a rainbow? (Full disclosure: I live for easter eggs like that.) If there’s a lone complaint, Morelli could have stood to have painted handles on the kitchen cabinetry and doors inside the Moore kitchen; it looks just a little odd having a nice finished set piece like that without any visible handles. But the pièce de résistance in Morelli’s set, invisible handles or not, is the graffiti-bridge and the way it gets backed up against the twinkling night sky (props to Lighting Designer Thomas Gardner) during the second act. Gardner is also doing some proper 80s light-work when it comes to the rainbow blinks and the down-drops in colored lighting. And there should be praises to Sound Designer Terry Edwards as well for that flawless incorporation of the train effects. They sound authentic, complete with crescendo swells and tapers for when they rattle off into the distance. And the microphones were properly balanced!

The show’s sartorial selection is sublime (there’s an odd slap of ‘not-quite-right’ that stands out in one, maybe two places, but it’s only slightly noticeable and shouldn’t detract from the otherwise impressive approach to costuming the show!) Heather Kohlbus does an excellent job of getting nearly every single individual in the BBQ Dance scene all wrapped up in some variety of checker-plaid— gents in the long-sleeves and ladies with the button-downs cross-tied for that cute cowgirl look. And then she’s got Cowboy Bob all decked out in one of those embroidered fringe Western-style outfits (and bonus— the band is up on stage for that number and they’ve got matching-style outfits!) Kohlbus’ approach to the show’s aesthetic aligns well with the 80s timestamp and Bomont locale.

Right from ‘go’, Lauren Stuart’s choreography is sizzling. You get that surge of 80s spin-moves and all of that high-octane enthusiasm in the opening bid, “Footloose.” And that vibrant, younger dance corps is out to prove how flashy and extraordinary their routines are. There’s a lot of acrobatic moves infused, though you get a lot of the tumbles and flips appearing most prominently during “Still Rockin’” and “Let’s Hear it For the Boy” in the second act. There are fiery group formations like during “I Need a Hero” and so many intense routines that feature some extraordinary dancing talent all throughout that you’ll be thoroughly blown away by all of the dancing that happens in this show. Stuart is channeling the town’s need to dance into every choreographic routine, whether it’s the sillier shuffle-steps of the five fellas doing “Mama Said” or the epic finale and all the sensational stunts and moves that number entails. It’s got the pulse of the music, the attitude of the teens of Bomont, and the seasoned mark of a lively, sparking choreographer, making it one of the truly stupendous production elements in the show.

Musically the show is bodacious— truly bitchin’ as the 80s might say— and it just sounds stellar. Musical Director Charlotte Evans has her live band (both up on stage and down below in the pit) well in hand. Featuring herself on keyys1, Ben Shaver on keys2, Lisa Wood on drums, Jame Williams on guitar1, Diane Steffens on guitar, Andrew Baker on bass, and Helen Schlaich on reeds, every musical moment feels harmoniously aligned with the actors up on stage and the balance is in awe-inspiring equilibrium. Evans also works with the actors in a fashion that effects the most impressive sounds— be it in small group harmonies like the terrific trio of ladies during “Somebody’s Eyes” or full company moments like the titular number. There’s power in the show’s vocals, a strong sense of intonation that is both consistent and smooth, and an overall energy that simply doesn’t quit.

Jake Stuart shows sensational instincts in his directorial approach to the show. There’s a small handful of scenic shifts where a few pieces are still shifting into place as the lights come up, but for the most part the cross-fade effect of getting scenery shifted on and off at the top and tail of each transition is sublime. And by this weekend’s Sunday matinee, even those few moments that could be a lick tighter will have certainly come together in a practically perfect manner. There’s a lot of cleverness in the way Stuart utilizes the space of the stage, allowing for that full feeling without a sense of over-crowding, and making cheeky choices— like how the trio of girls appears popping sideways from the wings for “Somebody’s Eyes (Reprise)” and placing the pit band up on stage for the scenes in the BBQ Country Western Dance Hall. There is an effortlessness to the way Stuart encourages character growth, interaction, and storytelling, which adds a zesty life to this production. Footloose doesn’t have the most intense or well-constructed book (the story itself is pretty stayed and actually quite repetitive) but the way Stuart approaches the narrative components with the characters feels fresh, feels intentional, and makes for a thoroughly enjoyable experience. Between his direction, Evans’ work on the music, and Lauren Stuart’s choreography, it’s no wonder the audience couldn’t sit still and filled the house on opening night!

It’s an impressive ensemble— Joshua Reginald Allen, Nicole Arrison, Lucas Baldwin, Maia Bedford, Bryan Brown, Austin Buerhaus, Ted Burke, MacKenzie Crowley, Jordan Dixon, Aaron Fletcher, Lisa Geiger, Rose Glennon, Thomas C. Hessenauer, Liz Boyer Hunnicutt, Selena Mason, Valeria Pasquale, Kailyn Quince, Ryann Reich, Josh Schoff, Dylan Villegas, Andrew Worthington— and many of them pop up with named cameo bits that are extremely praiseworthy. As a whole, they move as one dedicated ensemble, particularly in the ‘all-on-stage’ moments and everybody shows their full-on, celebratory spirit in that epic Megamix finale. Keep your eye out for Betty Blast, as played by Maia Bedford. She may roll on briefly during that scene in the Burger Blast shop, but her comedic character-choice antics being on those skates, hollering for a push, and then making a bit out of needing to use the wall-structure to pull herself off-stage are simply hysterical. Other ensemble stand-outs include Bryan Brown, who though uncredited as the town Sheriff, makes a noteworthy comedic gesture in the scene inside the Moore household when Ren addresses everyone except him, and Wes (Thomas C. Hessenauer) and Lulu (Liz Boyer Hunnicutt) Warnicker, whose midwestern accents and temperaments are perfect for these two momentary roles.

Andrew Worthington’s Cowboy Bob is in a category all its own. While Worthington blends into the background during other group scenes, he’s no stranger to the boot-scooting shuffle and throws caution to the wind out there boot-stepping and cowboy shuffling around on the stage during the dance routines at the BBQ place. Worthington is hot to trot, with a smokier than sin sound that surges through his solo feature “Still Rockin’” and it’s the perfect jolt to get the second act popping.

When it comes to bad guys, Callum Howard is wholly embodying that rogue, jerk nature in his approach to Chuck Cranston. Flanked by his flunkies, Lyle (Aaron Fletcher) and Travis (Josh Schoff), you get to see Howard’s gritty side grow exponentially from seedy and unsavory in the earlier scenes to downright dangerous by the second half. And vocally he’s got the chops, wholly unafraid to put them on display during “The Girl Gets Around.”

The trio of fine fellas that give Willard a boost in the second act— Jeter (Lucas Baldwin), Garvin (Austin Buerhaus), and Bickle (Joshua Reginald Allen)— are underrated and responsible for some of the funniest dance-moves in the whole show. There’s over-exaggerated cake-walks and all sorts of silliness going on during “Mama Says (You Can’t Back Down)” and its encore thanks to these three, who are living up their best stage life in these supporting country-bumpkin roles.

Of course, Willard (Zachary Corey) is a law onto himself, spoiling for a fight with all the sparky energy of a rogue pitbull and all the follow-through of a gerbil. Corey’s accent is superb, his intentional ‘two-left-feet’ dance style as he’s learning how to dance is perfectly executed and his powerhouse vocals provide just the right sonic experience during “Mama Says (You Can’t Back Down.)” His spunky attitude really revs into action every time there’s a chance to be spoiling for a fight, which sits in perfect juxtaposition against his nervous uncertainty when it comes to interacting with Rusty.

Wendy Jo (Kara Neat), Urleen (Syd Goldstein), and Rusty (Rebecca Van Nostrand) are an interchangeable trio of astonishing vocalists. Any one of them could rotate in and out of the Rusty role (who is scripted to more solo songs than the other two) and you’d have an equally glorious theatrical experience. Neat, Goldstein, and Van Nostrand have superb vocal harmonies, particularly during “Somebody’s Eyes” and the trio is rarely seen without one another all throughout the performance. There is a genuine camaraderie shared between them, especially when they’re all squeezed into the booth at the Burger Blast. Neat, Goldstein, and Van Nostrand make for exquisite vocal backing additions to Ariel during “Holding Out for a Hero” and their dancing is up to snuff without question. As Rusty, Van Nostrand gets to put her vocal chops on display most prominently. And while she clearly belts the house down during “Let’s Hear It for the Boy”, there’s this stellar moment in the congregation at the end where she takes a riff-option solo— literally stealing the spotlight from Rev. Moore with her vocal prowess— and it results in this hilariously humanizing moment for the good Reverend as he makes one of those perfectly executed facial expressions at her that says more than words ever could.

The invisible women are strong in this production— Ethel (Suzi Eldridge) and Vi Moore (Casey Lane.) Both characters are perceived as ‘less than’ in the eyes of the menfolk of the production. Eldridge has a nurturing and simultaneously edgier side to her maternal character, encouraging as best she can when it comes to Ren’s behavior and their present situation. There is something delicate but firm about the way Lane approaches Vi as well. She holds her own against Rev. Shaw, which is no small feat. The pair of women are featured in “Learning to be Silent”, which becomes a trio also featuring Ariel, but you get this glorious moment to hear what both Eldridge and Lane are capable of vocally as they pour their respective hearts into his situational number. Lane is given a second change at melodical magic, which she executes flawlessly in the second act during “Can you Find It in Your Heart?” and once again you’re enchanted with the pure tonal quality and emotional infusion of her voice.

As the piously indomitable Rev. Shaw Moore, Ryan Geiger settles himself comfortably into the stoic character. The Reverend’s vocal range is a well-matched set for Geiger’s natural sound and he does deliver powerful moments in song, particularly in his reprise of “Heaven Help Me” though his initial bid on that number is quite impressive too. There’s a flatness affected in Geiger, which reads as a little stilted at times, though it also works in equal measure to serve the character’s trajectory as more is uncovered about the trials and tribulations of the Reverend character. The brusque dismissal and harshly whispered shouts, particularly when dealing with Ariel, are quite chilling and foreboding and help further the breakdown in the daddy-daughter dynamic. And Geiger wins emotional expression of the year with he side-eye that he shoots at Rusty when she steals his thunder near the end of the performance.

Fiery, sassy, fierce, and ready to rumble, Amelia Grace Watts is serving up some serious singing, some intensely charged emotional acting, and some well-rounded dance moves which makes her the perfect fit for Ariel. The playful risqué that Watts delivers n “The Girl Gets Around” is as frisky and fun as “Holding Out For a Hero” is intensely impressive. That number puts her full vocal capabilities well on display and the powerhouse delivery of that song and all its prowess is beyond smashing in her capable hands. What’s truly remarkable about Watts’ performance is the way the chemistry grows between her and Ren (Adam Kindley.) All too often Ren and Ariel get “meet-cute to HEA” in 60-seconds or less but there’s something genuine happening between Watts and Kindley in this production. The chemistry and their connectivity feels earned. By the time they reach the bridge for “Almost Paradise” you feel like you’re actually on the Ren-Ariel Team and have been all season rather than the ingenue lovers being forced together in a song. They play off of one another extraordinarily well and have a genuine sense of how to grow their respective character arcs and intertwine them exquisitely.

Adam Kindley is a true triple threat. The man executes at least three drop-splits in totality and manages to spring back up flawlessly from them throughout the performance. His dancing feet can literally not stand still and he’s got the moves to prove it. But he takes that a step further and allows that frenetic, jittery energy to manifest in the subtle minutia of deliberate character choices. You can see this most effectively in the scene when he comes to address the reverend at home in the twitching, fidgeting fingers at his side. Vocally, Kindley is a knockout. Not only does he carry the songs with gusto and full voice, but there are moments were certain notes and sustains are just at the edge of his wheelhouse but the flawlessly executed technique he utilizes in those moments create a smooth balance of sound and emotion alike; Kindley is high-caliber in every sense of his talent. It’s hard to say what’s more impressive, his acting, his singing or his dancing, thankfully audiences nor myself have to choose just one in Kindley’s case. He has a commanding stage presence, a unique approach to each character with which he interacts, and “Dancing is Not a Crime” is a great display of both physical and vocal tenacity. Kindley is cutting Footloose, and the whole of Bomont is following, hands down.

Not sure how you’re gonna wangle tickets to this one as it’s pretty sold out already. But as the show of Cockpit’s summer 2026 season, do whatever you can to get your hands on a ticket to the hottest dance party in Essex.

Running Time: Approximately 2 hours and 30 minutes with one intermission

Footloose plays through August 2^nd 2026 with Cockpit in Court in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them in advance online.