"Footloose" by Musicality: The University of Nottingham's Musical Theatre Society.

Nottingham Arts Theatre.

It's back to the 1980's for the latest show by Nottingham University's Musicality. It's the story of Ren McCormack, a teenager from Chicago, who has moved to a hick town called Bomont with his mum after his dad walked out a few years ago. The town minister, Reverend Shaw Moore, has banned dancing after a car accident years ago where four teenagers of the town died on the way back from a dance.

Ren slowly manages to fit in with the teenagers but makes enemies of the other townsfolk. He makes friends with Willard, who isn't the fastest gun in the west, as well as befriending Ariel, the teenage daughter of Shaw and Vi Moore, and girlfriend to the bullying Chuck Cranston. Ren makes it his aim to overturn the dancing ban. With the kids on his side, all he now has to do is convince Shaw Moore.

I have never seen a West End show in the West End. I have also never seen a show on a cruise ship. That said, I know that these shows have to be of the highest quality, especially so when it comes to musicals.

This production would not be out of place on a cruise ship, nor in the West End. Despite having minimal scenery, you can see the hard work that has been invested in this production, on every level.

Ren is played by Riley Halls Backler and shows that he can sing, dance and act all at the same time. I know that Riley was a little worried about the choreography, and there's a lot for him, but he had no need to; if he was worried still on opening night, it certainly didn't show and there was no need for it to show either.

He acts with attitude, which is as it should be for his character, at least at the start. I noted just a couple of the higher notes he had a wee bit of trouble with, but I put that down to nerves on opening night, especially as there were in the first act. His duet with Ariel on "Almost paradise" - one of my favourite ballads in musical theatre was absolutely perfect and the harmonies between Ren and Ariel were gorgeous to hear. I'd seen Riley in other productions, so knew that I was in for a treat with Riley's version of Ren.

Ethel, Ren's mother, is played by Katie Miller. Her voice has a lower tone that many of the female actors and that is why her voice stuck out for me. There is a beautiful ballad called "Learning To Be Silent" that Vi, Ariel and Ethel sing, and the blend of those three voices works so well. Katie also shines in a particular scene in act two where she convinces Ren to revisit his plea for a dance for the teenagers, and that chemistry and drama at that point is electric.

Ariel is played by Jenna Hancock, and oh, what a voice Jenna has. That is one thing that every actor in this show can boast of; they all have really good vocals. Jenna has power and control; she can do the vocal acrobatics and she can sing straight and be impressive with both techniques. Ariel is feisty and Jenna brings feistiness in bucketloads.

Ariel's best mates, Rusty, Urleen and Wendy-Jo are played by Amy Boyd, Bella Crowne and Olivia Reid respectively. Ariel's equivalent of a visible Greek chorus. They bring some lovely comedy moments and some wonderful harmonies.

Reverend Moore is played by Jordan Silver, I don't need to say what a good voice Jordan has, because everyone, as I have said are blessed with silver edged vocal chords. As the man of God he shows dedication to his flock. As a Father it takes someone younger to highlight where his parenting skills are a bit short of the mark, something that is also reflected in being a husband. Playing these different characteristics is something that comes with ease for Jordan. And this role is also a nice alternative to playing Warner in last year's "Legally Blonde", showing what a flexible character actor he is.

Vi Moore, the Reverend's wife, is played by Grace Fletcher-Sorsby. Grace's voice gave me the first tingles of the show, especially with that lovely controlled vibrato. I adored the emotion in "Can You Find It In Your Heart" and also the chemistry created between Shaw and Vi.

Chuck is Ariel's boyfriend when we first meet him, but he's a bully and soon gets very jealous when he sees the attention that Ren is paying to Ariel. Chuck is played by Rory Long, making his debut for Musicality, but his previous musical theatre experience shines in his debut here. Rory looks completely at ease along with the rest of the cast and has a lovely sense of menace as the bully. Like everyone else he can master choreography in his other roles.

Willard Hewitt, the "bumpkin" character, who is the first to befriend Ren, is played by Will Cartlidge. Willard's big number is a comedy one where he explains the common sense laid down by his Mama, called "Mama Says". This is accompanied by a nifty bit of choreography, both mastered by Will, and Willard. A wonderful character and a cracking young actor who knows how to play it for laughs.

Cowboy Bob, the saloon singer is played by Michael Cantle, who also doubles as Lyle, and also makes his debut in a main production. Cowboy Bob opens the second act with a line dancing spectacular, headed up with the song "Still Rockin'", sung by Michael. If this scene alone does not get your feet moving in your seat, nothing will, it's so catchy.

Jeter, Ren's friend, and Wes Warnicker, Ren's Uncle are played by David Hass, making his Musicality debut. Two different roles, and two different age ranges, but both portrayed well, especially highlighting David's acting as Wes and his dancing skills as Jeter.

Lulu Warnicker, Ren's Aunt who Ren and his Mum are staying with, is played by Megan Longhurst. Not the biggest of roles, but makes up for this by being in the large ensemble.

I love it when there's an ensemble of named characters because it gives everyone a chance to shine. They are Joe Watkins (Bickle), Eliana Dickinson (Garvin), Kirstin Hyland (Travis), Arfaa Butt (Betty Blast - what a great character name by the way).

The rest of the ensemble is made up of Emilia Makarewicz, Lucy Maynard, Florence Bird, Helen Fitzmaurice, Francesca Napolitano, Rosanna Beacock, Arabella Moore-Smith, Grace Allerton, Annabella Woodruff and Charlotte Powell.

Directed by Caoimhe Jones, she has maintained the energy and pace with props speedily being placed and removed. So much so, I was surprised just how rapidly the interval came around. This is Caoimhe's final year and what a way to bow out with such an energetic and well directed musical.

The props managed by Louise Patterson.

Stage management, which often do not get the credit they deserve, but create smooth and rapid scene changes, and are a real boon to any Director, consist of Charlotte Reay, Rachel Hoddes and Josie Fowler. The Stage Hands are Katie Anderson, Holly Wilson and Ella Maudsley.

Choreographed by Ella Gray who has managed to provide an exciting choreographed piece of theatre. I've seen "Footloose" several times but still feel a rush of excitement with these dance numbers. They never seem to date and make you want to take up line dancing lessons because of how fun the actors, and Ella make the dance sections look on stage.

Musical Directors for "Footloose" are AJ Hill and Ella Townsend. This has to be one of the best sounding bands I've heard at the Arts Theatre. AJ and Ella are not afraid to get loud, and that in itself creates excitement and energy, even before anyone appears on stage. That rhythm section is incredibly good and drives the music like a bullet train. It's not that often that I mention the individual members of the band, but on this occasion, I feel they all deserve credit. AJ Hill and Sam Ashcroft (keys), Ella Townsend (bass), James Miles and Joseph Straw (guitars), Alex Jones and Rachel Proud (reeds), Simon Clarke (drum kit) and Rosie Clark (percussion).

The soundtrack features some great songs like “Let’s Hear It For The Boy”, “The Girl Gets Around”, “Somebody’s Eyes”, the gorgeous “Almost Paradise”, “Holding Out For A Hero”, "Mama Says" and of course the boot scootin’ title track. Everything is rounded off with a full stage presence for the Megamix.

There are a couple of sections that show the result of violent confrontations and the make up for this is superb, and quite shocking on first view. All credit to the make up crew of Tiya Singh and Anna Clarke, who are also responsible for the costumes and hair. The costumes assisted by Katie Anderson.

Lighting Design and Sound Design are not directly credited in the programme, but both tasks are carried out superbly by, I am assuming, Rob Kettridge and Evie Webster, heightening the exciting performances on stage.

Co-Produced by Ellie Finbow and Lucy Middleton.

Not only is this show immense fun with some brilliant dance routines, it also has some more serious messages interwoven. Mainly about dealing with grief and that nothing changes unless it's talked about. In the current world of mental illness issues, this is a really good message to get out there that facing problems and just talking can make things a whole lot better.

The almost full auditorium certainly aimed to raise the roof with their roars of appreciation and support, and is one of the loudest audiences I've witnessed at the Arts Theatre for a while. They appreciated the talent and echoed my feelings about this production.

Make sure you get a ticket or two for this show and you will definitely lose any blues you may have, so go on, cut loose and support Musicality who just raise their own bar every production they put on.

"Footloose" by Musicality is at the Nottingham Arts Theatre until Saturday 10 February.