In Footloose: The Musical, Jarrod Moore plays Ren, a character who protests for the right to dance. It’s a theme that resonates with the actor and his peers, as I discovered.
Ren McCormick is such an iconic role. How do you feel stepping into those – dance shoes?
Jarrod Moore: It’s been a fun and interesting ride. I went into it without seeing the original movie. I knew more about the musical through my university studies, and it was only after being cast that I finally watched Footloose. To be honest, in the musical version, Ren is a bit more interesting. He has more attitude and spunk, which is great to play on stage. But the best part has been the public’s reaction, because it’s a movie that many people have grown up with. People come up to me and talk about Kevin Bacon and the Eighties, so it’s rewarding to play Ren and see the joy it brings.
How did you prepare to play the character?
I approached it from the standpoint of the script, rather than the fear of trying to replicate the character. I’ve created my own version of Ren, and to be fair, a little bit of me has snuck in there. I also had to get my mindset into the Eighties, where it’s set, and I read the text with that framework in mind. A lot of the jokes we have are tongue-in-cheek and in today’s world, maybe wouldn’t be as cool, but in the Eighties, it was of the time.
Jarrod Moore
In terms of the story and the restriction of dance, did you think about anything in your own life that you’ve been denied, such as the fight for same-sex marriage?
Yes, that’s come to mind, because Ren goes from a town where he’s had complete freedom of expression to a place where he can’t fully express himself. It has that same sense of an outsider, especially like early on in a queer journey when you have that other side of you that you’re trying to figure out and express. I remember being in high school when I wasn’t out and had to alter the way I acted around people. You change aspects of yourself, but then that takes its toll. There’s a parallel there with Footloose. It’s that general feeling of being trapped or repressed.
“Footloose has that same sense of an outsider, especially like early on in a queer journey.”
What was coming out like for you?
It wasn’t as hard for me as it was for others because my parents were very accepting. But it was hard for me in the way that I knew about myself, but didn’t want to accept it. I was an early bloomer and knew I wasn’t quite the same as everyone else, so I kept that under wraps for most of school. Then, around Year Ten, I hid it the most because I felt repressed. I was actively changing the way I’d talk and act, so as not to arouse suspicion, and that’s when it became a huge toll. When I finally came out, it relieved that pressure. On the whole, it was all well-received and in hindsight, I realised it wasn’t as hard as I thought.
If only we knew!
But for kids these days, it’s talked about a lot more and somewhat ‘normalised’. Whereas in my time, I saw the gay kid being bullied at school, but by the time I became a senior, suddenly being the gay best friend was popular. There was this big flip, which was nice, but it’s hard to figure all that out in your journey.
Jarrod Moore as Ren and Maverick Newman a Willard in Footloose: The Musical
How do you find the dancing throughout the show?
The entire warehouse scene from the movie is replaced with an extended montage where we dance to, I’m Free by Kenny Loggins. It takes place in the gym and becomes a rallying cry for the student body to break free of the bonds – and to throw a big dance. The thing is, in the musical, Ren dances a lot less than in the movie versions. But he does a lot more singing, and everything he does is through movement, which makes him stand out from everyone else. All the kids in the town are solitary and too scared to move. Ren’s initial song is I Can’t Stand Still, and of course, everyone breaks free at the big prom.
You’ve also been in Moulin Scrooge and A Very Naughty Christmas.
A Very Naughty Christmas has become a bit of an institution that everyone goes to. The creator, Alex Woodward, is a fellow graduate from university, and the show is so much fun and sexy, with carols. I played the crooner walking around in women’s underwear in a winter wonderland. What a way to kick off the show! I’ve done Moulin Scrooge! with Trevor Ashley twice now, after he initially cast me in Priscilla: Queen of the Desert. He told me he’d written a new panto, and it certainly turned out to be an experience. It grew me as an actor. I had to think on my feet and break the fourth wall with audience interaction. It was a cool way to develop new skills.
Are there any future dream roles you have your sights set on?
The first musical I ever saw was Wicked, and I’d love to play Fiyero. Hopefully, with the recent movie, it’ll come back. I’ve also come to appreciate Falsettoland, and when I’m a bit older, I’d like to play the character Whizzer, which was played by Andrew Rannells in the recent revival. It’s such a great character, and it would be a nice 360-degree moment, because in university, my very first song was from this show.
“By the time I became a senior, suddenly being the gay best friend was popular”.
Who inspires you in the industry?
I’m drawn to vocal inspirations such as Gavin Creel, who we sadly lost, Andrew Rannells and also Jeremy Jordan. I love the Derek Klena tenors of the theatre world who sing high with a richness in their vocal tone. That’s what I aspire to achieve, but in my own way. Rather than try to replicate another, I like to take a little flavour from each and create something for myself.
What about a music diva?
In terms of all-time vocals, Beyoncé is there for me. I love her performance of Déjà vu with Jay-Z at the 2006 BET Awards. Dance on point! Vocals on point! It was a life-changing true masterpiece. Then I appreciate the musicality and versatility of Lady Gaga and Chappell Roan. For me, it’s about vocals and performance.
What advice can you give to people wanting to pursue a career on stage?
A lot of us in this industry are big fish from a small pond coming into a pond where everyone is a big fish. It’s a learning curve to be with people who are of a similar talent, if not better, and that’s where the magic lies. You’re never going to be better if you’re the best in the room. You want to be with others who are better because there’s an opportunity to learn. Also, don’t be afraid to figure yourself out first before you begin your journey. You’ll become a better performer from your own life experiences. You don’t need to fast-track yourself into the industry. Find your core value first and hold yourself true to it.
Matt Myers with Jarrod Moore
Do you have a favourite moment in the production of Footloose?
There’s a lovely moment with the song Almost Paradise which is the love song between Ren and Ariel. It’s a sweet scene, and Jordan Twigg, who plays Ariel, is my childhood best friend. We grew up in Ipswich, Queensland, moved to Melbourne and ended up playing opposite each other. Every time we sing that song, it’s an incredible moment because the song is amazing, but also because we’re sharing that moment.
Why do you think Footloose resonates so much with people?
It’ll always appeal to a live audience because it has a broad message of overcoming adversity and oppression. It’s about freedom of expression, and the whole idea of dance being banned can apply to people from all walks of life. That, mixed with the nostalgic Eighties music, captures a large demographic of Eighties music lovers. But they’re also touched by the warm story at the show’s heart.
For more: footloosethemusical.com
Follow Jarrod on Instagram @jarrodfmoore_
