REVIEW: Downtown: The Mod Musical - Footlight Theatrical

Downtown: The Mod Musical unfolded as a colourful collage of the ‘60s — part concert, part sketch show. Footlights Theatrical leaned into the revue format, letting the audience settle into familiar songs, pop references and the charm of the era without needing much story to guide us through.

Directed and choreographed by Helen Ekundayo, with Isabelle Quayle assisting and Benjamin Richards leading a small-but-mighty band, the show made the most of its in-the-round staging. Each of the five mod girls had her own rainbow persona — Jacqui Trappett (Blue), Niamh Smith (Yellow), Sabre Barr (Red), Emma Hodis (Green) and Della Days (Orange) — and they each had moments where they shone.

Della Days came out swinging with some powerhouse Dusty Springfield vocals, while Sabre Barr and Jacqui Trappett floated through their numbers with lovely, honey-smooth tone. Emma Hodis fully committed to her cheeky Cockney character, earning plenty of laughs, and Niamh Smith threw herself into her Beatlemania with a level of second-hand cringe that was honestly delightful. Plus, Niamh's “Son of a Preacher Man” absolutely slapped.

With so much of the show sung through, the cast spent the night juggling lead vocals and backing harmonies. Sometimes it felt like they were each trying to out-sing the others rather than meld into one blended sound, but when they did lock in, the result was a bold, gorgeous five-part punch.

Between songs, the show sprinkled in retro ads and “Shout” magazine guidance, which added a cute framing device while also nodding to the messier realities women faced, from outdated dating “rules” to violence against women and the experiences with queer identity.

The costumes were a technicolour dream, evolving through the decade with big wigs, bright fabrics, vinyl shoes and Go Go boots. The lighting joined in on the fun, shifting to match whatever rainbow creation the girls walked out in.

Not every comedy sketch hit its mark and the opening megamix needed more oomph, but the solos absolutely delivered. “To Sir With Love” was heartfelt, “End of My World” soared, and “Don’t Sleep in the Subway” was pure sweetness. The marijuana scene was as unhinged, with each girl reacting in her own way, and it all peaked with a surprisingly fantastic a cappella moment with the “Goldfinger" theme.

I did find myself wishing for some handheld mics to add a bit more flair to the staging, especially with how much singing was required. And as stunning as each performer was in her solo, it was a little obvious at times that the others were deep in concentration mode with their blocking and choreography. No judgement at all. We’ve all done the exact same thing.

The audience had a ball, especially during “These Boots Are Made for Walking,” and when the title song “Shout” arrived near the end, everything snapped together with the full force of five mighty voices. It was a lively, nostalgic romp through the decade that shaped modern pop culture, delivered with heart, humour and a whole rainbow of mod energy.