Singin' in the Rain, Cole Porter's High Society, Rodgers and Hammerstein's State Fair, Footloose. To paraphrase Sesame Street, which of these just doesn't belong? What the Hell is Footloose doing grouped with these classics. Well, all four are movie musicals that were later turned into live shows, with various degrees of success. The most recent is Footloose, which played Broadway a few years ago, and didn't exactly wow the critics or the public. Marriott Lincolnshire, the in-the-round theatre that has never shied away from presenting more challenging musicals to their suburban audience, has mounted Footloose as a good old fashioned musical, and have thrown themselves into it with such energy and sense of purpose, "Let's Hear it for the Boy" sounds (almost) as good as Porter. While Footloose isn't challenging in its subject matter, it is a tougher task to make the hokey story work. Somehow the belief in the play by everyone involved is contagious, and the audience leaves the theatre with big grins. If you haven't seen the movie, well, I just don't believe it. But, maybe like me, you haven't seen the movie since it originally came out back in the 80s, so the play can stand on its own. The still far-fetched story focuses on one good old boy who is shocked to find a town where dancing banned. Well, this just ain't right, ma'am. He decides to show the town what they've been missing, and slowly convinces just about everyone, except for the vehemently opposed preacher who got dance banned in the first place. Sure enough, the pretty gal our hero falls for turns out to be the preacher's daughter, but, miraculously, things work out in the end, with love and dance saving the day. Always a challenge, the in-the-round stage is taken full advantage of, as the energetic dancers fill every space and aisle, right up close to the grinning audience. The songs ­ Okay, no one will ever confuse the title tune for Sondheim, but you can't help but hum these ex-top 40 hits. The leads, Tler Hanes and Megan Reinking are actually weaker than man of the others in the production. Their singing and dancing is fine, but doesn't command the stage with the same power as some of the actors in lesser roles, like Carly Hughes and Christopher Spaulding. Still, director David H. Bell keeps things moving at a fast pace, even if some of his choreography is a bit silly. Silly, though, is what this show is all about. Don't go expecting grand statements on the state of America (okay, the country is becoming more and more like this small town, but still), and you won't be disappointed.