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Dancing is outlawed in the town of Bomont, but teenager Ren is determined to “right this wrong” because, as he says, “if there’s one thing worth fighting for, it’s freedom!”

Adapted from the titular 1984 hit movie, the musical “Footloose” follows Ren and his mother’s move from the big city to the rural farmlands of Bomont. After learning that dancing is against the law, Ren, an avid dancer, embarks on a journey to mobilize the town’s youth and bring the town together. From Nov. 15 to Nov. 19, the Asian Student Arts Project (ASAP) and ¡TEATRO! will present “Footloose” at the Agassiz Theater, celebrating the beauty of freedom.

By joining forces, ASAP and ¡TEATRO! breathe new life into the much-loved “Footloose” musical, co-directed by Cas Li ’25 and Roseanne O. Strategos ’25. This production centers pan-Asian and Latine identities to uniquely explore Ren’s diasporic journey and uncover intergenerational trauma in Bomont’s families.

Taking a step back to reflect, Strategos concluded that her role as a director necessitates the aptitude for stage direction, which includes the ability to develop a vision, actualize it onstage, and ultimately bring narratives to life.

“It’s really interesting to see how things go from my imagination into real life. Some things are a lot different, but some things are just like how I imagined them,” Strategos said. “And it’s just really cool to stand back and look at it all.”

Representing a wide range of people of color in a creative manner is an aspiration of the two directors, an endeavor rarely seen in traditional productions of “Footloose.” In the narrative, they found diasporic themes and intergenerational traumas that are linked with many immigrant family stories, which is a fresh take for “Footloose.”

Li pointed out an intriguing modification that was made possible with this composition: Scenic Designer Aurora Yin ’25 and the team behind “Footloose” chose a specific bowl with floral designs for an Asian character’s family, reflecting that many Asian households have this type of bowl. Li remembered that the cast was pleasantly surprised when they saw the set piece because of its prevalence among Asian families.

“It’s little moments like that where our cast and staff identify with these design choices that reflect their own experiences,” they said.

Daniel E. Cabrera ’27, who plays Ren, encapsulates the spirit of his character in his journey of self-exploration and determination to remain true to his values in this new chapter of his life.

“This is my first musical ever for any theater production. So everything’s new to me,” he said. “What’s made it really special is the cast and the staff.”

“Footloose” features a conventional type of villain. The righteous minister of a small-town church, Rev. Shaw, spends most of the show fretting over the dangerous consequences of rock-and-roll. This production, however, involves a more intricate narrative, as Carl B. Ho ’24 employed his own childhood experiences to bring life to this distressed character beyond the script.

“Rev. Shaw is a stubborn character. He’s firm in his convictions and, of course, often portrayed as a villain.” Ho said.

“But when you get down to the real dynamic of the Reverend Shaw and the main character Ren, it explores certain tensions with family and the trauma of loss,” Ho said.

The music in “Footloose” is another notable feature. Drawing inspiration from the 1984 movie, Music Director Jennifer G. Arakaki ’26 elucidated how the music sets the mood for the entire performance.

“The ’80s retro rock style makes my arms hard — but the music is uplifting and creates that kind of dynamic and ambiance,” she said.

Music and dance, tools the show’s characters use to bond, create this “uplifting” and “dynamic” effect.

“There are certain numbers that feel very powerful, self-defining, self-empowering, and then there are other numbers that are, I’d say, a bit sexier,” Choreographer Jimena M. Luque ’25 said. “And numbers that are also designed to showcase the journey that these characters go through throughout the entire production.”

The dances are choreographed to illustrate the path each character takes through the production.

“With Ren, seeing him acquiring more freedom and confidence in leading the town of Bomont through this challenge of facing what the norm was in the town — it’s been really nice to see how that character evolution also translates into dance,” Luque said.

In times of crisis, “Footloose” finds solace, empowerment, and unity through art. The diverse and inclusive cast amplifies Asian and Latine students’ voices, who express their individual stories through their artistic contributions to the production. This high-energy and inspiring performance is a new attempt at Harvard to stimulate more creative endeavors in musical production.