Rock of Ages ensemble members
The jukebox musical Rock of Ages, packed tightly with 32 1980s hits (or parts thereof) by 23 artists, with a book by Chris D’Arienzo, is a surprising theatrical success story. After premiering in 2005 at a Los Angeles club, the show made it to Broadway in 2009 and ran for 2,328 performances, tying with Man of La Mancha as, currently, the 34th-longest-running show of all time. It was also nominated for five Tony Awards, including Best Musical. “Wait – what?” I said when I read of these accomplishments after seeing the show. (I eventually unearthed why.) A film adaptation co-starring Tom Cruise was released in 2012, but flopped. (It didn’t have the Broadway version's secret ingredient, which I'll reveal later.) And now, this musical nostalgia-fest is playing at the Circa ’21 Dinner Playhouse, and with an extraordinarily talented cast.
Director/choreographer Ashley Becher has used her multiple theatrical skills well. The dancing is precise, energetic, and rich with character; the dancers exhibit enviable extensions, well-controlled freedom of movement, and athleticism. The singing is astoundingly powerful and expressive. Music director Ron May led the talented group, many of the performers familiar to Circa ’21 audiences. The songs? Well, “Cum On, Feel the Noize”! This is a life soundtrack for some of us. I sang along with these tunes back when they were on the radio. (Not at the show, though!) My favorites here are “Too Much Time,” “We’re Not Gonna Take It,” “Wanted Dead or Alive,” “High Enough,” “Harden My Heart,” “Shadows of the Night,” and “Can’t Fight This Feeling.” At Thursday's preview performance, I was disappointed that there was no live band throughout, but we did get musicians onstage occasionally.
As for Rock of Ages' plot, despite the show's title, it’s not about an 18th-century Christian hymn. Tate Hilton plays rock god wannabe Drew, and Avery Gallagher is aspiring actor Sherrie, both providing exquisitely fierce vocals. These two work at a hard-rock club, and their instant attraction is thwarted when Drew, in a panic, friend-zones her, and she ends up in a romantic toilet stall with jaded rock legend Stacee (Chase Austin). Kyle DeFauw portrays club owner Dennis, while Bear Manescalchi plays the club's sound man, narrator, and fourth-wall breaker Lonny, who informs Drew he’s in a musical by showing him a program he borrows from an audience member. (Manescalchi also works a burlesque pole like a boss.)
Kelsey Flowers is Justice, a savvy woman who runs a neighboring gentlemen’s club and hires Sherrie as a stripper after Stacee gets her fired. Drew’s goals are similarly foiled by circumstance. Meanwhile, the evil father-son duo of Klinemanns (Tristan Layne Tapscott's Hertz and Owen Espinosa's Franz) tries to ruin everyone’s fun; luckily, local activist Regina (Hanna Marie Felver) intrigues young Franz. (Germans have been the bad guys in entertainment for about 85 years now.) Rock of Ages' cast is completed by Aïssatou Thiam, Bobby Becher, Chandler James, Elly Rebeka, Jordan Bee, Nicolette Mayer, and Tariq Woods.
There’s candy for the eye as well as the ear in this production. The costumes, beautifully put together by Jeanne Nugent, include T-shirts and jeans, mostly for the gentlemen; crop tops and boots, mostly for the ladies; and vests, fringe, and bandannas across the spectrum. Austin's ensembles are particularly detailed and fun, and although the booty shorts and plaid flannel shirts around characters’ waists skew more ’90s, I’m not gonna quibble about that. The set list also includes 1990’s “More Than Words” and “High Enough,” but that’s okay, too – this show is all about the music, the energy, the movement, the voices.
It has to be. Because, the script? I simply can't with this script. At times, the music drowned out the dialogue, and that was a blessing. D’Arienzo's jokes are weaker than a sleepy kitten; the banter falls so flat I couldn’t even muster a cringe. The performers here are extremely appealing, but their lines? Ughh. D’Arienzo just couldn’t seem to get enough of erogenous zones, human excretions, and objectifying women’s bodies. Yeesh.
So. The secret to this show’s lengthy run, and it grossing nearly $129 million in Broadway ticket sales alone? They evidently sold massive amounts of liquor. Servers walked the aisles before and during the performances, selling wine, shots, beer, and themed specialty drinks in souvenir cups to audience members. I find this both hilarious and sad. The concessions pulled in so much revenue per capita that they funded empty seats, preventing the show from closing for years. Theatre staff reported they often made $4,000 to $8,000 per night in liquor and souvenirs alone. At Rock Island's venue, the wait staff of Bootleggers will not sell you drinks during the performance. They will, however, be happy to do so during dinner, between the pre-show and main show, and at intermission!
The takeaway is that Rock of Ages' singing and dancing are truly stellar in “a show with poop jokes and Whitesnake songs.” And that line comes directly from this script – the worst I've endured since Shout! A Mod Musical – whose writer is now a multi-millionaire. I need a drink.
Rock of Ages runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through November 7, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
