ROCK OF AGES – Written by Chris D’Arienzo; Music by Rockers of the 80’s; Directed and Choreographed by Kelly Van Oosbree; Music Direction by Tanner Kelly. Produced by Veritas Productions (Presented by Parker Arts, 20000 Pikes Peak Avenue, Parker) through July 20. Tickets available at 303-805-6800 or ParkerArts.org.
There are at least three kinds of juke box musicals – first, those that unabashedly celebrate the music of a particular group or artist (a la SIDE BY SIDE BY SONDHEIM or MY WAY, honoring the music of Frank Sinatra). The next group celebrates the music and life of the music makers (as in JERSEY BOYS or ALWAYS, PATSY CLINE). Then there is the genre that pastes the music of an artist into a free-standing created story like MAMA MIA or ESCAPE TO MARGARITAVILLE. ROCK OF AGES fits into this final category with great success. It makes no bones about what it is – a total homage to the hard-rocking musicians of the ’80s. It features music from Journey, Poison, Van Halen, and Twisted Sister, among dozens of other hair bands.
The lightweight story combines the clubs of the era, the fashions of the day, the energetic and raucous dance styles that had evolved, and the evolution of attitude. The hard rock songs feature repetitive, rhythmic, distorted, blues-based riffs and guitar solos, often deploying feedback to create a heavy feel to the music. They often celebrate freedom, partying, beautiful partners, sex, and the singer’s appreciation of all four.
While the music is more important than the story in an homage musical such as this, we still need to have a bit of a story to hang the music on. A pretty girl travels to LA in search of fame and fortune and meets a nice guy with the same dream. Despite her innocent dreams, she ends up temporarily as a stripper in a dance club, and he has to unplug a lot of toilets before he gets to sing on the stage in a different club. Along the way, we meet both bar owners, the manager of the Bourbon Club, the mayor of LA, the villainous German father and son duo who want to level the bars to build a shopping mall, and assorted dancers and guitar players. All having a lot of fun and making a lot of theatre.
But a musical performed in the 2020s that looks back fondly on that era can’t help but make gentle fun of itself at the same time. No holding back here. The script breaks the 4th wall continuously, engaging and flirting with the audience members; it honors its own theatricality by reminding the actors that they are, after all, only actors telling a story; it features no holds barred costumes and wigs; and it celebrates the famous LA music club Whisky A-Go-Go and clubs like it.
Congrats go to Shelby Varra, who filled in for the temporarily sidelined Kayleigh Bernier. Had it not been announced that the cover for the lead role was performing, no one in the audience would have known. She was confident, polished, and professional. Knocked it out of the park. To their credit, the other ensemble dancers (Alex Jacobsen, Heather McClain, Logan Travers, Pierre Andre’ McNair, and Trevor Targowski) covered the loss of their 7th partner in dance very well. Additionally, the one-named actress Thurzday had a nice turn as the sexy owner of the strip club. Shannon Foley had a fun time playing a belligerent protester.
Among the men, you’ll enjoy Nick Madson as the manager of the Bourbon Club for his enthusiastic interaction with the audience, his gentle self-mocking acceptance of the silliness of the script, and his energetic attack on the music. Carter Edward Smith plays Dennis, the flower power hold-out owner of the bar, Cole Emarine’s comic relief as the over-the-top German son who is NOT gay; Charlie Schmidt as his overpowering father, and Ben Kaan as the born-to-be-a-rocker newbie who learns in the school of hard knocks.
This is yet another imaginatively staged, expertly choreographed, and thoughtfully directed production by Kelly Van Oosbree. There didn’t seem to be as much room in this script for the ultra-creative touches that generally adorn a KVO show. The addition of Tanner Kelly as music director and Trint Hines as conductor guarantees a strong music background, necessary in a heavily scored piece like ROA. The set by Brian Mallgrave placed us solidly in the heart of LA, inside the music scene. Nikki Harrison’s nearly too-bare-to-wear costumes were sexy and fun. Pay particular attention to the chain link dress in the second act. Brilliant!!
With an almost guest artist status, local actor Joshua Bess returns to Denver to play Bad Boy Rock Star Stacee Jaxx. Based on Poison lead singer Bret Michaels, Josh makes the most of his role as the celebrity rocker who woo’s and shoo’s all the females on stage. Josh has been touring internationally in several shows and returned to work with his favorite director again before heading off to St. Louis to star in DEAR EVAN HANSON there.
This is a musical for all those born in the 50s and 60s who grew up with this music. You will achieve nirvana without the drugs!!
A WOW factor of 8.5!!