Everybody wants a thrill! And while every rose may have its thorn— Annapolis Summer Garden Theatre is serving up flawless 80’s glam-metal reality with their stunning production of Rock Of Ages. Directed & Musically Directed by Shane Jensen with Choreography by Pauline Lamb, Kaya Harrison, Meghan McCarthy, Caitlyn Ruth McClellan, & Tia Silver, this jukebox musical featuring all those iconic 80’s rocker songs will have you bouncing along in your seat from beginning to end as these wannabe rockstars sing their souls out and ROCK to save The Bourbon Room on the Sunset Strip in the mid-to-late 80’s. It’s a great evening out for live musical theatre under the stars.
Giving that raging 80’s Sunset Strip feel, Set Designer Dan Snyder really puts the gritty reality of a rock bar circa 1987 right in the laps of the audience. Okay well maybe not the laps but right within striking distance. You could honestly be a patron at that bar. Snyder’s attention to detail, combined with Lighting Designer John H. Purnell’s use of tube-glow (probably not actually neon nowadays but it sure as heck looks like neon) squiggle-signage to indicate both ‘The Bourbon Room’ and ‘The Venus Club’; the place just has a rippin’ feel to it. And the car is both expertly hokey and totally fitting for the show. Snyder’s real crowning glory for this scenic build is the pullout bathroom stall, which in its own way is just a little reminiscent of the sliding pop-out set pieces one often finds on Broadway. It’s a vibe and a feel and Snyder sets the set well. Purnell’s lighting design of course features more than just those nifty (not-really) neon signs but a whole host of wild party rocker lights, used exclusively during the more lively and party-natured numbers. There’s a balance between mood lighting, ‘natural’ lighting (which is an insane concept to master given that the stage itself is a roofless entity in and outdoor play-space) and the rock-n-roll-all-night-party-everyday lighting that Purnell rolls through for the duration of the performance. It’s a great illumination concept and well serves the dancers and performers and overall verve of the show.
Director Shane Jansen, who doubles up as the show’s musical director, has a talented cast on his hands, promoting real-life people living out their dreams. The pacing of the show is hot, the personalities of the performers in these roles is popping, and the overall performances are stellar. There are these brilliant scenic shifts where Jansen has the dancers gliding down from the on-high ramp and swooping the scenery out to transition out of the Bourbon Room (the ensemble literally swish away the stools and table as if it were a part of their dance routine) and its moments like these that keep you engaged in the theatrical magic of the story. Not to mention the stunning sounds Jensen evokes from the ensemble and the soloists. They’re carrying the rocker energy vibe, bringing their A-game to all of the big group numbers and the amazing duets and solos; you feel like you’re at a rock concert— which doubles up as a storytelling experience (albeit with a somewhat redundantly experienced plot, thanks to librettist Chris D’Arienzo.) The whole evening is just an overly joyous and uplifting experience, even though the characters hit some bumps and bruises along the way (that’s life!) and it’s just a wild ride down memory lane (for those old enough to remember the epic music of the 80’s.)
Jansen may be the show’s musical director, but there is a hardcore live rock-band on stage, headed up by conductor and pianist Ken Kimble. The Rock of Ages Live Stage Band includes the screaming sick sounds of Joe Matthews and Pat Dayney-Smith on guitar, Jeff Eckert on bass, and William Georg on drums. They provide the live-time sound, looking every bit like grunged-out 80’s rockers who just want to ROCK their faces off by making real rock-n-roll music right there on the stage. It’s refreshing to feel and see their sound as they make it and the way in which they keep pace and sync with the musicians is fantastic.
Before the praises coming raining down on the ensemble and the leading performers, someone has got to say something about Lisa Chadwick’s costumes. They’re supersonically rad and totally bodacious in that 80’s hype kind of way that really and truly defies good textual description. Everything from the outrageous stacked and teased wigs, which are their own costumes in their own right, to the wild outfits seen on the dancer girls, and all the crazy graphic t-shirts featured on Lonnie, Chadwick has her thumb on the pulse of 80’s rocker fashion. (And seriously— tell me she gets the credit for the “Slice, Slice Baby! Call 867-539” delivery boy shirt we see on Drew later in the show because that is just an epic win in the cheeky little nod to the 80’s book!)
The hardcore amazing ensemble— Dean Davis, Tia Silver, Drew Looney, Meghan McCarthy, Karlee Allen, Ashley DiLernia, Cristina Prince— delivers epic sound, seriously striking dance routines that echo the feel and moves of that rocker-glam era, and makes the show really scream out— ‘come on, make some noise!’ The ladies of the ensemble (Silver and McCarthy, as well as Kaya Harrison and Caitlyn Ruth McClellan, who play principle roles as well) craft the rich choreography that suits each of the musical numbers throughout the production. Numbers like “Cum On Feel The Noize/We’re Not Gonna Take It” really showcase the dance-corps moves that these girls have crafted, again heightening that edgy feel of 80’s movement that pushes solidly through every scene. And when the ladies strut their stuff inside the Venus Club for “Pour Some Sugar On Me” (not included in the original Broadway/touring production) they are serving up some serious Sexitude and really laying it on thick. And let’s not forget the UV-glow construction vests and belts on the slow-motion robotic-style dance-moves for the Act II opener, “The Final Countdown.”
Where does one even start to praise the pop-up players in this sensational show? Dennis Dupree (Hunter Aldridge) and his slightly jaded slightly spacey mentality (and kick-ass platform shoes) that just rolls with the groove as it happens? Or maybe Waitress #1 (Tia Silver, and yes that’s literally the character’s name, even though she’s like a secondary support vocalist for a lot of the numbers; it becomes a running gag in the show) whose powerhouse vocals blast out whenever she gets the chance to showcase them? Dean Davis as the mayor (and others) trying to be totally not-at-all-corrupt or money-grubbing? All of these people have these great personal moments that they really use to get the story juiced up and jumping. And it happens with great consistency all throughout the show.
Justice (Kaya Harrison) can be found in the mentor-mamma-role, well, as mentoring as a woman who owns a sexy, vampy nightclub where the girls dance for money can be, but when she’s trying to import fresh words of wisdom to Sherrie, it’s very nurturing and maternal. Harrison has a strong voice that really brings a lift to “Harden My Heart/Shadows of the Night” and her solo verse during “Every Rose Has It’s Thorn” is quite moving. Performing in a polar opposite fashion to the Justice character, Ryan Gallucci as the super-egomaniacal-washed-up-rocker Stacee Jaxx has the look and vibe of a rocker who’s rocked his last roll and is still trying to be at the top of the game and the charts. Gallucci carries the character with a certain swagger, and possesses enough of that sleazy rocker charisma and charm— in perfect balance with his quirky off-kilter nature— that’s it’s humorous rather than uncomfortable. He’s got a pretty decent set of vocals on him as well.
When it comes to vocal villainy, nobody’s taking the cake like Hertz Klinemann (DJ Wojciehowski.) Delivering this outrageously and intentionally put-upon fake German accent (the character is meant to be a German-European industrialist businessman so the vocal affectation becomes a part of the character’s humor), Wojciehowski is consistent with this hilarious vocal affection both when singing and speaking, enunciating clearly enough that we can still understand what’s being said and sung. Of course there’s a scene at the top of the second act where Wojciehowski appears in a rainbow-shimmer-lamé shirt, singing his heart out with his authentic voice and that’s a pretty impressive moment too. “Keep On Loving You” is that moment that is both hysterical and heartwarming and Wojciehowski delivers it divinely. His villainy is almost on a toon-like Disney level, which makes him enjoyable and laughable all throughout the performance.
The apple-strudel doesn’t roll far from the tree in the case of the Klinemann family tree, at least that’s how it starts off with Franz (Matthew Walter) who becomes the epitome of flamboyantly European. With spastic and energetic flips of his limbs and a generally explosive and very expressive overall sense of body language, Walter as the younger Klinemann has dreams that don’t involve bulldozing the Sunset Strip for progress. He’s a total scream and when he literally rips his clothes off (again props to the costume team for that breakaway sensation) and leaps into “Hit Me With Your Best Shot” the house is screaming his praises down. Partnered up in a bizarre but adorable romantic-click with Regina Koontz (Caitlyn Ruth McClellan), the pair dominate this number with outrageous costumes, great vocals, and zany dance moves. McClellan is her own amazing entity, powerhouse belting the battle-cry of the masses, “We’re Not Gonna Take It”. She is indeed one twisted sister and the energy and overall quirkiness she brings to her character is extraordinary.
When innocent and eager and naïve Sherrie Christian (Holly Blondheim) rolls into town— even if you haven’t seen Rock of Ages before you just know her story. You know she’s going to be the one with the dreams, who gets her heart broke, and who gets the boy (hopefully) in the end. Despite being the “leading female character” the Sherrie character never has a true solo on her own (solo verses of duets and group numbers but this just isn’t that type of show) and yet you leave the performance feeling like she sang so many songs. And she sang them with such emotional purity you feel moved. Watching the transition that Blondheim brings to the character as Sherrie learns, albeit the hard way, how life and dreams really go out on the Sunset Strip is amazing. When she pours her heart into “Harden My Heart”, which seems like an odd juxtaposition as the song and lyrics are all about growing a thicker skin and not feeling yet Blondheim is putting so many feelings of anger and fury and failure into this number it’s wild. Of course her romantic interest, Drew (Sean Garcia) is a perfect match; their quirky energies together just make this show.
Garcia, who is nerdy, adorkable, and brimming with joyous hope, is the epitome of what you’d expect from the Drew Boley character, right down to the starry-eyed look he often gives— well, the audience, Sherrie, and even the stars when he looks up. There’s just something about the way he stands on that stage as this wannabe rocker that has you fully invested in his story, in his dream, in his hopeful success. There’s something raw and honest and real about the character that he’s bringing to life. And he does so while bringing a level balance of humor to the character as well. And let’s not forget his vocal chops are pretty bad-ass in that totally 80’s fashion. “I Wanna Rock!” is that screaming anthem that you hear wailing out of his mouth from time to time and it’s epic. There are several different moments where Garcia and Blondheim are ‘in duet’ without actually singing together (the juxtaposition of their characters has it so that they are at different places in the story despite standing quite close together on the stage, without actually ‘seeing’ each other or ‘being together’ while singing in perfect harmony) and one such that truly stands out is the powerhouse way they blend together for “Here I Go Again.” There are so many amazing, praiseworthy things about Garcia’s Drew, about Blondheim’s Sherrie, and about the way they sing and perform together; it just must be seen to be believed.
What good would an 80’s rocker musical be without some zany, crazy, hilariously interactive tour-guide-type character who is both in the scene and acting as a fourth-wall-abolishing-conduit for the audience? Cue Lonnie (Cameron Walker.) I swear to all that’s 80’s glam-rock-n-rolly someone has plugged 86 Energizer Bunny-style batteries in that boy’s back and switched him on; the energy and pizzazz and pump and jazz are just indefatigable and keep going and going and going and going. (It’s almost manic, which puts us in mind of all the ‘uppers’ used in that era.) Walker is the epitome of the Lonnie character and it’s just extraordinary to watch him bounce around the stage, being silly, being cheeky, being the show’s energetic core. And he’s got vocals that blast with the rest of them, really fitting the bill for the show. His facial expressions are hilarious, his stage presence is on point for the character and there’s no complaints to be had for what he’s doing with the role. It’s just that good. Walker stokes the audiences’ fire in ways that really has you clapping along and singing along and dancing in your seat. He’s the perfect go-between for show and crowd.
Being at Rock of Ages at Annapolis Summer Garden Theatre this summer must be just like living in paradise! You’re getting nothing but a good time and it don’t get better than this! Be sure to get your tickets to see Rock of Ages before it rocks out this June!
Running Time: 2 hours and 30 minutes with one intermission
Rock Of Ages plays through June 18, 2022 at Annapolis Summer Garden Theatre— 143 Compromise Street in Historic Annapolis, MD. For tickets call the box office at (410) 268-9212 or purchase them online.
