Maroulis invokes a Freddy Mercury falsetto just as easily as an Axl Rose growl while the adorable Faulkenberry executes spot-on dancing and a well played sugar and spice bit.
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It’s clever, hilarious, energetic, wildly entertaining, and full of talent.
But in the same way that perfectly teased hair doesn’t just happen but is instead the result of methodically alternated Aqua Net and comb, ROA is actually very strategically planned out. The joke is the show is so bad, the only explanation could be that they’re making it up as they go along. It’s the musical you’re in,” he says to Drew, handing him a copy of the program at a point in the second act, when Drew is feeling particularly conflicted. The narrator, Lonny (Patrick Lewallen), walks us through the basics of musical theater, doing dramatic irony one better by showing the audience a copy of Broadway Musicals for Dummies.
That was the fun of it then, and the fun of ROA now. Silly spandex-sporting, big-hair-teasing, guitar-shredding bands were never meant to be taken seriously. Drew lets Sherrie know he just wants to keep on loving her. But as each character overcomes his and her obstacles, it becomes clear heaven isn’t too far away.
Meanwhile Drew shoots to stardom and is then intimidated by his record producer to give up rock and become the leader of a boy band. Meanwhile Bourbon Room owner Dennis (Nick Cordero) and grassroots activist and Berkeley transplant Regina (Casey Tuma) go up against German developer Hertz (Bret Tumomi) and his lap dog of a son, Franz (Travis Walker), who are hell bent on demolishing the club to make way for yuppie storefronts, affording a perfect opportunity to sing Twisted Sister’s “We’re Not Gonna Take It.” When Sherrie is asked to leave the Bourbon Room, per Stacee Jaxx’s request, Drew turns his back on her and she is forced out into the mean LA streets where she meets Justice (Teresa Stanley), who convinces her to turn to stripping to make ends meet. Clearly, they’re meant for each other, but the two soon find out that every rose has its thorn as Sherrie finds herself distracted by the self-absorbed lead singer of Arsenal, Stacee Jaxx (MiG Ayesa). She’s just a small-town girl, living in a lonely world, and he’s a city boy who was born and raised in South Detroit. Set in a city built on rock and roll, ROA takes us to the Sunset Strip in 1987, where lowly Bourbon Room barback Drew (Constantine Maroulis, of “American Idol” fame) dreams of rock stardom while falling for waitress and wannabe actress, Sherrie (Faulkenberry). And that’s why this musical, that by all accords, should suck, doesn’t. “It smells like rock… and urine,” Sherrie (Rebecca Faulkenberry) chirps. And the characters in this story know all of this. The cast of characters is made up of the most contrived caricatures and clichés fathomable. The music is a patchwork of the cheesiest 1980s rock offerings, haphazardly pieced together to create a mashup medley of Journey, REO Speedwagon, Pat Benatar, Whitesnake, Twisted Sister, and more. It never claims to be deep, intellectual theater and instead embraces the mockery of it all. In fact, it’s epic.įor a show built on such vapid subject matter, Rock of Ages is acutely self-aware. It’s a jukebox musical with a loose plot that only serves as a vehicle for getting us from one hair metal hit to the next. Rock of Ages, making a one-week stop at Segerstrom Center for the Arts in Costa Mesa, has all the makings of an epic fail. ‘Rock of Ages’ Rocks the ’80s – Orange County Register Close Menu
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