‘Rock’ Proves Fun for All ‘Ages’

Rocking through a self-proclaimed story of debauchery, decadence, and breasts, the national tour production of “Rock of Ages”—running at the Colonial Theatre through October 17—transports its audience back to the age of Reagan, leg warmers, and teased hair. Those in search of a fun night out or a good laugh will be welcomed with open arms (and air punches)—though the more traditional musical-goer may feel out of place when the Colonial is transformed into an arena for rock gods.

“Rock of Ages” tweaks a simple musical formula: Guy meets girl. Guy loves girl. Girl loves guy. Girl and guy fall out. Evil German family wants to bulldoze a classic rock bar and replace it with a mall on the Hollywood strip. Guy gets girl. Big finale.

Essentially, the plot of the show is less important than in many other Broadway concoctions; what instead drives the story are suggestive comedic performances, chest-thumping rock ballads, and a brilliant parody of musical convention. The writers and performers continually poke fun that this musical is not your typical “jazz hands” spectacle.

Tony Award nominee—and former American Idol contestant—Constantine Maroulis takes center stage as nervous yet ambitious hero Drew, who works in the infamous rock bar The Bourbon Room. Runaway Sherrie (the talented Rebecca Faulkenberry) follows her dreams of fame and fortune all the way to The Bourbon Room, and there meets Drew—kicking off their rocky relationship. The comedic narration and witty running commentary of Bourbon Room worker Lonny (Patrick Lawallen) moves the show along while adding a necessary layer of self awareness.

The entire atmosphere resembles a live rock concert, including a live band on stage and classic rock tunes blasting over the sound system before the show even starts. Brimming with enthusiasm, the performers run through the aisles, hand out flyers, and fist punch, which helps bring alive a genre of music that may have been forgotten. The Bourbon Room’s interior dominates the stage, with records, posters, and flashing signs hanging on the walls and even suspended from the ceiling. Beowulf Boritt’s set design provides the right tone for the era, creating the sense of Los Angeles in the 1980s. Gregory Gale’s outrageous, vivid, and sometimes revealing costumes complement the set, completing the illusion of stepping back a couple of decades.

With such technical accuracy on their side, the cast have an easy job of bringing the ‘80s to life, which they to do with power, energy, and even a little campiness. In one particularly comical moment, Franz (Travis Walker)—the son of the evil German entrepreneur Hertz (Bret Tuomi)—captures this more eccentric image of the age as he prances around the stage in his buttoned down shirt and grey suit, which is later stripped off to reveal a bright blue sparkly spandex leotard.

Even though the plot can be predictable, the journey both Drew and Sherrie go on resonates. In between rock classics from such bands as Poison and Journey, there is some exploration of what it is to have a dream and follow that dream to the ends of the earth. Combining moments of head-banging and audience participation with flashes of emotion gives the show an unexpected level of depth. However, the production does not go so far as to provide a new outlook on life or a meaningful philosophy—it is simply a fun time.

From the opening announcement of Whitesnake’s David Coverdale asking all audience members to refrain from “Flash photography unless you’re really, really hot and willing to show us your boobs,” all the way through to Lonny summing up the show as “poop jokes with Whitesnake,” “Rock of Ages” never takes itself too seriously. As the cast bursts into a powerful rendition of Journey’s “Don’t Stop Believin’” during the big finale, Lonny’s last lines encapsulate the spirit of the show: “In L.A., sometimes the dreams you come with aren’t always the dreams you leave with, but they still rock!”