Rock of Ages

IF ONE was to hand out awards in community musical theatre for exuberance, enjoyment and pure hard work, then hands down it would go to this production.

I have to admit at the outset that jukebox musicals always present something of a problem for me. Writers of these shows normally attempt to shoehorn songs from an era or a particular songwriter into an invariably flimsy plot, and this tends to be bit a transparent. However, perhaps it is something to do with the longevity of this particular musical that the songs are strong enough to carry the plot. After all, Rock of Ages has been around for 20 years and continues to play all around the world in various guises.

So what do we remember from the 80s? Jane Fonda’s Workout videos, a single-gloved Michael Jackson, Boy George and MC Hammer pants to mention a few things... well, it’s all here along with a non-stop indulgence of 80s rock music from the likes of Foreigner, Bon Jovi, Pat Benatar, Whitesnake, REO Speedwagon, Journey, Poison and Survivor. So, if you survived the 80s - and there were plenty of ageing rockers in the audience to prove that point – then this is the ultimate music indulgence.

It has been nine years since co-directors Kylie Ball and Michelle Higgins first transformed the Townsville Civic Theatre into a rock venue for this production. Nearly a decade later they have revisited this material “older, maybe a little wiser but just as excited to dive back into the glitter, guitars and power ballads”.

I did not see that previous production, and while this was a second time around for many of the performers, it was a sense of unbridled fun that pervaded the entire show. The exuberant and energetic cast was clearly infected with the high-octane energy and anti-establishment attitude that goes with rock territory, on occasions breaking the “fourth wall” and speaking directly to the audience. 

The music is of course the centrepiece of the show, and it goes without saying that the standard of the rock band would either make or break this particular show. Fittingly occupying centre stage, the five-piece rock band headed by Paddy Higgins was exceptional. Not only were they busiest performers onstage, barely pausing for breath for the entire duration, but the orchestrations and performances were flawless, bringing back many authentic memories of the original tracks.

Of course the plot can be summed up pretty quickly: ambitious out-of-town girl comes to the big city… gets introduced to the seedy world of rock … meets boy who is trying to be a rock star … falls for him and after a few diversions, they end up together. A tried and tested formula, but along the way we meet all sorts of colourful and outrageous and larger-than-life characters. Of course, the plot may be slight, but the characters are played with a zest on the verge of caricature but are well-defined and milk the comic moments for all that they are worth. Everything contributes to the mayhem.

With a fun and effective set by Denise Higgins, it was also sexily costumed by Bronwyn Creedy and her team, and special mention must be made of Nate Lesley’s colourful and sleazy lighting.

There were some pretty special performances too, with some particularly outstanding work from the three leads.

Complete with contemporary 80s mullet, Cameron Veigel (who had played the young lead, Drew, in the 2016 production) stepped into the shoes of Lonny Barnett, the erstwhile narrator. Here was a particularly impressive and versatile performance, displaying a confident ease and relaxed stage persona which perfectly suited the role.

In community theatre, it is very rare that an actor gets the opportunity to have a second stab at playing a key role, and for Judy Higgins-Olsen reprising the role of Sherrie was a breeze. With her voice soaring when the opportunities arose she is extremely comfortable on stage, and with each successive role manages to bring a certain added extra sparkle.

Jonathan Coco’s contribution to the young male lead, Drew Boley, was no less impressive. A great voice, he did not falter to deliver a strong performance as the tentative rock star/singer-songwriter who develops his confidence as the show progresses – and he gets the girl!

For the rest there were plenty of performance vignettes to add varying degrees of flavour, salt and spice to the proceedings – and all played with a delicious sense of outrageous silliness.

Never afraid to send himself up, Sam Stewart was a scene-stealing delight as the sleazy rock star, Stacee Jaxx, complete with bleached blonde hair, impossibly tight jeans and codpiece.  Sandra Neal’s seductive spin as the Sunset Strip madam, Justice Charlier, was enormous fun, while Luke Reynolds epitomised the weary old rocker who sees life through a perpetual haze of indeterminate origin. Special mention should also be made of the sleazy contributions of the two pole dancers as well as performances from Declan Keyes-West, Amberley Robinson and Jeremiah Pau.

The energetic ensemble drew the audience along every step of the way, resulting in an enthusiastic audience response reminiscent of the best rock concert!

In summary, if you grew up in the 80s or still have hanker for the glorious rock of that age, get yourself along for the ride.

Trevor Keeling

Image Credit: Sonia Warrell