Holroyd Musical and Dramatic Society: Rock of Ages - Review by Jack Maidment

In the years I have spent seeing various theatre productions across the world, my fondest memories are always of seeing shows that just click. From the second the house lights go down the audience are taken on a journey that above all else, is fun. Fun can be a scary word for performers to see in a review, often worrying that it masks criticisms that the reviewer is too kind to give. However, in the case of Holroyd Musical and Dramatic Society’s latest theatrical endeavour, ‘Rock of Ages’, the fun of this show is a result of the technical prowess, discipline and energy that is brought to the stage.

Taking us back to the “simpler time” of Hollywood in 1987, ‘Rock of Ages’ is a story about big dreams, love, friendship and everything in between. The story takes place as the staff of a rock club Dupri’s Bourbon Room, that faces closure due to the economic redevelopment of the city, this creates the backdrop for a love story between two equally big dreamers who want to make it big in Hollywood.

Under the skilful direction of Georgee Glynn, this show is jettisoned to the stage with a breakneck energy that keeps your attention from start to finish. It is evident that Georgee has put in the work with her cast, with each member weaving intricacies into their performance that bring these bombastic characters to life. While some limitations with the space resulted in some awkward shuffling during scenes with extensive dialogue, George’s love for this show, as well as for the medium of theatre in general is on full display from start to finish. Also, her direction keeps many of the gags of this show from going too far, with no recurring bit overstaying its welcome throughout the production.

Alongside the near-slapstick humour, one of the biggest draws for a show like ‘Rock of Ages’ is the extensive laundry list of 80s rock bangers, and I am thrilled to say that each song is lovingly brought to life through a combination of fantastic vocals from the entire cast, and the absolutely rocking five-piece band led by the multitalented Matt Glynn. All aspects of the music in this show are brought together in harmony, and the band’s presence on stage as the Bourbon Room’s house band and the megagroup Arsenal help to elevate many scenes throughout the show. 

Further, throughout each rocking ensemble number, the audience is gifted with tight, punchy choreography put together by the wildly experienced M Seedsman. Each dance number springs to life on the stage, treating the audience to a variety of styles that create a panorama of movement that greatly supports the visual identity of the show.

One of our protagonists for this romp into the world of 80s hedonism is the young wannabe rockstar from Detroit, Michigan; Woflgang von Colt, brought to life by the incredibly versatile Cameron McCredie. From the second McCredie is introduced, he comfortably assumes the role of a rockstar right up until the last second. The vocal stamina required to carry this role is nothing short of inspirational, and McCredie has so clearly put in the work to elevate this role from its surface level reading to create an underdog hero the entire audience wanted to root for. Completing the pair of protagonists in this show is the aspiring actress Sherrie Christian, naive and constantly enamoured with the rock and roll lifestyle of the Sunset Strip. Lauren Abela portrays this initial innocence brilliantly, and is able to demonstrate Sherrie’s growing confidence, as well as her vulnerability at being exposed to the harsh realities of the world she has moved to, all with vocals and dancing that are second to none. 

Those unfamiliar with this show are likely unaware that it has a narrator, Lonny Barnett, one of the staff of Dupri’s Bourbon Room who is hyper-aware that there is a musical taking place and has decided to take it upon himself to guide the audience through the show’s trials and tribulations. Peter Gollop takes this role in his stride, and each of his interludes had the audience in stitches. This was elevated further by his beautiful vocals that paired brilliantly with his scene partner Clive Hobson, who exudes an old-school cool for the entirety of the show as the legendary owner of the Bourbon Room, Dennis Dupris. Both Gollop and Hobson make the most of their time on stage, and are endlessly entertaining from start to finish. 

As the audience are treated to the interpersonal dramas of wannabe celebrities, Rock of Ages’ B Plot focuses on the economic redevelopment (AKA, total demolition) of the Sunset Strip. Leading the charge of this redevelopment project is the stern and pragmatic German businessman, Hertz Klein alongside his anxious and subservient son Franz. Both of these characters are played to perfection by Simon Peppercorn and Doug Bryant respectively. Peppercorn’s commanding presence is undeniable, and plays the perfect foil to the rebellious rockers of the main story. Meanwhile, Bryant brings a lighthearted, earnest innocence Raging against the machine that is the destruction of the strip is the former secretary of the mayor, Regina (rhymes with…) who leads the protest with increasingly hairbrained acts of defiance. Regina is played to perfection by the electric Caitlin Dennis, who goes all in to the ridiculousness of the character, bringing equal amounts of heart and humour throughout all her time on stage. 

Further complicating the equation of love facing our protagonists is the womanizing hedonistic rock legend Stacee Jaxx, portrayed by the hilarious Richard Mills. Mills carries the megastar’s sardonic lugubriousness into every scene, bringing laughs to the audience as we watch him actively make the lives of our protagonists worse at every turn. Mills’ fantastic rock vocals mixed with some hilarious interactions with the band had the audience hooked. Speaking of hooking the audience, Koren Beale shines throughout her moments on stage as the matron of the Velvet Club, ‘Mama’ Justice Charlier. She is absolutely fantastic on stage, and the power of her voice is put on full display as she guides Sherrie down the path of self-discovery. 

Supporting this cast of bona-fide rockstars is an absolutely wonderful ensemble who breathe life into the various setpieces of the show. The set itself is delightfully detailed, with a combination of static and moving setpieces that are very well used throughout the show. From crowds of rebellious rockers in the Bourbon Room, everyday residents of the Sunset Strip, and dancers of the Venus Club, the ensemble navigate the set comfortably and demonstrate astounding versatility in their various roles. The show would truly not be the same without their active presence throughout all of the scenes they appear. 

All in all, a show like ‘Rock of Ages’ is a risk, the humour can fall flat, many of the songs are deceptively difficult, and putting together a production that can balance the serious and the silly is no small task. However, George Glynn and her team have done exactly that. While the production is definitely “loud and ridiculous” as she anticipated in her director’s note, it is also filled to the brim with talent, passion and joy that will leave the audience smiling from ear to ear the whole way through, just like I was.