By JESSICA NEU
Theater is sacred for a myriad reasons. One of the primary reasons is that it, of course, provides an escape from reality. For several hours, you can sit immersed in a dark theater and be transported to a different time or a different world. Whether you are seeing a Broadway opening or attending a community production, live theater can unite and heal. As I sit down to write this review, I cannot help but think about the heaviness of this past week, and am yet again reminded of the importance of community. The Strand Theater in Zelienople announced its production of Rock of Ages back in the spring, but little did they know how much the community would need this show upon its opening.
Directed by Jeremy Czarniak, the 2009 jukebox musical takes us back to the mid-1980s on Los Angeles’ infamous Sunset Strip to Dennis Dupree’s (Jeremy Czarniak) Bourbon Room. A night club featuring live music that personified big hair, windbreakers, fish nets, and overall excess of the time. The Bourbon Room is loosely modeled after iconic clubs on the Strip, including Whisky A Go Go. After the hippie movement of the 1960s and the drug-infused singer-songwriter era of the 1970s, the 1980s ushered in a time of arena rock, packed with power ballads, anthems, big choruses, and catchy hooks that helped indoctrinate the MTV era into America. Massive hits from among others, Journey, Bon Jovi, Pat Benatar, Poison, Whitesnake, and Twisted Sister provide the soundtrack to a show that packs a bigger punch than any Rock ’em Sock ’em Robot.
Rock of Ages tells the story of wannabe rock star, Drew (Johnny Reardon), who is just a city boy, born and raised in Detroit, and Sherrie (Lori Marinacci), who is, you guessed it, just a small-town girl. Sherrie is an aspiring actress who leaves her hometown to move to Los Angeles in pursuit of her dreams. After being mugged on the streets, Sherrie runs into Drew, and he helps her get a job at the Bourbon Room, where he also works. The two quickly fall for each other with the help of songs from Mr. Big, Warrant, Extreme, and Foreigner. Reardon and Marinacci both shine amongst the Hollywood lights from the start of the show. Reardon’s edgy yet perfectly pitched tenor is remarkably similar to that of Constantine Maroulis, Broadway’s original Drew. Marinacci brings grit to the naïve Sherrie, and her rich vibrato breathes new life into 80s classics. Their Act 2 duet of Damn Yankees’ “High Enough” was powerful enough to be an encore in an arena, glowing with Zippo lighters.
Their relationship is not without its hiccups. As they navigate their feelings, rocker Stacee Jaxx (Sam Brooks) comes to headline the Bourbon Room with his band Arsenal for their final performance. Jaxx is the archetypal 80s rocker ala Nikki Sixx, Axel Rose, or Bret Michaels, fueled by excess, ego, and Rock ‘N Roll. He woos a star-struck Sherrie and creates turmoil between Drew and her.
As the drama unfolds, Dennis Dupree is also faced with the difficult decision of whether or not to sell his beloved club. The mayor (Luke Carter) partners with German developers Hertz and Franz Klinnenman (Michael Goffus and Jacob Carter) to convince Dupree to sell the Bourbon Room to make way for new urban development. The subplot undergirds a tale of gentrification that has become all too familiar since the 1980s.
Bleeding heart activist Regina (Grace Phillips) assembles a team to fight the establishment and return power to the proletariat and save the club. Her decree of “We’re Not Gonna Take It” rings loud and proud while reminding us of the importance of community, third spaces, and places where people can gather to dream. Both of the Carters, Goffus and Phillips, belt out big numbers and draw big laughs as they immerse themselves in their respective characters. Franz and Regina bring the house down during a rendition of Pat Benatar’s “Hit Me With Your Best Shot,” turning the hit song into a mix of a Richard Simmons workout video with the number “Der Guten Tag Hop Clop” from The Producers.
As passionate as each performance is, Matty Thornton steals the show as Lonny, the narrator and the Bourbon Room’s sound guy. His larger-than-life presence captivates audiences from the first scene to the final curtain call. His physical acting, comedic timing, huge vocals, and commanding stage presence seamlessly connect each subplot, making Rock of Ages a hilarious yet endearing tale of hope and dreams that is truly “nothing but a good time.” Lonny’s relationship with Dupree, who is a more laid-back, flask-carrying fella left over from the 70s, is the perfect foiled friendship punctuated by their dynamic duet of REO Speedwagon’s “Can’t Fight This Feeling.” Music director David Bruce Smith and his all-star band bring the show to life as they power through the 28-song show with shredding guitar licks, anthemic riffs, and an immersive experience.
I have been fortunate enough to have seen Rock of Ages several times, and the Strand’s production rocks with the best of them.
It’s worth noting that some caution that Rock of Ages is not family-friendly. While there are some suggestive references, innuendo, and profanity, I can honestly say that my 8-year-old has never been more engaged in a show and has found his dream role in Lonny.
The Strand’s Rock of Ages proves that you are never too young or old to pursue your dream. Just remember to find your community along the way, fight to save safe spaces, and don’t stop believing.
TICKETS AND DETAILS
The Strand’s Rock of Ages has performances Friday and Saturday, September 12, 13, 19 & 20, 7:30 pm with Thursday Bargain Night, September 18 at 7:00 pm, plus Matinees on Sunday, September 14 & 21, at 2:00 pm. For tickets, visit: https://web.ovationtix.com/trs/pr/1233863
Categories: Arts and Ideas, Reviews
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