A rock sensation arrived at the heart of New York’s Broadway! And an unexpectedly wild crowd was there to greet it. The Brooks Atkinson Theater was abuzz on Thursday with the loud shouts of a rowdy audience of Tweeners, Gen-X and -Yers and Boomers, each of them enjoying a 1980s thrill ride through the rock musical “Rock of Ages,” set in a lost nightclub, the fictional Bourbon Room on LA’s Sunset Strip.
Constantine Maroulis and Amy Spanger
Poster Photo by Don Fuchs outside of LIRR station
Remember – even if you don’t want to – big hair, glam shoes, boom boxes, mullets, The Preppie Handbook. And national obsessions with “Dynasty” and “Dallas” and Jane Fonda’s workout tapes. It might have been CBGBs in New York…though the fantasy Bourbon Room recreation is more glamboyant. (Although others who defined the 80s sound, like The Smiths, Madonna, Depeche Mode or The Cure weren’t included.)
From the opening power chords, the fanbased audience at “Rock of Ages” knew something great was about to go down as all joined in on signal to sing “Nothin’ But a Good Time,” the Poison anthem; it was immediately clear that director Kristin Hanggi had us eating out of her hands (or chugging beer freely out of our mugs).
Everyone also knew that the opening ‘flight attendant / theater rules of behavior’ voiceover was by none other than David Coverdale of Whitesnake. – warning of debauchery and offering free backstage passes to those who bared their breasts. Thus, the boy meets girl, boy loses girl, boy finds girl again book by Chris D’Arienzo serves merely to underpin the bawdy, tawdry sendups, and it plays for laughs. But the show is carried and brought to life by a cast and musicians full of exuberance - they pull it off in grand style.
Ripping guitar chords by Joel Hoekstra (capturing Ted Nugent’s look and feel), ushered in the evening’s singing and dancing, as the devilishly avuncular lecturer, Zen-master, pastor, cupid and narrator, Lonny Dupre (Mitchell Jarvis), makes his entrance. Mr. Jarvis’ performance elastically combines a hybrid of Jim Carrey, Jack Black, and Darryl Hall hair, with a great voice that’s all his own. Note to the folks at New Line Cinema: I put him at the top of the short list to reprise his role in the movie – don’t blow it. This could be a cult sing-along participation movie akin to “Rocky Horror Picture Show.”
Overseen meticulously by producer Janet Billig Rich, ROA’s soundtrack by the houseband, Arsenal, is on track to its upcoming vinyl destination (which started production Friday). They are in excellent hands as Ms. Billig Rich managed rock powerhouses Nirvana, The Pixies, and currently singer/songwriter Lisa Loeb. The audience was thoroughly immersed and plunked in the zone. Also, props to Ethan Popp for his arrangements, Henry Aronson for music direction, sound designer Peter Hylenski and scenic designer Beowulf Boritt (the first thing I noticed was the traffic light hanging from the theater’s ceiling and his revolving “Laugh-in” style stage sets).
American Idol alum Constantine Maroulis (solo album on Sony) was effective as Drew von Wolfgang, the lost boy who found his inner muses and outer sexual prowess under the tutelage of Lonny and club owner Dennis (played with Tommy Chong verve by Adam Dannheisser). Campaigning for the love of Sherrie (the dynamic and lovely Amy Spanger) after lousing up their first date, the nebbish Drew becomes the hero after some jam juice and hard luck slaps applied by the egomaniacal lead singer, Stacie Jaxx (nefariously played with the f-you attitude of Twisted Sister’s Dee Snider by James Carpinello).
Keeping score? Here’s the lowdown. Sex: nicely done – for the parents; Drugs: none; and Rock & Roll: Yes! And for everybody. The choreography by Kelly Devine was almost a garishly “Three Stooges”-style ‘Curly Shuffle’ that worked every time. Lonny would enter and exit the stage with his signature dance – each time mercilessly cracking up the audience. Brawls were limited to Germans on Germans, as actors Paul Schoeffler and Wesley Taylor (who portrayed father and son real estate moguls, Hertz and Franz) chew up the scenery with fisticuffs. This evoked memories of the “Schulz and Klinger” team from ‘Hogan’s Heroes’ or SNL’s “Hans and Franz” mimicking Schwarzenegger’s Total Workout Album from ’84 (reissued by Sony) featuring a stomach crunch exercise to Journey’s “Don’t Stop Believin.” Hey – I Just want to pump you up! Michele Mais’ portrayal of strip-club owner Big Momma, singing “Here I Go Again,” had the vocal power of Patti Labelle. ‘Biggest Transformation’ award of the evening goes to Lauren Molina (playing activist Regina).
Without giving away too much plot, I can recommend you view the Orgasmo – I mean, Jumbotron – for some juicy surprises (projection design by Zachary Borovay). But I would’ve preferred a full Led Zep booming bass drum to the sad necessity of the Plexiglas that muffled the fine drumming of Jon Weber. The "Blazing Saddles" time travel to the present was hilarious, where a poor spectator from the front row would receive a Jackie Mason-style jab from the cast protagonist (Lonny or Dennis) regarding an STD he was purported to have.
The finale had us all join in, beckoned by Drew and cast to the sound of the aforementioned “Don’t Stop Believin.” Judging by the women weeping after the show – whether from boy gets girl, nostalgia or the finale – well, maybe I was wrong about it all being played for laughs. But if there’s any indication from the torchbearers inside and the bubbly young girls who spilled out onto the street four nights ago, singing, cheering and hounding for autographs, “Rock of Ages” is a high-energy rock spectacle for all ages, and a Tony®-worthy blast.
“Rock of Ages” is playing at the Brooks Atkinson Theatre, 256 W. 47th St. Manhattan, nightly except Wednesdays, and at 2 p.m. Saturdays and Sundays. Tickets are $70.50 - $99; 631-888-9000 or ticketmaster.com.
For more info: A Review of "Rock of Ages" on Broadway or: Why I Love The 80s.
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