To put it bluntly: I was skeptical when Rock of Ages debuted on Broadway. ’80s rock songs backing a musical? Really? Had We Will Rock You not already tried to do a rocking musical (and failed miserably at that?)? Had Mamma Mia not shown that pop songs can be a musical and it can be done right? Why bother trying? And don’t even get me started on using American Idol‘s Constantine Maroulis as the lead character in a form of “stunt” casting.
Then the 2009 Tony Awards came. Rock of Ages won best musical, but I still had my reservations (I didn’t even remember the performance for Rock of Ages from the 2009 Tony’s, instead all I remember is Brett Michaels getting hit in the head with the backdrop during the opening of the show).
Late last year, it was announced the show was coming to Toronto. The press had a field day. And the commercials for it played nonstop on the radio. There’s only so much of Journey’s Don’t Stop Believin’ that you can hear before you go crazy. So I decided I wanted to go.
Saturday night, I went with my family for my birthday. I was blown away.
It was nothing like I expected. It was far better than I expected. It may be one of the best things I have seen on stage in a long, long time.
Rock of Ages beats We Will Rock You for so many reasons, but the main one is because Rock of Ages actually has a story and character development something WWRY lacked, in my humble opinion (full disclosure: I saw WWRY twice when it was in Toronto and had problems with it both times).
To me, WWRY picked Queen songs and then tried to write a story around them. Book writer Ben Elton just reached too far, and didn’t spend enough time developing Galelio and Scaramouche (the two main characters, and no, I’m not kidding about their names), so we don’t really care for them all that much.
Rock of Ages, on the other hand, not only had a story, but knew there was only one way to get away with telling their story: break — no, wait, make that tear down — the fourth wall: Talk to the audience, and know what you’re doing is crazy.
Like Into the Woods before it, Rock of Ages knows it’s a show — or at least the narrator Lonnie does. He is often interacting with the crowd, talking to them directly, or as an aside. The character of Lonnie is by far the best part of that show. The characters in Mamma Mia sort of wink to the crowd that what they’re doing is silly, but they never really jump out and say it. Rock of Ages tells you from the beginning: This is a show, enjoy the ride.
Then there’s the dancing. Oh, the dancing. I’m not a dance person — can’t do it, don’t really understand it — but all of the movement in Rock of Ages would put any “real” Broadway show to shame. And you just don’t get the full effect of it by the video at the top or from their performance at last year’s Tony’s (it shows that TV really is crap at showing theatre, as Ben Elton said at the press conference for WWRY back in 2006).
Yvan Pedneault, who was in WWRY, kicks butt in this role. He is beyond fantastic as Drew. As for Elicia MacKenzie? One would never know this Sherrie was ever a Maria. I had my reservations when she won How do you Solve a Problem Like Maria?, but in Rock of Ages, MacKenzie knocks it out of the park.
And, while the content is not appropriate for children around the age of 9, it is hilariously funny. I won’t ruin any parts, because it’s more fun to be surprised (in fact, the program doesn’t even list the songs in the show, so that’s a great surprise, too). I can’t wait to go back with someone who has never seen it, just to see their eyes light up the way mine did.
And, like every great musical before it, you leave the theatre thinking dreams really can come true. Even if you are an ’80s rocker.