Hot Cast, Hot Moves, and Sizzling Vocals
When people ask, “What is your favorite (insert book, song, show, musical)?” I do not like to be limited to just one. Rock of Ages is amongst my top fave musicals. Between the silliness, the Los Angeles/Hollywood specifics, and of course, the 80s music and look, I believe it is one of the many underrated ones.
San Diego Musical Theatre, in its third production of the season, pulled through; earlier this year, funding seemed uncertain, but Rock of Ages made it to the stage in time and did it! With a book by Chris D’Arienzo, arrangements and orchestration by Ethan Popp, the story centers on the Los Angeles Sunset Strip in the live band housing and legendary Bourbon Room owned by Dennis Dupree (Tim Roberts), who manages the place with sidekick Lonny (Zane Camacho). Aspiring rockstar Drew (Aaron Gibbs) is waiting tables when he fumbles into an aspiring actress from Peoria, Sherrie (Lizzy Sheck). When German developers Hertz Klinemann (Steve Gouveia) and his son Franz Klinemann (Jake Bradford) aim to turn the strip into a thriving mall, experienced activist Regina (Jasmine January) will do everything in her power to stop it. Famous rockstar Stacee Jaxx (Michael Pinning) will perform at The Bourbon Room as an owed favor to Dennis, but in true rockstar fashion, he is nothing but trouble, and as soon as he steps into the bar, he has Sherrie lose track and -amongst other happenings- land in Justice’s (Amber St. James) Gentlemen’s Club.
Between Mathys Herbert’s set design of the famous Bourbon Room and Sammy Z. Webster’s killer lighting, along with associate lighting designer Spencer Kahn, which cozies up the space and livens it up for the audience, coming into the theatre and finding your seat already makes for a promising experience. Another plus: a live band. This is definitely one of those musicals that needs a live band, as not only do they accompany the performers in real time while they sing, but they also take part in the story and the action. Evan Eason’s sound kept the proceedings lively while adapting to the space without blowing our ears off, which is very much appreciated. And Richard Dueñez Morrison’s musical direction had the “Arsenal” band shining bright while displaying some very cool, very rock-forward moves.
I believe this is the first time I am seeing Aaron Gibbs’s work, as I did not have the opportunity to catch Grease at Moonlight, and the interpretation, hairography and singing are fantastic, not to mention the look right out of the 80s. You know, dear reader, I throw in my two cents when I know well or have worked in a production. Constantine Maroulis originated the role of Drew on both Broadway and Off-Broadway; his signature high belts were part of Drew’s musical interpretations, and I loved how Gibb modulated them and made them his own while respecting the essence of Maroulis’s performance. At least, that was my take. Lizzy Sheck was also amazing with the vocals and the moves, having great onstage chemistry with Gibbs and very entertaining scenes with Michael Pinning as Stacee Jaxx, who definitely embodied the conceded rockstar essence while delivering great vocals and moves. Faith A. J. Steenbergen’s costume design was colorful, sensual… and I do not know how many more times I can use the word “sexy” in this review, but it is inevitable, as 95% of the pieces were FIRE (as the kids would say). Between lace, garters, leather, furs, and of course, lots of denim and fishnet stockings, there was a lot to look at. Even some outfits that practically put everything out there- Tommy Tran, I am talking about your baby blue and minuscule ensemble.
Tim Roberts and Zane Camacho had the Dennis/Loony duo down! Roberts delivered that dry humor, and Camacho, as the narrator, blew it out of the park with the audience interactions. Another terrific duo was Steve Gouveia and Jake Bradford as the father-son team of Hertz and Franz. Between the accent mock and mannerisms, it was a hoot. And Bradford delivered a hilarious and memorable sequence. Plus, I loved the makeup with the super rosy cheeks. Jasmine January keeps on surprising, giving variety and authenticity to her interpretations. Her Regina is strong and lovable.
Jenna Ingrassia’s choreography was also fire, full of fast-paced counts and head whipping. I loved that Luke H. Jacobs was the dance captain, as we got to see more of his dancing chops, which were amazing. I am curious to know if Ingrassia also had to do with the pole moves, as Karina Johnson was absolutely incredible mastering flips and upside-down moves along with Tamara Rodríguez. Look, dear reader, I am not one for spoilers, but there is a stellar pole sequence with Johnson and Rodríguez that should not be missed, as it happens while other things are happening on stage. Again, this should not be missed.
I praised Amber St. James’s wigs in NVA’s RENT, and I also saw her in Velour: A Drag Spectacular at the Playhouse in 2024. Happy to see her on more theatre stages and with those incredibly high heels. She showed us her mastery right there without a single bungle. Very impressive.
Jonathan Sangster’s direction had the three blocks of the stage- the strip pole from the gentlemen’s club, the Bourbon Room, and the band- working in unison while the actors come, go, and move across. I truly enjoyed Jonathan’s Ogie in Moonlight’s Waitress, so it is cool to see his work as a director this time.
Many things are happening at once, which keeps the spectator active and engaged. The casting is spot on, vibrant, very sexy, and super fun.
The show just opened last week, so it has run a few performances, and I do think that some of the talk scenes between Drew and Sherrie need tightening, as I could feel dead air or hollowness instead of picking up the vibe/pace in the same way/rhytm as they do the songs and choreography. But as you can see with all my praise, this is minor, and I am sure it will get there.
Oh, you can also get some beers at the Bourbon Room on stage before the show and during intermission. How cool is that?
Rock of Ages is currently playing until September 13.
Additional Cast includes Dacara Seward; Boston Antunez; Gabriela Niaves; Julianne Riddle; Luke H. Jacobs; Karina Johnson; Megan Kuramoto-Tafolla; and Bruno A. Satalino.
The stage manager for this production is Shirley Johnston. Production photos by Karli Cadel.
