Book by Chris d’Arienzo
Obsidian Theatrical Productions, director Robert Bateman
Dovehouse Theatre, Olton – Tuesday 1st July 2025
“Rock of Ages” began life in 2005 and was first performed in Los Angeles before moving to Broadway in 2009 where it ran for around 6 years. It is based largely around AOR songs from the 1980s, although there is the presence of the very 1970s British (indeed West Midlands) hit “Cum on Feel the Noize” which opened the show.
Having never previously seen the show, nor the 2012 film version, I was unsure what to expect and what was presented did not disappoint.
The stage at the Dovehouse isn’t the largest, but the team made good use of the space available and included a couple of raised areas, one at the top of some steps at the back of the stage and another towards the front right, whereby the actors were overlooking the audience. As well as a handful of entrances on the stage itself, use was made of the exit and aisle to add to the movement available.
We open with a depiction of a brick wall on either side, decorated with posters, guitars and graffiti, the stage left wall being mobile and was turned around to be used as a sink and cubicle in the gents toilets (theatrically, I hasten to add). Bearing in mind this was only used once and for a short scene, it is typical of the attention to detail I have become accustomed to seeing in amateur theatre.
At the back of stage left was a depiction of a bar, which was in use for most of the production but at one point was turned around to be used as a car. Again, this is something that was only in one short scene and was used effectively, although one of the front panels did nearly drop off at one point, which did make it slightly awkward for the performer who was atop it at the time.
(As you do, she carried gamely on)
The musical numbers were all well-choreographed by Bethany Waller-Scott (who also appeared in the production) and bearing in mind the aforementioned lack of space with a cast of 16, it was impressive that everyone managed to avoid collisions. I think there was one near miss but nothing to write home about!
There was certainly a lot of energy on display, especially in the ensemble numbers and most especially in the uptempo numbers (granted, that’s most of them). There dd seem to be a drop off in the slower songs, which on occasion seemed to be affecting the pace of the show.
That said, the “More Than Words/To be with You” medley probably gave us one of the strongest vocal performances in the whole production.
We did have the problem in that on a couple of occasions, the music was being played too loud for us to be able to hear the singers, most notably during “The Final Countdown” at the start of act 2, but also on a couple of occasions in act 1 as well. The band were very good, but I’d like to hear the vocalists as well.
Speaking of the band, their positioning at the back of the stage was a good decision in that it allowed them to become integrated with the rest of the performers in the scenes where there was actually meant to be a band playing in the night cliub.
Just watch the lighting here though. There were a few occasions when Drew or Lonny were standing behind the microphone and were in the dark.
Some good use of period costumes which very much gave the feel of the 1980s, especially with the chorus as the ladies were giving us very much a Madonna or Cyndi Lauper feel for that period. Drew’s very 1980s shellsuit during his “boy band phase”
One or two of the costumes weren’t entirely flattering it has to be said, which I assume was the intention and I’m not entirely sure why a couple of the characters were wearing pink leotards during “Hit me with Your Best Shot”, but maybe that was a script requirement.
The cast worked together very well and I note we had four members of the Bateman clan performing, is this proving the “Family that stays together…” adage?
Director Robert also took on the lead role of Drew, a very subtle and subdued performance, presumably to contrast with some of the more over the top characters. His partnership with choreographer Bethany Waller-Scott, complete with that resplendent long blonde hair, forming the heart of the show as the characters eventually got themselves together. Bethany’s performance was possibly a bit more larger-than-life than Robert’s but you often need that contrast.
Speaking of over the top, a lot of the comedy in the show came from Richard and Andrew Bateman, either singly or as a double act, in their respective roles as rocker Lonny Barnett and aging hippy Dennis Dupree. Richard was clearly in his element when interacting with the audience as part of his role as the Narrator.
Kyle Lough gave us a suitably sleazy portrayal of singer Stacee, with a selection of outrageous costumes (and in one case next to no costume!) whilst Ashlea Luth was splendly feisty in the role of activist Regina Koontz.
We had an excellent contrast from the father and son pairing of Franz and Hertz, played respectively by Dylan Morris and Terry Deering. Dylan gave us an excellent portrayal of a very straight laced character who only occasionally let his guard down against Terry’s very camp portrayal of his son, even more camp when he donned the aforementioned pink leotard! These two played off each other very well.
Overall, I very much enjoyed the evening, as did the rest of the audience as far as I can see. Granted, there isn’t much in the way of plot but at the end of the day that’s not why we were there. We were there to enjoy the performances and the music and in that regard I’d say this was successful.
Reviewed by David G.
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