Rock Of Ages

“Rock of Ages,” presented by Accrington Theatre Group and directed by Connal O’Reilly, was a bold and energetic tribute to the era of glam rock. With dynamic performances and iconic music, it explored the highs and lows of ambition, love, and self-discovery on the Sunset Strip. The direction was clean and focused, allowing the comic moments to land effectively and the cast to perform with confidence.

Set in 1980s Los Angeles, the story follows Drew Boley, a shy aspiring musician, and Sherrie Christian, a hopeful newcomer chasing stardom. Their paths cross at the Bourbon Room; a struggling rock venue caught in the middle of corporate redevelopment plans. As their relationship grows, so does the tension between personal dreams, the pull of fame, and the fight to save the heart of the Strip, all soundtracked by classic hits like “I Wanna Rock,” “Heaven,” and “Don’t Stop Believin’.”

Musical Director Paul Nicholas and his band delivered a tight, well-paced score, perched visually above the action and never overpowering the cast. Harmonies were crisp, transitions smooth, and arrangements well-balanced, lending emotional drive to both comic and heartfelt scenes performed from a raised platform behind the bar area, partly obscured but always present. Their sound was tight and full of energy, supporting the cast with rich harmonies and well-handled rock arrangements.

Jessica Moran’s choreography gave the show a playful but stylish edge, especially in the strip club scenes, which were suggestive without being crude. The company numbers showed control and strong movement throughout.

Lighting, led by Paddy Keane and his team, helped shape the atmosphere of the show with a strong use of colour and timing. Reds and blues effectively evoked the mood of the Bourbon Room and surrounding spaces, while spotlights and transitions remained tight throughout. Whether highlighting a soloist or supporting a comic moment, the lighting design highlighted each scene without drawing too much attention to itself. It was consistent, clear, and added to the tone without overcomplicating things.

The sound by Tom Eccles was well balanced and clean, even with the intensity of a rock-based score. Dialogue remained clear and easy to follow, and the live music sat comfortably underneath the vocals without overpowering them. Effects were simple but well chosen. Behind the scenes, the stage manager, Laura Kettlewell, kept things running smoothly. Scene changes were quick and precise, props were well placed, and transitions between locations worked seamlessly, allowing the cast to keep up the energy without interruption.

The set design was layered and practical, capturing the worn, chaotic charm of the Bourbon Room with clever visual storytelling. A working bar stretched from rear to front stage right, with a staircase leading up and off the stage. A small stage sat behind the bar, occupied by the band, furniture, tables, and chairs adorned the Bourbon Room floor. Stage left featured a toilet stall with a comedic twist, cleverly lit and partially exposed for visual gags, while a rear exit door added realism and movement options. The design felt lived-in and flexible, supporting fast transitions and keeping the audience oriented as the show bounced between locations.

Props from Pauline Nuttall and Fleur Bramley were authentic and well-used, and costumes by Jenny-May O’Reilly, Becca Binch, and the cast nailed the 1980s look from glam outfits to protest gear.

Mike Miller played Drew Boley with quiet charm and emotional depth. His early scenes showed a nervous young man dreaming of stardom, and that hesitancy around Sherrie felt authentic and relatable. His vocal performance built with strength, particularly in “Waiting for a Girl Like You” where his vulnerability shone through. The moment he transformed into a corporate pop act, complete with a shell suit and bucket hat, was both funny and sad, underscoring the clash between personal identity and commercial success. “I Wanna Rock” and “To Be With You” were standout tracks for him, showing his range and subtle emotional shifts.

Jade Schofield gave Sherrie Christian energy, innocence, and bite. Her physical comedy, especially during her first strip club dance, was well timed and endearing. She brought lightness to the role, then moved into something more layered as her journey progressed. Vocally, she impressed throughout, “More Than Words” displayed her softer tones, while “Harden My Heart” and “Shadows of the Night” revealed her strength and control, carrying emotional weight. Her chemistry with Drew felt genuine, particularly during their shared moments in “Heaven.”

Oliver Peck’s Stacee Jaxx was unapologetically arrogant and theatrically excessive; the performance leaned into the character’s ego with great timing and commitment. His stage presence and vocal command made “Dead or Alive” and “Pour Some Sugar on Me” real highlights, where his rock star bravado clashed with the chaos he caused around him. His interactions had edge and humour, especially when his confidence turned to comedic self-destruction.

Connal O’Reilly brought vibrant energy and sharp comic timing to his role as Lonny Barnett, the show’s narrator, and mischief-maker. From the moment he stepped on stage, he guided the audience with cheeky confidence, delivering lines with self-aware humour and reacting to the chaos around him with gleeful charm.His performance was balanced, whether running across the stage in underwear, riffing with Dennis, or appearing in a gospel robe, every moment was playful and well-judged. Connal made Lonny feel more than just the narrator; he was the pulse of the show. His vocals were clean and characterful, with “Can’t Fight This Feeling” displaying his comedic instinct. As both director and actor, Connal’s influence was felt in the show’s rhythm, cohesion, and comic edge.

Peter Norris brought depth and warmth to Dennis Dupree, the aging rocker and bar owner. With his grizzled look and steady delivery, he anchored scenes with both authority and softness. His duet with Lonny, “Can’t Fight This Feeling,” was visually playful but layered with genuine friendship and affection. His singing was confident and expressive throughout, and the role felt lived-in rather than performed.

Jess Dillon’s Justice Charlier blended toughness with tenderness. As the strip club manager, she carried herself with authority, and her delivery had weight and nuance. Her accent felt rooted and grounded, which helped distinguish her character’s voice. “Every Rose Has Its Thorn” was a perfect choice, her husky tones gave it depth and emotion, and she held the stage with quiet power.

Jess Newsham as Regina Koontz was passionate, driven, and a joy to watch. Her energy was constant, and her voice cut through with clarity and power. Numbers like “We’re Not Gonna Take It” and “Cum On Feel the Noize” were filled with punch and conviction. Her chemistry with Daniel Mason’s Franz Klineman was sweet and silly, offering welcome comic relief.

Daniel Mason’s Franz was one of the show’s most entertaining characters. From his clipped German accent to the joyful chaos of his leotard and splits, every moment he was on stage felt well judged. “Hit Me With Your Best Shot” was not only vocally strong, but wonderfully absurd, and his heartfelt desire to open a sweet shop in Hamburg gave the role unexpected dimension.

Paddy Duffy gave Hertz Klineman a firm presence, balancing his character’s uptight nature with flashes of dry humour. His delivery was measured and consistent, and his performance of “Keep On Loving You” added both comedic charm and vocal strength, helping to reveal a softer side to the character beneath the stern exterior.

Supporting roles played by Sarah Kirby, Rhea Hough, Nathaniel McCartney-Williams, and Sarah Britcliffe all added to the show’s texture and rhythm. Whether in small scenes or ensemble numbers, they contributed clarity, warmth, and presence. The ensemble kept high energy throughout with solid vocal performances, and strong movement. Their involvement in numbers like “Don’t Stop Believin’” and “Here I Go Again” were fantastic, the harmonies tight.

Accrington Theatre Group’s “Rock of Ages” was a well-managed production with strong contributions across cast and crew. The performances were focused and consistent, the musical direction was solid, and staging choices supported the show without excess. The atmosphere was clear, the pacing steady, and the use of space and technical design helped support energy throughout. It was a fantastic show with good balance and effective delivery. Thank you to all at ATG for inviting me and my plus one to their show, I look forward to many more in the future.

 

 

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