Rock of Ages

Rock of Ages is a jukebox musical that celebrates the glam, grit, and glory of 1980s rock music. Set on the Sunset Strip, it follows the story of Drew, a city boy with dreams of rock stardom, and Sherrie, a small-town girl chasing fame. Their paths cross at the Bourbon Room, a legendary rock club under threat from developers. With a soundtrack packed with iconic hits from bands like Journey, Bon Jovi, and Twisted Sister, the show is a wild ride of love, rebellion, and big hair.

As we took to our seats in the open stage auditorium, the atmosphere was electric. The set was already alive with anticipation, signs, scaffolding, and instruments hinted at the rock spectacle to come. It was clear from the outset that this was going to be a night of high-octane music and theatrical brilliance. The audience buzzed with excitement, and the immersive setup made us feel like we were stepping into a rock concert rather than a traditional musical.

From the very start to the final curtain call, the musical was visually stunning. Every fine detail, from the costumes to the lighting cues, was meticulously attended to. This level of precision is what elevates a production from good to unforgettable. The attention to detail was evident in every scene change, every prop placement, and every costume choice (The Glam Squad). It’s this commitment to excellence that makes a musical truly work, and Macclesfield Majestic nailed it. One of the standout features of this production was the audience interaction. The characters broke the fourth wall with ease and charm, engaging the crowd at just the right moments and for just the right length of time. It never felt forced or gimmicky, it was natural, funny, and added a layer of intimacy to the performance. Lonny, in particular, was a master of this, drawing laughs and cheers with his perfectly timed quips and knowing glances.

Elizabeth Turner’s choreography was nothing short of phenomenal. The movement was dynamic, era-appropriate, and visually captivating. From the high-energy ensemble numbers to the more intimate duets, every step was purposeful and expressive. The choreography matched the music’s intensity and the characters’ emotions, creating a seamless fusion of dance and storytelling. Elizabeth Turner, you are a visionary. Your work brought the stage to life in ways that were both technically brilliant and emotionally resonant. With Rock of Ages, there’s always a challenge in balancing the boldness of 80s fashion with tasteful presentation, especially in terms of female costumes and movement. Macclesfield Majestic struck that balance perfectly. The costumes were vibrant and authentic to the era, yet never over-sexualised or awkward. The movement complemented the outfits, allowing performers to shine without distraction. It was a thoughtful and respectful approach that enhanced the overall aesthetic.

Director Kevin Clarke worked his magic on this production. His ability to guide the narrative while allowing each performer to bring their own flair was evident throughout. The pacing was tight, the transitions smooth, and the character arcs well-developed. Clarke’s vision for the show was clear and compelling, and his leadership brought out the best in every cast and crew member. The staging was equally impressive. The use of the rostrum added height and depth, creating dynamic levels that made the action more engaging. The lighting design enhanced this beautifully, casting dramatic shadows and vibrant hues that matched the mood of each scene. Often, staging can feel flat or underutilised, but Macclesfield ensured every inch of the set was used effectively. The finer details, like the placement of props and the integration of live band members, were executed with precision.

Speaking of the band, Richard Tadman led a phenomenal group of musicians who delivered the score with power and finesse. The accuracy and quality of the music were top-tier, and the band’s involvement in on-stage action added a wonderful multi-disciplinary layer to the performance. It felt like a true rock concert, with the band not just supporting but actively participating in the storytelling.

The only slight issue I encountered was the placement of the Town Hall scene. It felt tucked too far away, making it difficult to fully engage with the action in that part of the production. A minor spatial challenge, but one that slightly disrupted the otherwise flawless flow.

Luke Clayton as Drew absolutely blew me away. His vocals were powerful, his characterisation spot-on, and his dialogue delivery flawless. He never dropped character and had a magnetic stage presence that made him a perfect lead. Becky Brady as Sherrie, another vocal powerhouse. Becky’s performance was heartfelt, energetic, and vocally stunning. Her chemistry with Luke was palpable, and she brought depth to Sherrie’s journey. Alex Bingle as Dennis was a true rock aficionado. His vocal ability to channel the spirit of 80s rock was impressive, and his stage presence added authenticity to the Bourbon Room’s legacy. Simon Matthews as Lonny was comedy gold. His timing, expressions, and audience interactions were flawless. He’s a natural on stage and brought joy to every scene he was in. Stacee Jaxx, played by Steve Clayton, was good because while the character demands a larger-than-life rockstar persona, Steve delivered a performance that captured the essence of Jaxx’s ego and flamboyance without going over the top. His vocals were good and his stage presence had the right amount of swagger, though at times the energy felt slightly restrained compared to the wild chaos the role typically invites.

Daniel Hulme as Franz was another comedic gem. Daniel played Franz with commitment and nuance, balancing the character’s eccentricity with genuine emotion. Maddi Riseley as Regina was a burst of energy. Maddi’s stage presence was vibrant and never overplayed. Her commitment to the role was evident, and she brought a fresh dimension to Regina. Matt Hulme as Hertz delivered a strong performance with gravitas and flair. His portrayal added weight to the antagonist role without veering into caricature. Maria Dunford as Justice was commanding and soulful. Maria’s vocals and presence gave Justice the strength and warmth the character needed.  Kacie Lawton as Waitress 1 has some powerful vocals that were brilliantly executed. Her moments on stage were memorable and added richness to the ensemble. Liv Clayton and her solo dance moments were technically brilliant and aligned beautifully with the artistic intentions of the show. A true standout in movement and grace.

Lighting by Archie Cadman-Jones was absolutely stunning. The lighting cues were sharp, expressive, and perfectly timed. They elevated the emotional beats and added drama to the rock numbers. Sound by Oli Chiltern was masterfully mixed. Every performer was clearly heard, and the balance between vocals and band was spot-on. Sound design can make or break a musical, and Oli ensured it was a triumph.

Overall, Macclesfield Majestic should be incredibly proud of the level of work produced in this show. From start to finish, it was a high-quality production that showcased the immense talent within the company. Every element, from direction to design, performance to production was handled with care, creativity, and passion.

This wasn’t just a musical. It was an experience. A celebration of rock, theatre, and community. Bravo to everyone involved, you rocked our world. See you all again soon.

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