Rock of Ages as presented by Newry Youth Performing Arts

Society Name: Newry Youth Performing Arts

Show Name: Rock of Ages

Date of Attendance: September 14, 2024

Brief overview of the show and evaluation of Front of House

Upon arriving at the Market Place Theatre and Arts Centre, one is immediately struck by the modern, imposing structure. The towering glass-covered foyer greets patrons with its bright, clean lines, albeit with a slightly sterile aesthetic. However, the heart of the venue lies beyond: a cosy, multi-level theatre with comfortable seating and intimate sightlines, ideal for a show like Rock of Ages, which thrives on audience connection.

The atmosphere was warm and inviting from the moment I stepped inside. The production team and front-of-house staff exuded friendliness, offering a level of hospitality that made me feel as though I were among friends. This approach certainly set the tone for a lively and engaging evening.

The audience's anticipation was palpable as they settled in for a night of entertainment—an irreverent, high-energy rock-and-roll romp full of innuendo, humour, and nostalgia. The production kept pace, delivering scene after scene without pause, moving seamlessly from one high-energy moment to the next. The show balanced comedy and romance, exploring the trials and tribulations of its eclectic characters with humour, heart, and a hefty dose of nostalgia for the 1980s rock era.

Director - Direction and Production

Director Jordan Walsh-Rhodes, who also played the lead role of Drew, demonstrated capable leadership in guiding this production. His direction helped the show flow smoothly, and his use of the theatre’s spacious stage was effective in creating varied and interesting stage pictures. Walsh-Rhodes showed a clear understanding of pacing, keeping the energy high throughout and ensuring that there were no noticeable lulls in the action. The show maintained a rhythmic ebb and flow, with moments of high intensity giving way to softer, more intimate interactions between characters. The quieter, more intimate moments between the lead characters were particularly well-directed, helping to convey the emotional depth of their relationship. The chemistry between Drew and Sherri, played by Naomi Smyth, was palpable, and the audience was fully invested in their journey.

While the production maintained a good pace, there were a few awkward blocking moments, particularly in scenes around the bar, where the positioning made it difficult for certain sections of the audience to fully engage with the action. Despite these minor issues, the overall direction succeeded in keeping the energy high and the audience entertained.

Musical Director - Musical Direction and Band Performance

The five-piece band, positioned on a riser at the back of the stage, played well together, though their placement presented some challenges in terms of synchronisation with the cast, particularly during larger ensemble numbers. While the band was tight, their sound lacked the punch and power that a rock musical like Rock of Ages demands. The opening number would have benefited from a bigger, more dynamic sound to set the tone for the rest of the show.

That said, the band handled the score well, and there were standout moments, especially during quieter numbers where they blended seamlessly with the cast's vocals. But ultimately, Rock of Ages demands a certain level of audacity and power from its music, and this production could have benefited from a more aggressive, full-throttle sound.

Choreographer - Choreography

The choreography, led by Paul Burns, was a bit of a mixed bag. Some numbers were well-executed, particularly by the stronger dancers in the cast, but a portion of the ensemble struggled with the complexity of the choreography. Choreographing for a youth group often requires adapting routines to match the abilities of the performers, and in this case, there were moments where the choreography outstripped the dancers' capabilities. This was most evident in the larger ensemble numbers, where synchronisation and precision were inconsistent.

That said, there were standout moments, such as the stripper number, which struck the right balance between being playful and sexy without crossing into inappropriate territory. However, the opening number lacked the impact needed to truly grab the audience's attention from the start. Focusing on the more skilled dancers at the beginning might have strengthened the overall effect.

Leading Principals

Sherri (Naomi Smyth): Naomi Smyth delivered an impressive performance, showcasing excellent vocals and a strong stage presence. Her portrayal of Sherri felt genuine, and she connected well with both the audience and her fellow cast members. Smyth's character arc was well-communicated, and she successfully took the audience along with her on Sherri’s emotional journey.

Drew (Jordan Walsh-Rhodes): Walsh-Rhodes played Drew with charm and sincerity. His vocals were strong throughout, particularly in the softer moments, where his performance felt effortless and natural. He captured Drew’s nervous, goofy nature well, and his chemistry with Smyth was one of the production’s strengths.

Lonny (Ruairi McAlinden): McAlinden brought fantastic comic timing to the role of Lonny. His performance was energetic and humorous, and he appeared very comfortable with the show's playful, innuendo-filled dialogue. His delivery was consistently engaging, although his eyeline was slightly low at times, which may have made higher-seated audience members feel excluded from his performance.

Dennis (James McGinn): McGinn’s portrayal of Dennis was serviceable, though somewhat inconsistent. While he had some nice moments, his character’s defiance in the face of the club’s closure needed to be stronger to make the eventual loss more impactful.

Franz (Sean Mudzyk): Mudzyk was deliciously camp as Franz, delivering excellent comedic moments and bringing high energy to every scene he appeared in. His presence consistently elevated the atmosphere, and his vocals were solid.

Hertz (Andy Hill): Hill’s performance as Hertz was somewhat lacking in power. While his imposing physical stature gave him a natural presence, his diction was poor, and he struggled to project authority in the way the character demanded. As a result, Hertz's antagonistic role felt underdeveloped, and his moments of supposed ruthlessness were not entirely convincing.

Supporting Performers

Regina (Blanaid Hughes): Hughes delivered a high-energy performance with strong vocals. Her enthusiasm and commitment to the character were clear, and she brought the necessary vibrancy to Regina's activist personality.

Justice (Carol McCourt): McCourt’s performance lacked the vocal power needed for the role of Justice. Additionally, the character’s dual nature—a motherly figure with a shrewd business side—wasn’t as clearly defined as it could have been, resulting in a portrayal that felt understated.

Stacee Jaxx (Anthony Fitzpatrick): Fitzpatrick needed more swagger and confidence to convincingly portray Stacee Jaxx, the rock star that Sherri falls for. His vocals were solid, but they didn’t convey the star power necessary to sell his character’s status as a larger-than-life rock icon.

Chorus / Ensemble

The chorus was filled with enthusiastic performers who gave their all, but their execution was uneven. There were moments where the ensemble dancing lacked precision, and synchronisation issues were noticeable in the larger group numbers. Despite these technical shortcomings, the energy and commitment from the cast were undeniable. Every performer remained in character throughout the show, and it was clear that the ensemble was fully invested in the story.

Vocally, the chorus was strong in parts but suffered from occasional sound imbalance. Whether this was due to a mixing issue or a lack of volume from the performers themselves was difficult to determine, but certain numbers that should have been powerhouses felt a little thin. Still, the ensemble brought a palpable energy to the production, and their dedication to the material was evident in every scene.

Stage Management & Set Design

The set design was one of the highlights of this production. The team behind it clearly put a lot of thought into creating a space that felt authentic to the rock-and-roll world of Rock of Ages, with excellent attention to detail. The exposed trusses and decking created an authentic rock-and-roll atmosphere that fit the story perfectly. The decision to place the band onstage as part of the set added a bold visual element, though it didn’t entirely succeed in enhancing the show, as the musicians didn’t fully embrace the rock star persona.

The stage management was slick, with seamless scene changes that never disrupted the pace of the production. There were a few minor sightline issues, particularly during scenes set at the bar, where the angle made it difficult for certain sections of the audience to fully engage with the action. This could be resolved in future productions by rethinking the positioning of key pieces of set furniture.

Technical - Lighting and Sound

The lighting design effectively captured the rock-and-roll aesthetic, with bold colours and exposed rigging that added to the concert-like feel of the show. However, there were some inconsistencies with front-of-house lighting, as key characters were occasionally left in shadow due to missed cues and patchy coverage. Despite these minor flaws, the lighting design overall was well considered, and successfully captured the raw energy of rock music. 

Sound was one of the weaker technical aspects of the production. The balance between the band and the vocalists was uneven, with some vocal lines getting lost in the mix, particularly during ensemble numbers. Missed sound cues, especially at the start of dialogue, also disrupted the flow of several scenes. A more powerful and immersive sound design would have significantly improved the audience’s experience, especially in a show that aims to replicate the energy of a rock concert. The chorus, too, seemed underpowered in places, though it was unclear whether this was due to microphone issues or simply a lack of projection. In a show that should be sonically immersive and even overwhelming at times, the sound design needed more attention to give the audience that true "rock concert" feel.

Costumes, Hair, and Makeup

The costume design was appropriate for the genre, with several standout pieces like Sherri’s blue stripper dress and Lonny’s humorous T-shirt changes. However, Justice’s costumes could have been more glamorous to reflect her role as a former stripper turned nightclub owner, and the ensemble dancers’ costumes could have been more cohesive to match Sherri’s glitz.

Hair and make-up were fitting for the production’s period and genre, leaning into the big hairstyles and dramatic makeup associated with the 1980s. The ensemble’s looks were consistent with the rock-and-roll theme, and the design elements complemented the costumes well. 

Adjudicator’s Suggestions

Overall, Rock of Ages was a lively and enjoyable production with clear strengths in its direction, set design, and the commitment of the cast. Jordan Walsh-Rhodes’ dual role as director and lead actor was handled admirably, and his performance, along with Naomi Smyth’s Sherri, anchored the show beautifully. 

However, there are areas that could be refined for future performances. The choreography, while ambitious, needed to be tailored more effectively to the abilities of the cast, ensuring that the movements highlight their strengths, rather than exposing weaknesses. Additionally, the technical aspects—particularly sound and lighting—require more attention to ensure that they enhance rather than detract from the performance. 

For future endeavours, I would recommend considering the addition of an assistant director if one of the creative team members takes on a leading role. This would allow for greater attention to be paid to the finer details of the production, which might be overlooked due to the demands of performing.

The decision to include the band on stage was a bold one, but if this is to be repeated, more emphasis should be placed on integrating the musicians into the world of the show. Encouraging them to fully embrace their roles as part of the "rock concert" experience, could make for a more immersive and impactful production.

Finally, pushing the boundaries a little further with costumes would add a level of flair that this kind of show thrives on. The aim should be to fully embrace the wild, over-the-top world of rock music, where bigger is often better.

In conclusion, Newry Youth Performing Arts’ Rock of Ages was an entertaining and spirited production that captured the heart and energy of the musical while offering room for refinement. The cast's enthusiasm and dedication, combined with strong direction, ensure that this production will be remembered fondly by those who attended.

Therese Maher

Sullivan Adjudicator 2024/2025