Rock of Ages as Presented by Tipperary MS

Tipperary Musical Society 

Rock of Ages 

Monday 17th February 2025 

PUBLIC REVIEW 

A popular choice this season, ‘Rock of Ages’ features a plethora of rock classics which had teenage Pat glued to MTV USA back in the day. From the face-melting, guitar driven bangers to the most uplifting power ballads, the show carries the audience along on a wave of nostalgia, finding new context for its most recognisable tunes. Tipperary Musical Society’s production was irreverent in the extreme and featured a very talented cast who were clearly enjoying every single minute on stage. I do have to be honest and say that on the night that I attended there were issues with sound levels which, I felt, took away from the production somewhat. This was unfortunate, given the very high standards set in most other areas. 

Front of house was buzzing in the foyer of the Excel Theatre and the team was most welcoming and helpful as we took our seats. It was lovely to chat with some of the front of house team and to hear all about the society and its endeavours. Everything ran very smoothly and efficiently. A credit to all of those involved. 

Director, Paul Norton, had a clear vision for the show, which focused on well-paced comedy, slick transitions, and very solid character work. The story of ‘Rock of Ages’ may be light on substance but Mr. Norton used his vast experience and more than made up for this in the myriad comedic moments which were both fresh and well delivered by his talented cast. Cast needed to be careful, on occasion, to hold for laughter before coming in with their next line, as we lost lines under the guffaws of a very responsive audience. There was very good use of ensemble freezes which, coupled with excellent lighting, were most effective. There were some stunning pictures created throughout the show. ‘Waiting For a Girl Like You’ was a visual triumph as Lonny, complete with HEADlight, assumed the role of motorcycle amidst a stunning sea of low fog and exquisite lighting effects that transformed the performance space in what was a real touch of theatrical magic. 

Mary Rose McNally, was at the helm as MD and presided over a band that looked like they had just stepped out of a Delorean, looking every inch the Axl Rose/Bon Jovi wannabes. Their prominent position on stage added greatly to the authenticity of the rock concert experience. They displayed exceptional musicianship and the two guitarists revelled in their featured solo moments, as well as their dialogue which was delivered brilliantly. ‘Rock of Ages’ is a loud show and it has to be. That’s the nature of the material. However, from the very start of the show it was clear that sound levels and balance were going to be an issue. The chest thumping bass drum was set at an extremely high level from the outset and the band’s sound built from there. They sounded incredible but vocals were never going to sit on top of the accompaniment and the band often overpowered the singers. It was difficult to hear lyrics, underscored dialogue, and offstage singing, where much of the harmony work was missed. Principal vocals were generally very strong and, in the numbers with more sensitive accompaniment, we could hear excellent harmonies. 

Choreographer, Stephanie Browne, brought great experience to the production, devising routines that were high energy and suited to the abilities of the cast. Routines were full of enthusiasm, rebellion, and flamboyance; exactly what you would associate with 80s rock.

‘Cum On Feel the Noize’ was a very strong opening with great use of stage space and excellent energy levels from all. I loved the use of the gospel choir in ‘Heaven.’ ‘Here We Go Again’ sent us into the interval on a high, such was the uplifting energy and enthusiasm of the cast. Every single person on the stage was fully committed and it was clear that much rehearsal had gone into what was a very sharp, precise, and full-on end to the first act. The Venus girls were exceptionally good in their movement, really selling their numbers. However, I did think that having the brilliant ‘Candi’ so prominently featured in ‘I Hate Myself for Loving You/Heat of the Moment’ was a little distracting, as we were drawn to her fantastic performance a little bit more than we should have been and lost the point of focus which should have been on Sherrie and Stacee. 

James O'Donovan was an excellent Lonny, the “narrator and dramatic conjurer.” There was a certain campness to his performance that endeared him to the audience as he popped up time and time again to drive the narrative and to link the scenes in a very funny way. His striking of the pillar, after the Venus scene, along with his ad-libbed line, (at least it appeared to be ad-libbed!), “As if I didn't have enough to be f***** doing!” was utterly hilarious. ‘Can't Fight this Feeling,’ with Dennis, was comedy gold; camped up to the last, as was his ‘doggy business.’ Mr. O’Donovan had an amazing rapport with the audience. He even attempted to crowd surf during ‘Don't Stop Believin’! A very funny performance from a fine actor and comedian. 

Emma Sunderland was wonderful in the role of wannabe actress, Sherrie. She was a very natural actress with great comic timing, transforming from innocent ingenue to uninhibited stripper in a very knowing way. ‘More Than Words’ was gorgeously sung and performed with great heart. Ms. Sunderland was very comfortable with the comic business but also able to mix things up with nice moments of sincerity. I loved her little moment of uncertainty as Justice brought her into the Venus club. A wonderful performance. 

Emmet Donlon delivered a fine performance as Drew Boley. He had great fun with the role and was fully in tune with the style of delivery required for this type of comedy. His timing was excellent and he Mr. Donlan had a fantastic voice, channelling his inner Axl Rose with face melting number after number showing off his soaring voice and fantastic range. A great portrayal, showcasing Mr. Donlan’s vocals at their very best. 

Cathal O’Donoghue brought all of his experience and talent to bear in the role of Dennis, the owner of the Bourbon Room with a penchant for sex, drugs and rock and roll. Looking every inch the guy most likely to throw a television set from a hotel window, Mr. Donoghue gave a very natural, laid-back portrayal of Dennis. Diction and presence were excellent and comedy was well handled. Mr. O’Donoghue sang very well, excelling in his number, ‘Can't Fight This Feeling’ with Mr. O’Donovan, which was an absolute riot. An impressive performance by a very skilled actor. 

Ian Purcell certainly looked the part as Stacee Jaxx, self-indulgent rock star and lead singer with mega-band Arsenal. He had great presence and owned the stage with his perfectly pitched overconfidence. Mr. Purcell had a superb voice with a seriously impressive range but, unfortunately, on the night that I attended, the EQ levels on his mic did not do him any favours. It was difficult to hear Mr. Purcell on occasion, particularly in his bigger numbers, and I did feel that more vocal projection and support from the sound department was needed for his dialogue too. He did deliver a very funny performance, though, and his antics with Sherrie in the bathroom were hilarious, as were his very physical gyrations with Constance which left little to the imagination. 

Ailish O’Donovan delivered a great performance as Regina. She had good comic timing and 

wonderful physicality. She was always in character, even when not the direct focus. Ms. O’Donovan had a very expressive delivery and sang extremely well. She was very strong in ‘We’re Not Gonna Take It’ and her ‘Hit Me With Your Best Shot’ with Franz was a comic highlight of the show. 

Zach O'Halloran did well as a very camp and flamboyant Franz. Good comic timing and over the top facial expressions added greatly to his characterisation. I loved his very funny dance moves in the background during ‘We Built This City.’‘Hit Me With Your Best Shot’ was a very funny, full on routine with Ms. O’Donovan, which Mr. O'Halloran threw himself into with great energy and abandon. 

Fiona O’Connor portrayed Justice Charlier with a notable presence and a strong voice. Her diction was clear, and she effectively conveyed the role of the authoritative madame of the Venus Club. 'Every Rose Has Its Thorn' highlighted Ms. O’Connor’s vocal abilities. 

Lena Hally performed the role of Hilda, a part which is traditionally played by a male-identifying performer. She was very expressive and generally had good delivery of dialogue. A little bit more work could have been done on comic timing but overall, Ms. Hally did well with the role. She played very well opposite Franz and had good energy throughout the show. 

I was very impressed with Aaron O'Donoghue, who played the part of Ja’Keith, manager of up and coming band Street Boyz - with a ‘Z.’Mr. O'Donoghue is young but very talented and had excellent delivery of dialogue and very good comic timing. 

There was great support, too, from Conor Ryan as Father, Gerry Ryan as the Mayor, Emma Linnane as Waitress #2, Muireann Slattery as Waitress #3 and Eimhin O'Meara as Joey Primo. 

I was really impressed with Cole Flanagan, who played the role of Candi. Cole had excellent presence and danced superbly giving a very funny performance. 

Lorraine Cormack as Waitress #1 and Mother, showed great versatility. Rachel Breen as Constance did very well, in spite of a fall, but recovered in style and was very strong in her scene with Stacee. Her reaction to Stacee gyrating on her lap, was absolutely hilarious. 

The ensemble in this show was very strong. They had some excellent moments and danced extremely well. Unfortunately, at times, their harmonies couldn't be heard, but when they could be heard, it was clear that they had done a huge amount of work and sounded great. The offstage vocals for ‘Can't Fight This Feeling’ were absolutely on point. In the dance numbers, there was huge energy and focus, and it was clear that a lot of work had been put into this in rehearsal. I particularly liked ‘The Final Countdown’ protesters versus Regina's hippies which was an excellent number, full of fun and energy from a super ensemble. 

Stage management was generally very well organised and although there wasn't a huge amount of set coming in and out, it was clear that everything was in good hands backstage with Alma Quinn as stage manager. The only small exception to this was when the three pillars came in for the Venus Club. Striking them was a little bit awkward with some traffic issues. Generally, very good work from everybody involved. 

The set was excellent with its imposing brickwork on the upper level and a very well-lit preset. The various lit up signs added greatly to the visual. The pull-out section on stage left worked so well, creating various different locations, such as the mayor's office and various other pieces. This section also became the toilets which Stacee and Sherrie ‘enjoyed.’

Justice’s boudoir with its chaise longue and leopard skin throw also worked very well in this space. The set was so well dressed from the coloured bras hanging on the upper level stage right to the very authentic bar paraphernalia, discs, guitars, and various advertising logos aplenty. It was pure 1980s nostalgia and was a huge part of the visual success of the show. 

There was good attention to detail in the props department. From Lonny's nunchucks to the wonderfully made city model, the briefcase full of cash, the various protest signs, Lonny's 80s 3D glasses, the various shovels and tools used in the final countdown, (although the beach spades did raise an eyebrow!,) the riot shields, the Fogmaster 5000, (a superb piece of kit with real smoke), the ‘brick’ phones with their huge antennae, and Regina's petrol can, all props were appropriate to the style of show and added greatly to the overall visual impact of the production. 

The lighting in the show was exceptional, from its wonderful design to its exceptional timing of cues. ‘Waiting For a Girl Like You’ was a visually stunning feast, utilising strong beams of light, superbly chosen colours and low fog to great effect. I would have bet my first edition Rubik's Cube that the lighting operator was a musician, and having checked this afterwards, I was right. Timing was exceptional and the lighting was completely in tune and in sync with the music. The Venus Club was superbly seedy, shadowy, and hazy. The battens built into the set were used to great effect. Timing was exceptionally good in ‘Every Rose Has Its Thorn’ as each character was picked out for their moment with perfectly timed fades in and out. The designer/operator clearly felt the music right down to Justice's last line. Beautiful work. 

Unfortunately, sound was not at its best on the night that I attended. Not all mics appeared to be EQd appropriately for dialogue. Vocals were often drowned out by the band. Offstage vocals suffered throughout the show. This was a pity as there is so much offstage singing and a lot of harmony work was missed. ‘Can't Fight This Feeling’ was one number where I could hear the offstage vocals clearly and it sounded great. The balance within the band was excellent and it was clear that time had been spent getting the band sound right. They sounded fantastic. Loud but fantastic. Sound effects were well-timed and appropriate but unfortunately, the overall sound was poor on the night that I attended. 

The costumes were of a very high standard. I loved Lonny's hilarious T-shirts, which were almost a character in themselves. Regina's hippie look was excellent and great fun. There was great detail in the costuming. The waitress's Bourbon Room aprons were a very nice touch. Stacee's fur coat really helped to define his less than subtle character. The high vis and hard hats worked very well in ‘The Final Countdown.’ And of course, Franz had to have a pink high vis, which was very funny indeed. And Franz's very over-the-top blue leotard and red briefs were hilarious. 

There was great work in the hair and makeup department, creating a very authentic 80s rock look. The various wigs were very natural and looked well. The heavy eyeliner and colourful eyeshadows looked fantastic. Candi was quite the creation and looked fantastic with makeup and wig. The Venus girls were very well turned out, looking appropriate to their line of work. 

This was a very entertaining production of ‘Rock of Ages’ with a very talented cast guided by an equally talented and experienced production team. I have no doubt that the sound issues which I experienced on the night that I attended were resolved as the week went on and that the show really took off. If the audience reaction on the night was anything to go by, the sky was the limit for this very talented society. 

Pat McElwain

Gilbert Adjudicator 2024/2025

Photos by Seán Fitzpatrick