Rock of Ages as Presented by Tullamore Musical Society

Rock of Ages as performed by Tullamore Musical Society

Date of Adjudicated Performance: Monday 12th February, 2024 

Undaunted by an audience who seemed to be suffering from Monday night blues, the cast of Tullamore’s Rock of Ages injected energy, enthusiasm, wit and a wealth of rockin’ good music into bringing the show to life, and it paid off, for they did eventually get the response from the audience that their efforts deserved, for this was a very strong cast and a very strong production.

Rock of Ages is basically a jukebox musical with many familiar tunes and a bucket full of well-drawn characters. Director, Claire Tighe, enhanced the story by playing those characters somewhat larger than life, and it was the correct route to take, focusing on the comedy content of the piece. But she didn’t allow moments of pathos or romance to be side-lined either, and the show benefitted from some lovely poignant moments. With so many great up beat numbers to work on, she all went to town on the endless opportunities for creative choreography. There were big, bright, mass movement numbers involving the whole chorus, and some more adventurous pieces for the night-club dancers, all of which were performed with a very assured level of achievement. Claire was blessed to have a whole chorus of very capable movers, who gave great energy and good polish to all their routines. Whether straddling chairs, or men, dancing and singing as patrons of the Bourbon Room or protesting the developers in the street, they integrated very successfully into the action of every scene. Their vocal quality, whether on-stage or in the wings, was tuneful, harmonious and presented with clear diction, even while brilliantly executing their routines.

Indeed, the vocal quality throughout the show was greatly enhanced by a tight 5-piece rock band, under the leadership of Musical Director, Enda O’Connor on keyboards, who immersed themselves in the music and got the feel just right. That they were constantly on stage, very visible and responding to the action was an added bonus. Balance was good all night, and respect was shown to the quieter ballad numbers, but when the band hit the crescendos of the better known rock anthems, they were at their best and obviously enjoyed their playing. The musical preparation of the chorus and principals was evident in the clear and precise delivery of harmonies.

Chris Corroon, in the central role of narrator Lonny, doubtless used his significant Panto experience to reach out and drag the audience along with his very zany, very sexual, brazen humour. This was a top-notch comedic performance, both visually and verbally outrageous, but always under control. His faux rock-star vocals were strong and articulate, as he ran amok with a relaxed and assured stage presence. His love/mutual admiration number with Dennis was a high point of the show. Excellent performance.

Stephen Keegan’s greatest achievement in the role of Dennis was maintaining that unhealthy, rasping old-rocker voice, not only in his dialogue but also his songs, and remaining articulate throughout. This was another strong character performance, with a very good sense of comedic timing and the perfect look for the role. His partnership with Lonny was beautifully sincere and deliciously comical.

Jordan Bass, in the role of Drew, had the opportunity to put his many talents on display, and on this occasion, it was his acting and comedy that impressed me most, always looking relaxed and confident and creating a beautiful, believable relationship with Sherrie. Vocally, the rock-style screaming of a few numbers was well-balanced against the tender tones of the more romantic songs.

Jessie Woods, as Sherrie, may have been just a small town girl, but she was big on character and strong on personality. She created a most endearing persona, sincere in her fractured relationship with her father, robust and optimistic in her ambitions, and delightfully affectionate in her regard for Drew. Her acting and singing were great, but it was the beautiful tone and quality of her vocals that impacted me most in an all-round highly impressive performance.

Stephen Rabbette seemed to really enjoy portraying the sleazy, supercilious, fading rock-star, Stacee Jaxx. He played the misogynist to a T, slimy in his sexually charged exchanges and repugnant enough to make it a pleasure to see Sherrie diminish him in his later scenes. This was very nicely played and very well sung.

Ruth Kelly played the strip club Madame, Justice, with a good mixture of devious Diva and motherly caring. A convincing natural leader of the dance-hall girls, and possessing strength of character and vocal quality, she was at her best in her most tender moments with Sherrie.

Excellent comedy and caricature were the hallmarks of the performance of Natalee Kelly in the role of Regina. She played the rebellious campaigner with charm and determination, but it was her delightful seduction of Franz that displayed her great comedic timing and sense of fun. Her songs were delivered with panache.

Delightfully ridiculous, deliciously camp, and comically crazy were the antics of Barry Dunne as Franz, transitioning most effectively from the wimpish down-trodden son of a ruthless father, to the comical, colourful and confident aspiring confectioner, inspired by his love interest in Regina. Their Hit Me With Your Best Shot was a comedic high-light of their performances.

Liam Egan strutted with Germanic authority in a well-delivered performance as Hertz, the ruthless real estate corporate giant who would wipe out the Bourbon Lounge and all of Sunset Strip. Again, a nicely developed character who eventually finds the errors of his ways, played with a sense of fun and good vocals.

Jamie O’Callaghan made an impressive Joey Primo, and Ger Dunne a believable Ja’Keith. Liam Cushen was a formidable greedy Mayor, Ron Kelly succeeded as a less than sensitive father to Sherrie, and Bláthnaid Fitzsimons nicely portrayed her slightly less judgmental mother. Sinead Handy made a good contribution as Constance and deputized some vocals for Amanda Cunningham’s convincing waitress who was suffering from laryngitis. There were also several cameo roles played very capably by members of the chorus, and the dancers established good individuality in the performance of their routines.

The action was played out on a well-designed and themed set, effectively used tables built like amplifiers and doors like great banks of speakers to create the various locations in and around the Bourbon Room. An upper walkway with the band tucked neatly underneath provided the centre-piece, with a revolve stage L. These were all well employed, as were projection screens on the upper level that helped to suggest locations, and allowed for some amusing comedy effects. Stage Manager, Wayne Handy, who also built and designer the set, was super-efficient, often using members of the cast to assist with placing props and pieces. I would perhaps have liked to see more bric-a-brac and memorabilia strewn about the Bourbon Room to give it a more living/breathing ambiance, but otherwise, the set was dressed most satisfactorily, and it was all enhanced by some very good mood lighting, strong colour washes and enough disco effects to give the right club atmosphere. Now and then, principals drifted into one or two shadowy patches, but it was usually only momentary, and overall, the lighting was very pleasing and appropriate.

The wardrobe department certainly captured the essence of an era, with plenty of variety, ranging from angels, protesters and rock-chicks to scantily-clad lap-dancers. I loved Franz and Regina’s ‘reveal’ outfits. There was also great attention to wigs and make-up, and, having lived through such horrendous styles, I can verify their authenticity.

This was my first visit to the Esker Arts Centre in Tullamore, and it really is a delightful new home for the musical society. I’m quite sure I’ll visit again, if I’m guaranteed a production as slick and enjoyable as this one. Thank you to Chairperson, Colin Hughes, for the warm welcome, and thank you to Claire, Enda and the entire production and performance team for such a high standard of delivery.

Peter Kennedy

Gilbert Adjudicator 2023 / 2024

Some photos kindly shared by the society - Photographer was Tom O' Hanlon.