Review: ROCK OF AGES at TexARTS

Broadway has produced no shortage of jukebox musicals over the past two decades, but few have embraced their own absurdity as wholeheartedly as Rock of Ages. After debuting in Los Angeles in 2005 before making its Broadway bow in 2009, the musical quickly found an audience by pairing the biggest rock anthems of the 1980s with a plot that gleefully spoofs every hair metal cliché imaginable. It doesn't aspire to be sophisticated. It simply wants audiences to laugh, sing along, and leave with a smile. TexArts' latest production delivers exactly that.

Set on Los Angeles' legendary Sunset Strip in 1987, Rock of Ages follows Drew, a bartender with dreams of becoming a rock star, and Sherrie, a small-town girl hoping to make it in Hollywood. Their story unfolds inside the Bourbon Room, a fictional club inspired by the iconic venues that defined the Strip, including Whisky a Go Go and The Roxy Theatre. As developers threaten to replace the club with another polished commercial project, a colorful cast of rock stars, club owners, activists, and dreamers rally to save both the venue and the culture it represents.

The story itself is intentionally secondary. Rock of Ages exists as much for its comedy as it does for its music. It breaks the fourth wall with abandon, piles on outrageous situations, and fills nearly every scene with self-aware humor that celebrates, and gently mocks, the excess of the hair metal era. The jokes are broad, occasionally irreverent, and completely unapologetic. The audience quickly learns to stop asking whether something is believable and simply enjoy the ride.

Director Kim Schafer understands that tone well. Rather than searching for emotional depth where there isn't meant to be any, she embraces the show's playful spirit and keeps the production moving at an energetic pace. The cast works cohesively throughout, creating an ensemble that feels comfortable inhabiting this exaggerated world.

Among the principals, Shane Scandurra gives Drew an easygoing sincerity that makes him easy to root for, while Sara Teeter brings warmth and determination to Sherrie. Tony Nielson has perhaps the most demanding job of the evening as Lonny, the show's omniscient narrator and fourth-wall breaker. His direct conversations with the audience, knowing asides, and comic timing keep the show moving smoothly. Gannon Styles is an affable Dennis Dupree, providing just enough heart beneath the comedy, while Chelsea Manasseri makes a confident Justice, commanding attention whenever she appears.

Of course, the real headliners are the songs.

Built around music from Journey, Bon Jovi, Styx, Poison, REO Speedwagon, Whitesnake, Europe, Foreigner, Twisted Sister, Pat Benatar, and others, the score is essentially an arena rock playlist disguised as a musical. "Don't Stop Believin'," "Wanted Dead or Alive," "Here I Go Again," "The Final Countdown," "Can't Fight This Feeling," "Any Way You Want It," and "I Want to Know What Love Is" continue to generate enthusiastic reactions decades after they first dominated the charts.

The audience certainly wasn't shy about showing its appreciation. Much of the crowd appeared to be well into their sixties, and many spent the evening clapping along, mouthing lyrics, and dancing in their seats. It was one of those performances where the audience became part of the experience. Then again, with a soundtrack like this, who could resist?

One of the production's strongest assets is the onstage band under the direction of Lyn Koenning. Rather than being tucked away, the musicians become part of the show's identity, adding the feel of a live rock concert to nearly every scene.

The scenic design by Bradford Smitherman effectively recreates the gritty, neon-lit atmosphere of a Sunset Strip rock club, making it easy to imagine bands cutting their teeth before moving on to sold-out arenas. Seth Ellington's sound design keeps the dialogue and orchestra well balanced throughout the performance.

The costumes generally support the show's rock-and-roll aesthetic, although a few choices leaned toward a broader retro look than the unmistakable style of late-1980s glam metal. It never becomes distracting, but the visual language occasionally felt more vintage than specifically 1987.

Vocally, the evening is somewhat less consistent. These songs were written for some of rock's most recognizable voices and translating them to the musical theatre stage is never easy. Not every number reaches the power or edge of the original recordings, but the cast's enthusiasm and commitment consistently keep the energy high.

Having previously seen Rock of Ages in London, I was pleased to find that TexArts stays remarkably true to the spirit of the stage musical rather than the 2012 film adaptation. Frankly, that's a relief. Some performances are best left on the stage, and I was perfectly happy not to spend the evening thinking about Tom Cruise's Stacee Jaxx. Thank you, Jon Bristol.

This production also marks the final show under Executive Director Sandy Cox, whose leadership has helped shape TexArts into one of Central Texas' most respected performing arts organizations. With Andrew Cannata preparing to take the helm, Rock of Ages feels like a fitting finale: energetic, entertaining, and filled with the kind of music that still gets audiences on their feet.

Sometimes theatre asks us to wrestle with difficult questions. Sometimes it asks us to reflect on the world around us. And sometimes it simply hands us a stack of power ballads, a cloud of hairspray, and permission to have a ridiculously good time. TexArts' Rock of Ages happily chooses the latter.

Duration: 2 hours and 30 minutes including one intermission.

Rock of Ages

Book by Chris D’Arienzo

Arrangements and Orchestrations by Ethan Popp

Directed by Kim Schafer

Music Direction by Lyn Koenning

Now playing through August 9th, 2026

Thursdays through Saturdays at 7:30 PM

Sundays at 2:00 PM

TexArts

1110 Ranch Rd 620 S, Lakeway, TX 78734

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