Review: ROCK OF AGES at Glen Eden Playhouse Theatre

                                                                            Just keep on believing

 

"We built this city on rock and roll! " From the first blast of sound and light, Rock of Ages announces itself with instant energy. The opening is explosive: bright lights, exceptional guitar work from the rock-gig band, leather-and-lace-clad dancers, and skilled narration from Joshua Williams as Lonny. Breaking the fourth wall, Lonny speaks directly to the audience and draws us into the world of the show. From that moment, we know we are in his hands as the story unfolds—and, as he promises, no good musical is complete without a love story, which we are going to get “real quick.”

 

This is a dynamic, well-executed production, creatively shaped by director Robin Lane. In his programme note, Lane places us “at a rock gig, in 1987, with enormous hair, loud music, and the Sunset Strip as the place to be.” The show embraces that promise wholeheartedly.

Rock of Ages is the 1980s jukebox musical by Chris D’Arienzo, featuring classic rock and glam metal hits from bands such as Journey, Styx, Bon Jovi, and Twisted Sister. With more than 30 songs in its repertoire, the production moves from rock anthems to ballads with high-voltage confidence. Creative technical direction from Matt Billington supports the mood superbly: the lighting is dramatic, the set inventive, and the sound—appropriately loud—is wonderfully powerful.

 

Beneath the show’s party atmosphere lies a surprising emotional depth. Its iconic 1980s arena-rock and glam-metal songs carry themes of resilience, ambition, and self-belief, giving the story more weight than its glittering surface might suggest. At the centre of the plot are Drew, an aspiring rock star, and Sherrie, an aspiring actress, both chasing their dreams in Los Angeles. Drew, played with conviction by Tom Tobin, faces the pressure to abandon his own musical truth when he is forced into a manufactured boy band ironically called “The Real McCoy.” Tobin ensures we believe in Drew’s struggle, and his eventual return to his roots as “Wolfgang Von Colt” feels like a genuine act of self-reclamation.

 

Mitchie Edgecombe brings equal emotional force to Sherrie’s journey. After being seduced by Stacee Jaxx, played credibly by Andy Woodd, Sherrie is fired and forced into work at a gentleman’s club. Her story becomes one of remembering why she came to Hollywood, and recognising that her worth is not defined by temporary circumstances. Her plaintive songs are a particular treat. Numbers such as Twisted Sister’s “We’re Not Gonna Take It” and REO Speedwagon’s “Keep On Loving You” express the characters’ refusal to give up on who they are, even when the world pressures them to change.

 

Running parallel to the love story is the fight to save the Bourbon Room, operated by the ageing, laid-back rock impresario Dennis Dupree. Sam Iosefo captures Dennis as a mellow figure past his prime, facing a major dilemma when German real-estate developers threaten to demolish his club and replace it with a clean, corporate strip mall.This conflict becomes a metaphor for holding onto authenticity rather than conforming to corporate expectations. Horst Feldhauser gives a superb acting performance, pivoting believably through a range of contrary emotions.

 

The same theme is echoed through Franz, played with delightful confidence by Patrick Halpin-Witt. Initially under his father’s thumb, dressed in matching corporate suits and reluctantly helping with the plan to demolish the Sunset Strip, Franz gradually breaks free. Timid, flamboyant, and desperate for approval, he finally embraces his own sweet dream: to run a confectionery shop. The audience clearly loves this character, especially when he falls in love with Regina, played with another powerful performance by Gio Bellard - and breakout into aerobic dance. 

 

The show surges toward its finale with Journey’s “Don’t Stop Believin’”. By the time the ensemble sings it, the song has become more than a classic radio hit; it is the persuasive point of the production. The audience has been completely captured, and the message lands with clear conviction: believing in yourself does not always mean chasing celebrity or reaching for rock-star renown. It means recognising that your passions are worth protecting, that authenticity can triumph over corporate conformity, and that true success lies in being brave enough to be honest about what genuinely makes you happy.

 

This is a superb production and if you canget tickets - absolutely get along!!  

 

 

 

 

 

 

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