"Rock of Ages" and Constantine Maroulis deliver 'Good Time' headbanger's ball

 Photos: Howard Cohen
A musical's narrator doesn't often help write the review for the show’s critic, but Rock of Ages’ costar Patrick Lewallen, as the snarky emcee and comic foil Lonny, does just that in Act II."I was hired to narrate a show of poop jokes and Whitesnake songs ... and I love it!"

The irresistible Rock of Ages is delightfully stoopid, loud, vulgar, fun and excessive, everything the ‘80s embodied. Think of the musical, now playing at Broward Center for the Performing Arts, as Mamma Mia! on steroids, with bigger hair, more energy and attitude.

Did we really "speedball Diet Shasta,’ enjoy wine coolers and heed the holy words of Foreigner so much 25 years ago?

In the over the top demimonde Rock of Ages celebrates, apparently so.

Rock of Ages cannily sends up the ‘80s power ballad decade with a batch of hair-band, hard rock tunes mashed-up, frappéd and delivered with zest and surprising depth by a game cast including Season 4 American Idol finalist Constantine Maroulis who earned a Best Actor Tony Award nomination for his starring role in this show.

 
He’s the only cast member to make the transition from Broadway to this touring version, but director Kristin Hanggi assembles a fine cast, including a plucky female lead, Rebecca Faulkenberry (Sherrie), who has a better voice for pop metal music than her Broadway counterpart.

You’ll know this isn’t your usual theater experience from the get-go when Whitesnake singer David Coverdale, on video, delivers the shut-off-your-cellphone message with some choice words for those who dare text during the show. No, he didn’t call you Rick.

Set on the Sunset Strip, in a boisterous L.A. club, the Bourbon Room, which faces the wrecking ball if a nefarious developer has his way, Rock of Ages introduces a colorful cast of characters — Lonny, the perpetually horny emcee, German developer Hertz and his flamboyant son Franz ("I’m not gay, I’m just German!’’) and big-hearted Mama, owner of the Venus Strip Club, "Excuse me ... Gentleman’s Club.’’

We also meet Regina (in keeping with the irreverent tone, her name rhymes with a certain part of the female anatomy), a kooky political activist who looks like Gilda Radner’s famed ‘70s character Emily Litella, and Maroulis’ Drew, a city boy, born and raised in South Detroit (the better to sing Journey’s prototype power ballad, Don’t Stop Believin’, natch), who’s stuck cleaning the Bourbon’s bathrooms as he chases his dream of becoming a rock star named Wolfgang Von Colt.

The story plays out amid a never-ending supply of infectious ‘80s rock hits from Poison, REO Speedwagon, Pat Benatar, Quarterflash, Starship, Asia and David Lee Roth.

This could all sink in a vat of Velveeta were it not for Chris D’Arienzo’s snappy script which mirrors and teases the decade it so obviously loves and Hanggi’s direction which keeps everything moving at brisk space and wastes not an inch of stage space.

Pay attention to the amusing little asides, too; for instance, when raunchy rocker Stacee Jaxx (MiG Ayesa) does the required moaning vocal affectation in Foreigner’s I Want to Know What Love Is, a naive Sherrie inquires, "Are you sick?’’ "No! I’m singing,’’ he retorts.

Maroulis is a particular revelation and we see why he became the first American Idol to score a major Tony nomination. His Wolfgang Von Colt has the requisite leather-lungs to belt his way through songs with challenging choruses like Oh Sherrie and High Enough. But more than just impressive pipes to navigate the high Cs, Maroulis transcends caricature and makes the audience fall for him through a mix of ambition, sweetness and charm.

 His character’s nerves get the best of him when, over wine coolers on a date with Sherrie, he drops the dreaded "Friend’’ word and sets the stage for Sherrie’s dalliance with the obnoxious heavy metal lughead, Jaxx.

"Oh man, he’s gonna kick himself later for that ‘friend’ crap. The curse of the nice guy,’’ chortles Lonny.

The audience, primarily older theater veterans, seemed a bit taken aback at the volume of the amplified music, the innuendo and ‘80s Mötley Crüe threads, but by the second act many could be seen clapping along, waving mock devil horns with their fingers, and standing on their feet. Rock of Ages delivers Nothin' But a Good Time with muligenerational allure.

Follow Howard Cohen on Twitter @HowardCohen

Comments

[Judy Yescalis]

Love it, Howard- "...frapped (imagine accent mark) and delivered with zest and surprisiing depth..."
I can't wait to see the show again- this time on the west coast in February!

[gail]

Haven't read it yet...but was Constantine a fave of yours on Idol that season?

[Kitty]

Best show on Broadway and now best show touring the country!! Constantine Rocks!!