Keep Musicking: Rock of Ages - so wrong, so cheesy, yet so fun. Don't forget your lighter.

Constantine Maroulis wants to rock

Photo: Joan Marcus

American Idol contestant Constantine Maroulis describes his participation in the Tony Award nominated show Rock of Ages as a “blessing”. He added feeling blessed that so many artists allowed the use of their hit songs. He also said it was an amazing journey and best if people really like Journey since there are a few hit songs from that band among many easily identifiable hits.

The show has solid post-modern and self-reflexive tendencies. It’s touched by the spirit of Spinal Tap, and LA’s own parody metal cover bands - Steel Panther, and Chelsea Girls - making it irrepressibly funny. The songs and action in the musical run like a string of music videos or one of those ridiculously cheesy fun 1980s rock films like the Ramones' Rock ‘n’ Roll High School.

The musical tries to follow dual storylines involving pairs of star-crossed lovers set against a backdrop of Hollywood’s Sunset Strip in the 1980s. Happy, scantily/gaudily dressed barmaids dance with abandon, adding to the mythology of places and people having a far better time onstage than they actually had back in the day. Meanwhile, a wealthy German developer plots to take over the Sunset Strip and clean it up. The dirty, graffitied bathrooms and mention of the smell of stale beer are fairly realistic.

The ensemble communicated a sense that they were having an absolute blast with each other through dance sequences and scenes. When the actors broke character slightly, much like the Carol Burnett show, no one seemed to mind and laughed along with whatever joke caused such a breach. And then some brooded anew, “Wait, am I supposed to actually care what happens to the characters? Or am I supposed to laugh and sing along?” A little of both, lift your lighter if it helps – even if it's on your cell phone.

Definitely talented actors filled ostentatious roles with an air of near-believability, while others executed an exaggerated over-the-top acting style which contrasted with that. Again, it makes for a confusing show, but the actors definitely executed as directed.

Unique to this show is an onstage band which plays everything live – every lick of every song. They are amazingly talented musicians to handle being watched the entire time and becoming part of the action at various points.

It’s wonderful to see an original cast member. Maroulis plays Drew with convincing sweetness and silliness. And his love interest, “Sherrie” was finely voiced by Rebecca Faulkenberry. Her rendition of “Harden My Heart” by Quarterflash was heartfelt.

MiG Ayesha plays a cross between David Lee Roth, Bret Michaels, and your worst nightmare of a man. He’s both a serious jerk and seriously funny. Other favorites include the loveable older club owner, Dennis Dupree, played lovingly and cheesily by Nick Cordero, and Patrick LeWallen (Lonny) who serves the dual roles of narrator and trickster.

It’s of some concern, considering a blistering show schedule, that people often forget that singing rock can also mean singing with a beautiful voice, something that Faulkenberry handles well. There are some truly beautiful voices that totally rock – Tommy Shaw and Dennis DeYoung (Styx) and Steve Perry (Journey), Billy Joel, and Matt Bellamy (Muse) all come to mind. The female singers of Pat Benetar, Quarterflash and Blondie also come to mind. It’s one way of saying there was a bit too much fake rock growl in people’s voices. They should just sing how they sing rather that imitating what someone else thinks is rock.

Most of those in the audience were in the 40s and 50s, reliving a glorified youth awash in the glow of classic rock. Meanwhile, a few LA natives walked out scratching their heads. “That’s not how I remember LA in the ‘80s,” one man stated. He conceded that it was enjoyable, just not real.

It didn’t reflect everyone’s LA in the 1980s, but I just don’t see the LA/KROQ megalegends of the 1980s - Depeche Mode, New Order, OMD, The Smiths, The Police, Oingo Boingo, Beastie Boys, or Echo and the Bunnymen - allowing their music to be used for such a musical. (Please note, U2 definitely would go for this considering Bono and The Edge co-wrote Spider-Man.)

Not only that, LA had a hugely important West Coast Rap/Hip-Hop/dance music scene which locals might feel was left out. However, these bands could not pull off the references to “Sister Christian” and “Oh Sherrie” by naming the female lead “Sherrie Christian”. Both songs become integral to her storyline, however thin and hackneyed it may be. Indeed, the songs fit the story quite well. With all the Journey references, Maroulis' character can only come from South Detroit. “I wanna rock” is the only possible answer to, “What do you want?” for an aspiring rocker, is it not?

The best thing to do is to see it for yourself and take it with a grain of salt. You will sing along. You will raise your (cell phone) lighter high. You will laugh. You will have a good time. Reflecting on the effeminate reputation musicals have had of late, it’s rather straight-friendly. And there’s lots of cowbell.

This is the format of the modern musical. Mamma Mia scored a hit using the songs of Abba. American Idiot uses the music of Green Day. Spider-Man: Turn Off The Dark uses music written by Bono and The Edge. We’re going to have to get used to it as a regularity rather than an oddity.

Apparently gone are the days of more complex song forms and legit voices. But, if audiences will accept popular hit songs being used to create musicals with storylines, perhaps some will accept the more old-fashioned musicals. Perhaps one day the general public will accept the concept of bursting into song for no apparent reason…as long as it comes with some cowbell.

The show finishes their residency at The Pantages this weekend and heads to The Orange Country Performing Arts Center. The remaining schedule of the tour can be found at www.RockofAgesmusical.com