Rock of Ages - Darlington Theatre Players

Reviewed by Kate O'Sullivan

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Rock of Ages is a show that lives and dies by its commitment to the excesses of 1980s rock. Big vocals, bigger personalities, and a healthy dose of tongue-in-cheek nostalgia are all part of the package, and Darlington Theatre Players' production delivers plenty of entertainment while embracing the spirit of the era.

There are several standout performances from a cast that clearly understands the show's style. Luke Miller is a charismatic Dennis, balancing the role's humour with genuine warmth, while Christian Dichiera fully commits to the swagger and confidence of rock superstar Stacee Jaxx. Therese Cruise brings a commanding presence as Justice, delivering her musical moments with confidence and authenticity. AJ Giltrow also captures Drew's earnest determination, and while his commitment to the rock vocal style is evident, there are moments where pushing for that signature sound impacts vocal tone and breath support after some of the bigger belt passages.

Connie Wetherilt and Riley Merigan are particularly enjoyable as Regina Koontz and Franz Klinemann. Both make clear, specific character choices that add plenty of personality, and their chemistry provides many of the production's lighter moments.

As Sherrie Christian, Clara Lee gives an earnest performance, although at times feels a bit miscast. Vocally there is a contrast in vocal style with the other leads, which is particularly detectable in duets. Sherrie also benefits from an underlying warmth and innocence that helps drive the emotional stakes of her journey. While Lee captures the character's optimism, leaning further into that naïve sincerity would make the later moments of Sherrie's story land with greater emotional impact.

The production itself makes excellent use of Marloo Theatre's intimate space. The set is a real highlight, featuring a clever small-stage revolve and an effective secondary playing area that allows scenes to transition smoothly while adding visual interest. Keeping the band visible on stage throughout reinforces the concert atmosphere and feels entirely at home within the world of the show.

While the staging generally serves the production well, there are occasions where important moments take place too far upstage. In a theatre the size of Marloo, audiences have the opportunity to feel closely connected to the performers, and when emotional exchanges happen towards the back of the stage, some of that intimacy is lost. Bringing those scenes further downstage would strengthen the audience's connection to the characters and make the emotional beats land more effectively.

Lighting is more variable. There are some lovely moments, particularly during "Can't Fight This Feeling", where the look perfectly supports the relationship between Dennis and Lonny (Kailem Mollard). Elsewhere, however, broader wash lighting softens some of the gritty atmosphere that should define The Bourbon Room, reducing the visual contrast between locations. A dedicated spotlight for Lonny's narrator moments would also help draw focus to one of the show's most important storytelling devices.

Choreographically, the production occasionally feels caught between two styles. When it embraces the looser, rock-concert energy that defines the show, it is engaging and suits the material well. At other times, the movement shifts towards a cleaner musical theatre aesthetic that feels less aligned with the show's identity. Some ensemble members also appear less comfortable with sections of the choreography, particularly in the Venus Club scenes, which makes those moments feel more tentative than intentionally provocative.

Costuming successfully captures the overall aesthetic of the era, with leather, denim and rock influences creating a cohesive visual identity. A handful of individual choices feel slightly out of place, including some brighter reveal costumes and a few mismatching Venus Club outfits that draw attention for the wrong reasons, but overall the wardrobe does a good job of supporting the production's world.

Sound balance is another area that could benefit from refinement. At times the lead vocals are lost within the overall mix, whether through microphone levels or differing vocal projection, and there are several moments where performers unintentionally overpower one another during duets and ensemble numbers. With a show so driven by its music, achieving a more consistent balance would strengthen the audience experience considerably.

Ultimately, Rock of Ages is an enjoyable night at the theatre. Darlington Theatre Players have assembled a committed cast, an impressive set and plenty of infectious energy. When the production fully embraces the grit, swagger and unapologetic excess of the era, it really captures what makes the show so much fun. A more unified approach to the musical, choreographic and visual style would strengthen those moments even further and help the production settle into a clearer identity. Even so, there is no shortage of enthusiasm on stage, and fans of '80s rock will leave having enjoyed a nostalgic, high-energy celebration of one of music's biggest decades.

Image Credit: Sean Breadsell

Reviewer Note: Kate has previously worked with a number of members of this cast and production team. Tickets for this review were provided by the theatre company.