School of Rock - Darlington Theatre Players

Reviewed by Kate O'Sullivan

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There’s something inherently joyful about seeing a community company tackle School of Rock, and Darlington Theatre Players bring plenty of heart and enthusiasm to their season at Marloo Theatre. This is a big, high-octane musical, and the cast clearly relish the chance to turn the volume all the way up.

Energy is the production’s strongest asset. The ensemble attack the big numbers with gusto, and “Stick It To The Man” is a genuine first-half highlight, filling the stage with attitude and movement. The choreography makes smart use of the space, and there’s particularly strong commitment from Elizabeth Morgan and Chloe Van Der Beeke. As with any large ensemble piece, consistency of energy across the cast will only strengthen these moments further, but the drive and spirit are undeniably there.

Oliver Temby is a solid choice for Dewey Finn, capturing much of the character’s chaotic charm. At times, some of the sharper turns in delivery felt more like sudden flashes of temper than the loveable, overgrown-child quality that makes Dewey so endearing, but the foundations are strong. With a touch more of that larrikin warmth underpinning the bluster, the performance would feel even more cohesive.

Sarah McCabe takes on the formidable Rosalie Mullins with confidence. While we see her authority from the outset, a little more rigidity early on would give greater contrast to her later transformation, making that loosening of both hair and heart land with more impact. That being said, there is a lovely realism to "Where Did The Rock Go", uncovering that heart in a believably nostalgia-driven way.

Vocally, the company approach the score with admirable power. However, some of the show’s softer songs were delivered at full belt, which blunted their emotional effect. The first rendition of “If Only You Would Listen” found a lovely quiet sincerity, allowing the children’s hopefulness to shine through. In the reprise, that same moment was sung with so much strength and power that some of the youthful vulnerability was lost. In a show built on contrast, those gentler dynamics are essential to make the rock anthems feel truly explosive. To add to this, wile microphone balancing is always a challenge with a large cast, particularly with younger performers, there were moments where key vocals were lost due to imbalance between the cast and the band. A reminder for those emerging performers: mic checks should reflect your performance volume, not your full belt level on your favourite song. It can make all the difference to being heard clearly.

One of the hallmarks of School of Rock is its live instrumentation, and audiences have come to expect visible authenticity in that regard. Here, it was noticeable that not all performers were playing throughout, and some early classroom scenes lacked the detail of correct instrument handling. These are small touches, but in a production that trades so heavily on the thrill of kids forming a real band, they matter.

Though the story centres on the students, the adult ensemble deserve recognition as well. Their harmonies in “Faculty Quadrille” were neatly balanced and brought welcome polish to the number. Aramis Martino in particular demonstrated impressive versatility, clearly differentiating between Theo, Mr Mooneyham and Gabe Brown. With characters that could easily blur together, he ensured each had a distinct physicality and vocal quality.

The set design is intentionally minimal, and, while simplicity can be effective, extended blackouts for scene changes interrupted the show’s momentum. A staging approach that allowed for swifter transitions, perhaps by utilising different areas of the large Marloo Theatre stage, may have helped maintain flow. One safety note: there were several occasions where cast members stood on wheeled set pieces that visibly shifted beneath their feet. Wheels can certainly assist with the speed of transitions, but safety locking mechanisms are essential to ensure performers are secure, particularly in a high-energy show.

Lighting wise, the production sits in an awkward middle ground between restraint and spectacle. The early use of haze suggests we are about to see bold, sculpted lighting states with strong beams cutting through the space. Instead, many scenes resolved into full-stage washes with limited variation, resulting in a somewhat flat technical feel. Given that Darlington Theatre Players often deliver more intricate and dynamic lighting plots, it was surprising that a show bursting with this much energy did not receive similarly vibrant visual support.

Overall, this production feels slightly under-shaped, as though a unifying directorial vision had yet to fully crystallise. That said, the commitment, enthusiasm and sheer enjoyment on stage are unmistakable. With more attention to detail, dynamic contrast and cohesion, Darlington Theatre Players have all the ingredients to make this Rock.

Reviewer Note: Kate has previously worked with members of this cast, and at Darlington Theatre Players. Tickets for this review were provided by the theatre company.