Rock of Ages as presented by Kilcock Musical Society

Rock of Ages as presented by Kilcock Musical & Dramatic Society

Date of Adjudication: Thursday 4th April 2024. 

It is hard not to love a show that features so many well-known musical anthems, conjuring up an era that many in the audience can still remember, back when we were younger and crazier, while for the younger audience, the spectacle of today’s performers trying to look freaky and hip, is guaranteed to get a lot of laughs. That is the appeal of this jukebox musical and laced with a thin but affecting love story and much outrageous comedy, it works delightfully. Kilcock put their best feet forward in bringing it all to life, with a highly animated, fluid, and fluent presentation, strong on comedy and highly impressive vocally. 

The set for the show was very good, with an effective upper level, a band stand, and extremely good dressing. The section that opened out for the men’s toilet was also nicely planned. Furniture and props were tidily put in place throughout by cast and an efficient crew under Stage Manager Eilis Browne. Director, Dominic Reid, had the show well mapped out from a staging point of view, varying the playing areas for the action, and making good use of that upper level. It was a master touch to have Stacee Jaxx make his first entrance in a hot tub with two female companions. There was great attention to the physical comedy of the piece, and despite the paper-thin storyline, Dominic did not lose sight of the touching romance between Drew and Sherrie. 

Musical Director, Mairéad McKenna, seemed to enjoy revealing her inner rock-chick with this show. With the band permanently on-stage, they were enthusiastic in their delivery of a great rock score. Tempi were excellent throughout and there was a tenderness to the accompaniment for the shows more mellow numbers. 

There was plenty of variety in Deirdre Browne’s choreography, from the suggestive, and sometimes more blatant, sexuality of the stripper routines to the pop/rock fusion for the big showstoppers, the energy was always high in performance. Even the less danced numbers, like the We’re Not Gonna Take It, were moved in good patterns with plenty of action and thought in the use of the stage space. 

The wardrobe for the show was top notch, from business attire to sexy, sultry dance girls to flamboyant rock outfits for the crazy range of characters. Well done to the stylists and suppliers of wigs, for providing a wide range of freaky and appropriate pieces and capturing the era so effectively, and to the make-up team who added individuality to many of the characters. 

Christopher McDonald took the leading role of Drew and absolutely made it his own. His baby-faced looks were surrounded by a wonderful wig and bandana, turning him from the boyish Pugsley that I remember from 2 years ago, into a blossoming rock legend. And what 

an accomplished transformation. His acting here was top-notch, and his comedy on point, but it was an amazing vocal performance, including some excellent falsetto, that absolutely blew me away. Tender when required, with mellow tones, he exploded into the rock anthems, showing a powerful and note perfect range. Quite brilliant. 

Kevin Hartnett gave a masterclass in comedic timing in the audience friendly role of Lonny, toying with unsuspecting punters in anything but child-appropriate pantomime, milking every risqué gag for all it was worth. Added to that was a delightfully comical bro-love with Dennis, and an excellent vocal performance of his rock numbers. Being the narrator of the piece gave him that license to be as outrageous as he wanted, and he grasped it with both hands, delivering a hilarious performance from start to finish. 

Naomi Cleary, as Sherrie, managed to give great sincerity to her character, despite being set amid a minefield of mischievous mayhem. She had a very believable almost-romance with Drew, and a down-and-dirty session with Stacee Jaxx to keep her occupied, which she achieved well without losing her composure. Her vocals were strong and easy on the ear, and her acting throughout was most impressive. 

In the role of Dennis, Andrew Docherty looked and sounded like he had never recovered from the marijuana-hazed decade of the seventies, hilariously hip and delightfully docile, even when faced with the inevitability of the closure of his haven. He stumbled through the show like he was not even aware that he was in it, but still managed to be in-tune, on point and so completely believable. His duet with Lonny was golden. 

John Sweeney seemed to enjoy the sleazy, sex-crazed, scumbag, crumbling rock star that is Stacee Jaxx, and played it with scary realism and a great sense of comedy. His appearance was excellent, as were his vocals, and he really got under the skin of the character. No one was sorry to see him brought to his knees by Sherrie. 

There was more than a hint of Dominatrix in the appearance of Maria Mallon, in the role of Justice. Fabulously attired and looking every bit the Madame of the..er...gentleman’s club, she got under the skin of her character, controlling and sleazy, and yet, under that strongly sexual exterior, she displayed a kind and compassionate heart, and a voice that did justice to her musical pieces. 

Aaron Stone was suitably comical, clumsy, and closeted as Franz, living limply in the shadow of his father until Regina awakens something in him. This was nicely played, and he performed strongly when he broke free from his father’s shackles. 

Alongside him, Maeve Cunningham was rebellious and resilient as Regina, full of fight and feisty energy, super confident in her vocals and completely at home with her comedy. Gavin O’Reilly played hard-nosed German developer, Hertz, with icy authority, intolerant towards his son, impatient with the Bourbon Room, and seemingly dismissive of the feelings of others, but he came good as the show concludes, and the transition was well-handled. Other good performances came from Alanna Keane as Waitress #1, Joshua Nolan as the not so-cool Ja’Keith, Lorraine Murphy as the easily bought Mayor, Sharon Murphy and Aidan Gately as the Mother and Father of Sherrie, Róisín Reddy as Constance and Alan Maleady who doubled as the Strip Club DJ with the Record Producer. 

Whether as ‘dancehall’ ladies (strippers), patrons of the Bourbon Room, protesters, or police. The chorus committed fully to every scene, with an abundance of energy and heaps of vocal and terpsichorean talent. They were always cognizant of the mood of each scene, and acted accordingly, but most of all, they always looked like they were enjoying themselves.  

The lighting for the show was varied and dynamic, isolating small areas when necessary, and contributing colour and energy to the atmosphere of the rock numbers with good disco/rock festival effects. The sound operator did a particularly good job of boosting vocals when the band were letting rip with the rock numbers, enabling every word to be heard. The cueing of mics was good and there was good use of reverb, when appropriate. Technically, this was a very well-prepared show. 

Rock of Ages is a rousing, often risqué romp which does not take itself too seriously, and neither did Kilcock. They performed it as it should be performed, with energy, enthusiasm, and a great sense of fun, providing a most gratifying night of mayhem and magical musical entertainment. Thank you to one and all for a most enjoyable night.

Peter Kennedy

Gilbert Adjudicator 23/24

Photos by Aishling Conway Byrne