Rock of Ages as presented by Trim Musical Society

Public Adjudication 

Trim Musical Society 

Rock of Ages 

Saturday 22nd February 2025 

‘Rock of Ages’…an in your face, occasionally shocking musical, with a wafer-thin storyline, anthemic rock classics, scantily clad girls (and boys!), raunchy choreography and more innuendo than you can shake your booty at. What's not to love?! Trim Musical Society’s production perfectly captured the era of excess and bad taste that was the 80s rock scene. It was big, it was brash, it was exhilaratingly loud and it swept the audience along on a wave of euphoric nostalgia. It celebrated the era, whilst at the same time poking fun at that era's more ridiculous elements. It was a thoroughly entertaining production, with the highest of professional standards throughout. 

Front of house was warm and welcoming in the new Swift Cultural Centre. There was a great atmosphere in the foyer as everyone prepared to feel the ‘noize’ and have their faces melted. As we sat in the auditorium waiting for the show to begin, it was a treat to be able to take in the incredible set, already a hive of activity as cast members swept the floor and had a chat in the Bourbon Room before unleashing the mayhem. 

Emma Thornton's direction captured the spirit of the 80s rock era. There was a strong emphasis on the myriad comedic possibilities and Ms.Thornton balanced this comedy very well with the more tender scenes. There was a seamless flow to the show which had excellent pace and there was very good attention to detail in characterisation. Of course, it helped that Ms.Thornton was blessed with a top-notch cast of principals and ensemble to bring her vision to life. Her investment in the show's irreverent tone was clear from the outset, as the tongue-in-cheek front of house announcements by Mr. Ben Dover (no less!) had us all giggling like schoolchildren. There were some deliciously quirky touches, perfectly in keeping with the madcap tone of the show. The appearance of ET and Elliot as they cycled across the stage was most unexpected but hilariously embraced the mayhem. 

Musical director Ben Cully was at the helm for this straight-up, guitar-driven, face-melting rockfest. There was great energy and passion in the on-stage band who were characters in themselves. From the opening power chords of ‘Cum on Feel the Noize,’ we knew that this was going to be an exceptional show musically. One of the biggest challenges in Rock of Ages for a musical director is ensuring that lyrics and underscored dialogue can be heard clearly. This was a superb job from both Mr. Cully and the sound department in getting the levels just right. Choral work right through the show was exceptional. ‘High Enough’ was an incredible duet between Drew and Sherrie and when the chorus joined in, all I could do was marvel at the amazingly harmonious sound coming from the stage. 

Laura Douglas's exhilarating choreography was so well rehearsed, often spectacular and captured the high energy requirements of this full-on show. For me, the most impressive thing was that every number was carefully integrated into the storyline. Again, it helped that 

Ms. Douglas had an excellent troupe of dancers to do her bidding. And boy, did they do just that with unrestrained enthusiasm and bucketloads of talent. ‘Here I Go Again’ featured outstanding choreography from Ms. Douglas, sending me into the interval on a high, awkwardly extending my index and little fingers whilst holding my ring and middle fingers down with my thumb. ‘The Final Countdown,’ with its excellent slow-motion sequence, was another real highlight and the girls in the Venus Club were exceptional in ‘Any Way You Want It.’ There was great comedy in the choreography as well, tying in perfectly with Ms Thornton's vision. 

Jamie Hennessy was an excellent Drew. His stratospheric vocals were simply astonishing. His singing managed to be both powerful and heartfelt at the same time. There was exceptional light and shade in his interpretation of lyrics. This was a superb characterisation with excellent comedic timing, helping to balance Drew’s goofiness with his rock star edginess. He worked really well with Sherrie and they succeeded in finding layers to their love story that don’t always shine through the underdeveloped narrative of the script. 

Adam Trundle obliterated the fourth wall as a very witty, seedy, but charming Lonny, the narrator and knowing orchestrator of the show. Mr. Trundle had a unique charm, popping up with witty commentary, links between songs and filling in the narrative detail with infectiously good humour and brilliant comic timing. Mr. Trundle wasn't just a skilled comedian, but he was also a superb singer, at his very best in the opening number, ‘Cum On Feel The Noize’ and the fabulous finale, ‘Don't Stop Believin'. 

Grace Nolan was excellent as Sherrie, the smalltown girl in search of stardom. And what a journey it was from naive ingenue to polished performer in the Venus Club. There was great sincerity in Ms. Nolan's performance and a superb chemistry with Mr. Hennessy. Her comic timing was excellent throughout the show. ‘More Than Words’ was beautifully delivered. ‘Harden My Heart’ was exceptional, with that astonishing note at the end of the song showing off Ms. Nolan’s superb range. 

Ray O’Hare was perfectly cast as Dennis Dupree. He came across as a lethargic stoner. In fact, I very much doubt if he remembers much from the week of the show, as his very well studied character appeared to zone in and out of the evening’s proceedings. It was a brilliant performance right down to his excellent physicality and his loping walk, which drew much laughter. Mr. O’Hare’s fabulous duet with Lonny, ‘Can’t Fight This Feeling,’ showed what great vocals he had too. I loved his timing as he left this mortal coil and his dramatic return with angel wings was an hilarious visual touch. 

Louise Cassidy was a superb Justice. She avoided the obvious stereotype, bringing layers of honesty, sympathy, and heart to her role as Madame of the Venus Club. She was a very real character, stern but with an underlying sympathetic compassion. ‘Harden My Heart/Shadows 

of the Night’ was excellent. ‘Every Rose Has Its Thorn’ was beautifully sung, one of a number of standout musical moments in the show. 

Ronan Walsh relished every moment on stage as the arrogant, misogynistic, sleazy sex-god Stacee Jaxx. He certainly had the swagger of a charismatic rock star and approached the role with raw energy and great comic timing. It was a wonderfully over-the-top performance of the self-proclaimed “above average guy.” ‘I Want to Know What Love Is’ was a very funny routine, comedy gold as he and Sherrie got it on in the ‘mens crapper’ (I even forgave the missing apostrophe!). ‘Wanted Dead or Alive’ showcased his excellent vocal range. A wonderful performance all round.

Jim Maher gave a colourful, over-the-top characterisation as Hertz, the pesky German property developer. He was a most impatient antagonist but very funny, with very good comic timing and hilarious facial expressions. At times it bordered on being too much, but Mr. Maher was such a likeable character that he got away with pushing the boundaries. He had a fine voice too and had great fun in ‘We Built This City.’ 

Grace Cosgrove was excellent as Regina. She created a wonderful character in this very funny portrayal of the over-the-top activist determined to fight the capitalists. Ms. Cosgrove was passionate and hilarious throughout. ‘We're Not Gonna Take It’ was the perfect vehicle for her boundless energy, excellent characterisation and superb vocal. ‘Hit Me With Your Best Shot’ was an absolute showstopper, brilliantly performed. Her comic timing was wonderful and we were drawn to her every move on stage, such was her exceptional presence. 

Sam Lee gave a very funny portrayal of Franz, the flamboyant son of the equally flamboyant Hertz. Mr Lee’s characterisation was full of great physical comedy and comedic campness. His Franz was both cosseted and closeted, a Daddy's boy to the last. His timing of “I'm not gay, I'm just German” was right on the money and brought the house down. ‘Hit Me With Your Best Shot’ was quite brilliant with Ms. Cosgrove. 

When Waitress #1 sang “Hold On Little Girl…”, we sat up and we listened. Aoibh Tully took what might be considered a minor role and blew it out of the water with her superb vocal and incredible stage presence. She was also an excellent dancer, a standout performer right through the show. The only regret was that we couldn't hear more of her wonderful voice. 

Adam Pentony was a very strong character as Ja’Keith. Mr. Pentony had great presence and superb comic timing, another standout performer. Áine Fox’s appearance as the mayor was simply hilarious, again another example of someone with exceptional talent making a minor role their own. Ellie-Ann Smith gave an excellent characterisation as Constance, another superb cameo. Mark White and Jenny Seery gave touching vocal performances as Father and Mother. And what can we say about Dan Lavelle as Candi? A very memorable portrayal! Harry Kingsland did very well as Joey Primo but the King of the Cameos was Craig Regan, who seemed to turn up everywhere as a completely different character, showing great versatility in the minor roles, particularly as the producer of Olympian Pictures. 

One of the great strengths of this production was its outstanding ensemble, vocally, dramatically, and terpsichorally. They were so well rehearsed, so confident, so in your face, exactly what the show requires. Chorus singing was off the charts, both on stage and off. The girls in the Venus Club looked amazing and really sold their numbers. Candi was a standout performer in the Venus Club and I loved the guys' reactions as the girls danced for them. ‘Every Rose Has Its Thorn’ was a standout choral number with its rich harmonies and great attention to dynamics. Superb work from all. 

The incredibly detailed set was the very embodiment of an 80s rock bar. It was smoky and hazy and full of character. We could almost smell the stale beer, cigarettes, and body odour of the clientele. The set was so well dressed, with all of the paraphernalia that one would expect, the various signs for the Bourbon Room, the Venus Club, etc. The detailed bar taps, cash register and other cleverly sourced props added so much to the overall look and the pull-out truck for the bathroom was so clever and unexpected. 

Stage manager Richard Dowling did a very good job of keeping the show moving. Whilst there was very little in the way of on-stage scene changes, I have no doubt that, with such a big cast, crammed into a tight space backstage, Mr. Dowling was a busy man making sure that the show flowed as well as it did. 

One of the outright stars of this show was the lighting designer and operator who repeatedly transformed the visual with their magic touch. There was so much superb musicality in both the design and operation, indicating great familiarity with the show and its music, as well as impeccable timing. There was generous use of haze, adding to the smoky feel of the Bourbon Room whilst enhancing dramatic beams which replicated the perfect rock concert vibe. How unusual, but refreshing, to see two follow spots in use, allowing for some very creative choices during solos and duets. There was exceptional work in ‘Every Rose Has Its Thorn,’ picking up different characters and groups with excellently timed cues. A wonderful job. 

Sound design was excellent with every word loud and clear. Offstage vocals were at a perfect level and so well balanced. The band was loud, as it needs to be for this show, but we heard every single word as vocals were always the priority. There was an unfortunate issue with Stacee Jaxx’s mic during ‘I Want To Know What Love Is’ but it did not take away from Mr. Walsh's performance. A really impressive job in getting the balance just right for a notoriously difficult show. 

There was so much attention to detail in the props department adding a great layer of realism and authenticity. The bar, with its wonderful cash register, bottles, amazing posters, dartboard, guitars, cocktail shakers, and license plates looked fantastic. The white, photocopied money in the briefcase was unfortunate and just took away from things a little bit when everything else was so good. Riot shields and tools at the opening of Act 2 were wonderful, and I loved the ‘Beaver Hunt’ album cover which was quite hilarious. 

Hair and makeup were wonderful; a real celebration of the 80s rock era. Perfectly chosen, natural looking wigs transformed the cast. Denis' transformation was particularly striking and Stacee's blonde wig and black fingernails screamed egomaniacal douchebag. There was so much incredible detail bringing this show to life. And it was no surprise who was behind these incredible transformations. 

Costumes were excellent throughout the show from the brilliantly individualised looks of the opening number to the wonderful ‘hippyesque’ looks of Regina and Co., to Lonny's hilarious collection of t-shirts, to the coloured robes in ‘Heaven’, the hi-vis and hard hats and the police uniforms. Of course Candi herself looked wonderful, as did all of the girls in the Venus club. Nothing was left to chance in what was a brilliant costume plot which captured the era perfectly. 

This was an exceptional production with highly professional standards. Rock of Ages may be thin on script and there mightn't be a whole lot of substance to the narrative but you couldn't have left the Swift Cultural Centre and not felt that every last drop had been squeezed from the material by a very skilled production team and an exceptionally talented cast and crew. It was a joy to watch and I definitely won't stop believin’! 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos by Alison Kiernan Whelan @akw.media