The international megahit Rock Of Ages makes a thrillingly immersive return to L.A. just blocks from where its 2005 World Premiere first knocked ‘80s lovers’ socks off on Hollywood Blvd. U.S.A.

Long-haired heavy metal rockers, their big-haired babes, and the hits of Styx, Journey, Bon Jovi, Pat Benatar, Twisted Sister, Steve Perry, Poison and Asia help turn book writer Chris D’Arienzo’s wisp of a plot into well over two-and-a-half hours of joyous nostalgia and turn-up-the-volume “noize” (as in Quiet Riot’s 1983 cover of “Cum On Feel the Noize.”)

Just as the Mamma (Mia) of all jukebox musicals did with its string of 1970s ABBA tunes back in ’99, the ‘80s-based Rock Of Ages finds ways to weave together thematically unrelated hit singles into a slight but entertaining storyline, this one focusing on a pair of star-crossed lovers on L.A.’s Sunset Strip.

Ubiquitous narrator Lonny (Matt Wolpe) introduces us to Drew Bowie (Ian Ward), “born and raised in South Detroit,” and Kansas-bred Sherrie Christian (Callandra Olivia), soon to be immortalized in “Oh Sherry” and “Sister Christian,” whose big-city dreams (his of rock stardom as “Wolfgang Von Colt” and hers of TV/film fame, no need for a name change) are about to be compromised by a couple of unwelcome visitors to the Strip.

 Father-son German developers Hertz (Pat Towne) and Franz (Frankie Grande) have shown up in Hollywood with plans to build a brand-spanking-new shopping-entertainment complex after first tearing down “sex, drugs and rock-n-roll” landmarks like The Bourbon Room (not coincidentally the site of Rock Of Ages’ 2020 revival).

Complicating Sherrie’s life considerably is rock star Stacee Jaxx (Sean Yves Lessard), under whose spell the smitten young Midwesterner falls, only to find herself seduced, abandoned, and out on her ass on a Hollywood street no longer paved with dreams.

Sophistication and depth it make lack, but Rock Of Ages Hollywood more than makes up for it with terrific performances, a heaping helping of laughter, and most of all, over two dozen ‘80s hits like “We Built This City,” “Too Much Time on My Hands,” “We’re Not Gonna Take It,” “Waiting for a Girl Like You,” “I Want to Know What Love Is,” “Harden My Heart,” “Any Way You Want It,” “Hit Me with Your Best Shot”,” “Can’t Fight This Feeling,” and “Don’t Stop Believin’.”

With original Hollywood/Broadway director Kristin Hanggi on hand to restage her baby in an immersive environment that places the audience smack dab in the middle of the action, Rock Of Ages Hollywood may well be the show’s most exhilarating incarnation ever, combining the pizzazz of a big-stage Broadway musical and the ear-splitting “Noize” of a classic ‘80s rock tribute, the latter thanks in large part to music director Jonathan Quesenberry’s rocksational onstage band* and Ben Soldate’s high-decibel sound design.

The ever more stunning Olivia continues her rise to musical theater stardom in a role the native Minnesotan was born to play, taking Sherrie on a journey from wide-eyed innocent to scantily-clad pole-dancer while showing off some of the most sensational pipes in town.

As for Drew, it’s hard to imagine anyone better suited to play the golden-hearted good guy than the instantly likable, rocker-voiced Ward.

 A fabulous Stephanie Renee Wall has a ball (and the audience with her) as ditzy, diehard feminist city planner Regina (rhymes with the “v” word), and the equally ab-fab Grande plays flamboyant Franz (“I’m not gay, I’m German!”) like a platinum blond visitor from another planet.

Lessard gives Stacee Jaxx vocals to rival the hottest real-life heavy-metal star and a torso as sculpted as his cheekbones, Nick Cordero is a goofy gangly teddy bear as Dupree, Regina LeVert belts out superhuman high notes as hard-edged but soft-hearted gentlemen’s club owner Justice, and Towne makes for a deliciously dastardly Hertz.

Tiffany Mallari, swing Marisa Matthews, Justin Ray, swing Chuck Saccula, and Zoe Unkovich do their own triple-threat dazzling in multiple cameo roles each while dancing up a storm to Kelly Devine’s electrifying choreography.

Last but most definitely not least, Wolpe turns Lonnie into an ad-libbing, unleashed, outrageous, humongous-voiced force of nature.

Beowolf Borrit and Jo Winiarski’s flashy scenic design and Zachary Borovay’s spectacular LED projections bring to vivid life multiple Sunset Strip locales as Jason Lyons’ razzle-dazzle lighting replicates a rock concert’s flash and glitz, while Eva Maciek’s costumes, Tommy Kurtzman’s hair and wigs, and Klint Flowers’ makeup capture all the gorgeous awfulness of 1980s leather, metal, denim, and hair, hair, hair.

Eric Jordan Young is associate director and and Holly De Wet is assistant choreographer. Hope Villanueva is stage manager and Darcy Crager is company manager.

An eye-filling, eardrum-blasting look back at the days when synthesizers, drum machines, and a bold androgyny left their mark on the pop music scene for all time, Rock Of Ages Hollywood is easily L.A.’s ‘80s rock party of the year!

*Greg Coates, Kevin Kapler, Pat Lukin, the mononymous Maddox, and Quesenberry

The Bourbon Room, 6356 Hollywood Blvd, 2nd Floor, Hollywood.
www.RockOfAgesHollywood.com

–Steven Stanley
February 5, 2020

Tags: Chris D’Arienzo, Los Angeles Theater Review, The Bourbon Room