© The Financial Times Ltd 2014 FT and 'Financial Times' are trademarks of The Financial Times Ltd.
September 29, 2011 1:35 pm
My perspective on Rock Of Ages is not that of a predetermined enemy; I grew up with heavy metal music as much as punk and new wave. But this, despite its recorded pre-curtain announcement by David Coverdale of Whitesnake, is not a show about metal so much as silver-sprayed styrofoam: namely, the poodle-rock or mullet-rock of the 1980s.
Its jukebox score includes numbers by the likes of Foreigner, Poison, Pat Benatar and REO Speedwagon; the big finale is, inescapably, Journey’s “Don’t Stop Believin’”. It is, therefore, unsurprising that the musical mix is, in its way, among the cleanest I have heard in the West End: the onstage band’s sound (although it gradually gets louder) is so clipped and controlled that, if they are not sometimes miming, they might as well be for all the atmosphere being generated.
That atmosphere is one that indulges all the worst aspects of hard-rock culture. The female ensemble are clad in microskirts and suspenders, and in case that doesn’t treat women demonstrably enough, the female protagonist later gets a job in a strip club. The songs are either endless numbers about wanting to rock endlessly or posturing power ballads.
For the latter, the audience are issued with LED mock-cigarette lighters to wave in the air; health and safety regulations forbid naked flames. It is an excellent emblem of the entire project: a culture that was itself a processed version of rock has been further processed into a celebration of the crassest stereotypes, as if the act of celebration redeemed them rather than indicting us.
Oh, the plot: boy meets girl, loses girl, gets girl while the rock club they work at is threatened by a new urban development by – gasp! – a German! At the press preview I saw, several roles (including the obnoxious star normally portrayed by Shayne Ward) were performed by understudies, but it is not the kind of script that encourages examination of individual performances and characterisations, except for the insidious camp of narrator-figure Lonny as played by Simon Lipkin. It is an evening that took me nostalgically back to the time when I stuck my head into the bass speaker bin at a Black Sabbath concert – inasmuch as it made me regret still having my hearing for this rubbish.
Copyright The Financial Times Limited 2014. You may share using our article tools.
Please don't cut articles from FT.com and redistribute by email or post to the web.