'School of Rock: The Musical' review: Croswell’s latest musical will melt your face off
Courtesy of Croswell Opera House
Another iteration in the movie-to-musical sub-genre (and second one this summer for The Croswell Opera House following “The Bodyguard”) “School of Rock: The Musical,” based on the 2003 comedy classic that was and still is the definitive role of Jack Black’s career, boasts a tremendous amount of talent wherever you look, including a massive youth ensemble who not only have to sing and dance, but actually play their instruments. It’s all hands on deck and The Croswell’s top-tier production standards means that, rather than having the live orchestra do all the heavy lifting (they certainly help), it entrusts the young actors to shoulder their instruments and shred it up. Part of the allure of the film was the children had bubbly, energetic personalities and could hold a tune (both musically and vocally) and it’s evident director Erin Pifer understood that assignment, because the crew she assembled effortlessly captures that spirit.
Led by a hilarious Aaron Roos, who is stuck with the unenviable task of filling the shoes of Alex Brightman (who originated this role on Broadway) and Mr. Black, playing down-on-his-luck rocker Dewey Finn, and he brings his own anarchic presence to the role. Pfier knows he’s a major asset alongside a cast of insanely talented kids, from a variety of different age groups, of whom the camaraderie among them can’t be understated. It’s the key selling point of what makes this production so much fun. Plus, who doesn’t love seeing a group of middle schoolers singing about “Sticking it to the Man” in a song that’s written by Broadway legend Andrew Llyod Webber?
“School of Rock: The Musical” is one of the better scripts as it pertains to screen-to-stage adaptations, if only because the film had a musically inclined sensibility already baked in, which allows lyricist Gleen Slater and Julian Fellowes’ book to build on the foundation laid by director Richard Linklater and writer Mike White. For example, and unlike the movie, the musical transports audiences into the homes of the students for the wonderful ballad “If Only You Would Listen,” to try and help contextualize some of the children’s tumultuous at-home lives. Again, none of this would work if the actors, under the musical direction of Adam P. Miller didn't have the pipes or massive stage presence, especially young up and comers Josiah Torrence, Adrian Stukey, Luca Walter, Zariah Blackmon, Sophia Bernard, and Alayna Brazzil who, akin to their peers in the show, are the next generation of Croswell performers. And the future is bright.
Similar to the film, the musical finds Dewey struggling to pay the rent while shacking up with his old bandmate turned substitute teacher Ned Schneebly (Jared Freeman - cleverly stepping into the Mike White role) and his stern girlfriend Patty (Amber Wilkes - perfectly shrewish). He’s given an ultimatum: fork over some cash or get out. Hope comes knocking when he receives a call from Horace Green prep’s principal Rosalie Mullins (Maya Gangadharan - incredible) looking for Mr. Schneebly and offering a nice chunk of change for a last minute sub. Dewey, impersonating his friend, accepts the gig and it’s not long before he’s in the classroom molding the young minds of tomorrow about the importance of nursing a hangover.
That is before he realizes the children are actually gifted musicians and gets the bright idea of enlisting them for an improbable competitive slot at a local Battle of the Bands (where he hopes to thwart his old bandmates of the rock group No Vacancy), transforming them from book worms to rockers in a matter of weeks. What follows are most of the hallmarks you remember from the movie with a few little tweaks thrown in to shake things up (the ending timeline has been slightly altered to make for a more stage-friendly rendition while some of the parents are given a shade more characterization). All of this happening while Lloyd Webber makes a quasi-return to his “Jesus Christ Superstar” rock roots, delivering several bangers in the show’s catalog, including the triumphant “You’re In the Band,” which nearly shattered the roof during opening night.
Elsewhere, the creative team isn’t short on talent either. Aside from Pfier and Miller, scenic work by Doug Miller is a highlight, who adds little details to passing scenery, like putting an electrical meter on the side of a record store we see on stage for a whopping ten seconds; choreography by Lily Buck gets everyone moving; and costumes by Jen Brown flourish under Dustin D. Miller’s lighting design. And I haven’t even mentioned the countless others assistants, stage managers, or backstage crew who work behind the scenes to keep this show gelling.
In other words, “School of Rock: The Musical” (in Croswell terms) is a blockbuster, outfitted with rag-tag comedic energy, a sensational cast, and some catchy ear worms. What makes it such an endearing crowd-pleaser is how it genuinely captures the feelings of what it means to be both accepted and an outsider. It’s got a defiant, rage-against-the-machine mentality that empowers young minds to chase their ambitions and understand it’s okay to be an underdog. To take the stage, give it your best, and to always be ready to melt some faces. Oh, and stick it to the man.
The Croswell’s production of SCHOOL OF ROCK: THE MUSICAL continues through July 21st. Tickets can be purchased at Croswell.org.
Comments