Review: ROCK & ROLL MAN, Salisbury Playhouse - Tour
Photo credit: Pamela Raith
Rock & Roll Man, written by Gary Kupper, Larry Marshark and Rose Caiola, following its Off-Broadway run in 2023, we now see brought to the UK stage through a bespoke combination of Wiltshire Creative, Rose Caiola Productions and Julian Bird for Green Room Ents Ltd.
A truly fitting title for a story based deep in the history surrounding the birth of Rock ‘n’ Roll and the man who coined the phrase.
The plot revolves around the life, rise and fall of Alan Freed but, at the same time, is rich in American history and 1950’s culture. The story follows Freed, a DJ from Cleveland, as he becomes a boundary smashing trend setter, alongside his business partnership with Leo Mintz. Mintz, who through his store, Record Rendezvous, was historically one of the first people to allow customers to listen to music before purchase. His partnership with Freed depicts the start of a poignant cultural shift and the challenges associated with racial integration, through music.
We see the peaks of Freed’s career as he makes it to the big time, alongside the falls. Later seeing him turn to Morris Levy, which provides another pique moment in terms of equality and themes of rebellion. Delving into Freed’s involvement in the payola scandal and his struggle with alcoholism as this evolves, the personal cost of his fame.
Racial integration and social change was brought about by Freed playing and introducing to white audiences what was once assumed to be music only existent in black communities. He introduced artists such as Chuck Berry, Little Richard and LaVern Baker to radio, later concert halls and television, juxtaposed with artists such as Buddy Holly and Jerry Lee Lewis. It is therefore no wonder that the soundtrack for this musical is delivered with immense energy and passion and is heartily Rock ‘n’ Roll. A delightful combination of original tracks written to represent Freed’s life, alongside well known foot tapping 1950’s classics.
Direction from Randal Mylar, alongside choreography by Stephanie Klemons, is ambitious but authentically vintage. Fast paced swings and mirrored pairs, delightfully nostalgic but cleverly framed to draw the audience's attention and support the narrative. With the US cast being much larger, this cast certainly have some work to do as they take on multiple roles throughout, all here delivering a faultless performance. The cast is made up of a combination of English and American actors which, again, supports the narrative of the piece well, blending seamlessly together; led by Constantine Maroulis, two-time Tony Award nominee.
Constantine, who originated the role of Freed in New York, makes his UK debut with impeccable stage presence and vocal prowess. A Doo-Wop, come gospel, rhythm and blues to early rock ‘n’ roll style quartet is formed and their voices blend blissfully. Included in the quartet are the characteristic tones of Jairus McClanahan, who frequently commands the stage in his role as Little Richard, with dominating charm, sparkling wit and crowd winning humour. Dominique Scott leads the band superbly, appearing on stage in multiple iconic roles such as Pat Boone amongst others, but most memorably as Jerry Lee Lewis, truly capturing his wild man of rock aura, as he strategically leaps upon the piano!
The band are very much the backdrop of the set, live on stage throughout, in the background of the action. Scene changes are purposeful, happening in the forefront with strategic prop movements, in majority by the cast as a discreet and fluid part of the action. This definitely provides it with scope as a tourable production.
As Joe Bence, who plays Buddy Holly (amongst other roles) suggested, when asked during the rehearsal period what people should take from this show, “walking away with the feeling that they have just had such a great afternoon/evening and maybe going away and looking up the life of Alan Freed the next day” - exactly that.
It may be set in a period now aged in time but there is nothing dated about this performance. In a world that rightfully still pushes for acceptance and diversity, this musical certainly deserves a place on the grid.
Exemplifying the power of music bringing people together, with all the vitality and musicianship of the rock ‘n’ roll era.
***** Five stars
Reviewed by: Claire Baker
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