Rock of Ages at The Dovehouse Theatre, Solihull

By Neil Cox

’A Riotous, Rocking Blast from the Past’

The house lights dim. A heavy electric guitar chord roars across the theatre. Smoke unfurls across the stage like morning mist in a thunderstorm. And with a flash of neon, we’re thrown headfirst into a time warp; straight back to the Sunset Strip, 1987. Welcome to ‘Rock of Ages,’ Obsidian Theatrical Productions’ raucous take on the Broadway smash Rock of Ages, staged at the charming and compact Dovehouse Theatre in Solihull.

Over the course of two and a half riotous hours, we’re taken on a gloriously cheesy, comically self-aware, and infectiously energetic journey through power ballads, leather pants, and big-haired dreams, all delivered with tongue firmly in cheek and heart fully on sleeve.

This wasn’t just a musical, it was a full-blown gig, a jukebox jamboree that knew exactly what it was and leaned into it with joyful abandon. From its outrageous characters to its thunderous soundtrack, Rock of Ages delivered an evening that was as much about feeling the music in your bones as following the story on stage.

The Dovehouse Theatre, nestled within Langley School’s campus in Olton, might not be the most expansive venue on the Midlands’ theatre circuit, but what it lacks in grandeur, it more than makes up for in intimacy and character. With a capacity of approximately 150, every seat feels close to the action, an advantage for a show like this, where breaking the fourth wall isn’t just a gimmick, but a lifestyle choice.

The lobby buzzed with anticipation pre-show, and you could sense the mood: the audience knew they were in for something wild. The production company had teased ‘a night to remember,’ and from the moment the house band struck the opening chords, it was clear they weren’t bluffing.

The set design, while modest in scale, did an impressive job of transforming the Dovehouse stage into the grimy, neon-lit world of the Bourbon Room, a fictional rock club in Los Angeles where the dreams of many characters (and more than a few drinks) either flourish or falter. Graffiti-covered walls, aging posters of long-forgotten bands, and rickety bar stools all contributed to an environment that felt lived-in and believable. The decision to keep the live band onstage throughout the show was inspired; they were as much a part of the action as the actors themselves, often stealing the spotlight with thunderous solos or playful asides to the cast.

Lighting played a crucial role in setting the tone; pulsing strobes and deep purples transported us to the hazy clubs of yesteryear. Occasionally the haze machine overdid it, temporarily clouding sightlines, but it was all part of the immersive rock concert atmosphere. You couldn’t help but feel like you were standing in the middle of a Guns N’ Roses gig circa 1986.

Let’s be honest, no one comes to Rock of Ages for the plot. That said, the show does serve up a satisfyingly daft storyline: small-town girl Sherrie moves to the big city with dreams of becoming an actress, only to fall for aspiring rock singer Drew, who’s stuck cleaning at the Bourbon Room while yearning for stardom.

Alongside their rocky romance (pun very much intended), the club faces closure at the hands of a sleazy German developer bent on “cleaning up” the Strip. Add in a rock god on the brink of burnout, a protest led by a plucky journalist, and a hilariously homoerotic duet between a villain and his assistant, and you’ve got a script that walks the line between self-parody and affectionate tribute.

What makes the story work is its refusal to take itself too seriously. The show winks at the audience constantly, often literally, thanks to the narrator character Lonny, who breaks the fourth wall with gusto. It’s that playfulness, that refusal to be earnest, that keeps things moving even when the plot dips into cliché.

Bethany Waller-Scott shone as Sherrie, nailing both the naive wide-eyed optimism of a Kansas runaway and the gritty determination of a woman finding her place in a male-dominated industry. Her vocals were absolutely outstanding, hitting the notes, clean and emotive in the gentler numbers, yet more than capable of matching the band’s volume in full-blown anthems like ‘Harden My Heart.’ Her chemistry with Drew felt natural and unforced, grounding the show’s more absurd moments in something heartfelt and sincere.

Robert Bateman brought a boyish charm to Drew, and played the underdog well; a wannabe rock star with a mop and a dream. You rooted for him from his first awkward encounter with Sherrie right through to his climatic triumph. His rendition of ‘I Wanna Rock’ was a vocal highlight; driven, desperate, and completely infectious.

Kyle Lough strutted, stumbled and swaggered through the role of Stacee Jaxx, a washed-up frontman whose ego is as inflated as his trousers are tight. He brought just the right mix of arrogance, absurdity, and hidden vulnerability to the role. His delivery of ‘Wanted Dead or Alive’ was sultry and spellbinding, but it was his comic timing and sheer commitment to the character that drew some of the loudest laughs of the night.

The show stealer personally was Lonny, the show’s narrator and chaos gremlin, played with delicious glee by Richard Bateman. Equal parts rock DJ, stand-up comic, and plot puppet master, he was the glue that held the show together. He flirted with the audience, ad-libbed, and kept the energy up during every scene he appeared in. He may not have had the most challenging vocal lines, but he more than made up for it with charisma and timing. His duet with Dennis on ‘Can’t Fight This Feeling’ brought the house down.

The ensemble worked their spandex-clad socks off. Whether gyrating in a strip club number, throwing shapes during ‘The Final Countdown,’ or leaping into harmonies for ‘Here I Go Again,’ they were always on cue, always full of energy.

Special mention must go to the dancers in ‘Hit Me With Your Best Shot,’ choreographed with sass, style, and strength, it was a scene that earned a rapturous response!

Let’s talk about the music, because this show lives and dies by its setlist. Fortunately, Rock of Ages delivered a powerhouse performance of every 80s anthem it touched. From ‘We Built This City’ to ‘Don’t Stop Believin’, every track was arranged with care and executed with verve. The live band was sensational. Their energy was constant, their timing precise, and their joy infectious. Guitar solos shredded. Drum fills thundered. And the sound never once felt canned or artificial. The music didn’t just support the show, it was the show.

Every song choice felt earned. ‘High Enough’ was hauntingly beautiful. ‘Here I Go Again’ built from a quiet whisper to a euphoric singalong. ‘I Hate Myself for Loving You’ dripped with delicious melodrama. And of course, the grand finale ‘Don’t Stop Believin’ brought the whole house to its feet.

Directed by Robert Bateman and choreographed by Bethany Waller-Scott, this production understood its strengths. It played to its space, never trying to mimic a West End blockbuster, but instead capitalising on the intimacy and agility of a smaller stage. Set changes were swift and seamless. Costumes were gloriously loud; animal print, sequins, ripped jeans, and more eyeliner than a 2003 emo reunion. Transitions between scenes were often masked by instrumental segues or comic banter, ensuring the pacing never lagged. At just over two hours (including interval), the show felt tight and tidy.

The attention to detail impressed, too; from drinks being poured at the bar to a real working microphone stand used as a prop multiple times. The whole world felt lived-in, real, and wonderfully ridiculous. Rock of Ages is not a subtle show and this production didn’t try to tame it. What it did do, though, was deliver an experience. You left not just humming the tunes, but feeling like you’d been part of something communal and cathartic.

In a time when musicals can sometimes feel too slick, too polished, or too safe, Rock of Ages felt gloriously raw and alive. It didn’t hide its rough edges, it celebrated them. The camp, the cringe, the clichés… it all worked because it was done with sincerity, humour, and a shared love of the genre.

From experience and in comparison with similar productions I felt the…

Music & Band ⭐️⭐️⭐️⭐️⭐️

Cast Performances ⭐️⭐️⭐️⭐️

Choreography⭐️⭐️⭐️⭐️⭐️

Comedy & Entertainment⭐️⭐️⭐️⭐️⭐️

Without hesitation this production deserves an overall ⭐️⭐️⭐️⭐️⭐️

And whether you’re a lifelong fan of 80s rock or just someone looking for a feel-good evening of big tunes and belly laughs, Rock of Ages hits the spot. It’s bold, brash, brilliant fun and you’ll be singing the songs for days after.

Rock of Ages is currently at The Dovehouse Theatre until Saturday 5th July with tickets available online.