School of Rock - Rollin' Cast - 4.5 out of 5 stars
NOW Productions
TICKETS: https://www.trybooking.com/DNWQP/
Returning for NOW Productions’ Rollin’ Cast, the idea that nobody gets left behind runs deep in Joe Russell’s veins, with another cast-heavy production featuring 52 members. With such a large cast, it is astounding, and hugely rewarding, to hear such succinct harmonies, secure pitch and clear dialogue throughout the many ensemble numbers from students, teachers and parents alike. Horace Green Alma Mater provides our first impression of the ensemble’s quality, and we know we are in for a good night.
Throughout the program, NOW gives a further sense of the
sheer size of the cast, with the Students (26), Teacher Ensemble (24), Parent
Ensemble (17), Roadhouse Ensemble (14) and Battle of the Bands Ensemble (16)
grouped individually. These scenes are truly remarkable for their clean volume
within the space. There is certainly no downtime for the ensemble in this
production. To have a teachers’ lounge this full singing The Faculty
Quadrille almost feels surreal… and it certainly sounds alive.
On to the
Rollin’ Cast…
Rosalie Mullins is not an easy role vocally, requiring a
performer to hit the top notes in Queen of the Night as well as rock out
to Edge of Seventeen. Lily Cotton brings it in spades, along with perfect
characterisation and development as Mullins changes her attitude across the
musical. Cotton’s Where Did the Rock Go? is a highlight. I am still
trying to work out whether the ensemble behind her is a welcoming distraction
to save the tears.
Bryce Young’s Ned Schneebly suits him very well, caught in
the middle between best friend Dewey and girlfriend Patty as he is forced to
make opposing choices. The joy Young brings to Guitar Hero—and the
flicking through the channels—really gives him personality, as does his
final-scene “rediscovery” of his love for rock.
Holly EM Thompson delivers a crisp, clean performance in
every scene she appears in as Patty Di Marco. Mt. Rock Reprise is a
highlight for any Patty fans, and Thompson does not disappoint. She
convincingly pulls off the stressed, “I’ve had enough of you, Dewey Finn”
persona, while bringing even more to the role.
Summer has a unique quality: her performance of Memory from CATS is deliberately horrendous, while her Act Two opener, Time to Play, becomes a strong performance and gives her a real opportunity to showcase her vocal ability. Ava Heintze does not disappoint. She brings many little quirks and antics to the stage, creating genuine individuality for her character. From the curriculum being changed through to her ingenious plan to perform and qualify for the Battle of the Bands, there is a clear character arc that Heintze travels successfully. She is one to keep an eye on in the future…
Belle Coulson is a triple threat, and as Tomika she goes
from strength to strength. She understands her character and has built a
layered performance through the way she stands on stage, holds her sweater
sleeves and looks around the classroom to ensure the attention is not on her.
Then comes Amazing Grace, and Coulson blows the roof off the Shedley
Theatre! She brings certainty to her added riffs throughout her Act Two
performances, showcasing her vocal ability. There are moments she steps out of
character for the dance numbers, becoming a dancer rather than “Tomika”. Coulson
already has remarkable talent at age 13 and will go far if she continues on
this trajectory.
While Zack, Freddy and Lawrence are played by the same
actors in both casts, Katie is portrayed by Georgia Hill in the Rollin’ Cast,
and she is infectious to watch as she jams away on the bass guitar. Hill, along
with Jasper Dutch (Zack), Edison Dutch (Freddy) and Jacob Crampton (Lawrence),
forms the School of Rock band. While not playing live, their impressions as
musicians are highly believable.
Tayla Meldrum and Estelle Robinson are the School of Rock
backup singers, but they are so much more, adding further layers to the
classroom’s dynamics. They are given ample opportunities to showcase not only
their vocal abilities but also their dance skills, and they do so with gusto
and confidence.
Mrs Sheinkopf is the glue that holds the school together
while Mullins is its face, and Kaylee Vincent epitomises this role with great
effect and consistency throughout the production. Meanwhile, Liam Cameron and
Flick Barry stand out among the parents as Mr Williams and Mr Spencer, complete
with costumes, mannerisms, vocal inflections and chemistry.
There is no School of Rock without the music.
Balancing pre-recorded tracks against the cast—and, in the case of No Vacancy,
live music—must add an extra layer of difficulty, so it is understandable that
Darren Oster’s sound levels vary at times. This is particularly noticeable, though
not exclusively so, during No Vacancy’s dialogue about kicking Dewey out of the
band, and again later in Act Two.
During this performance, Joel Ewens’ microphone malfunctioned
mid-scene. Kudos to Ewens for acknowledging the issue and using his projection
skills to remain somewhat audible to the audience, while also making use of a
nearby student’s microphone. He then takes it to the next level, competing
against the music to sing out his song. Once off stage, Stage Manager Emily
Cumming and Mic Assistant Mikayla Cogzell swiftly attended to the issue, and
Ewens was ready to go for his next scene.
The follow spot operators have a lot to do in this
production, and some difficult choices were made when three characters are lit
by only two follow spots, inevitably leaving one character without light when
they moved.
School of Rock is another strong musical from NOW
Productions, showcasing the remarkable talent within Adelaide’s northern
suburbs and the greater area. True to its own message that nobody gets left
behind, this is a production where every cast member matters—and where 52 young
performers each find a way to be heard.
- Andrew Broadbent
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