It’s the time of year when children sing: Winter concerts, caroling, holiday pageants. When you know the children performing, their voices are angelic, even if they’re not very good. The same can’t always be said for other people’s children. Fortunately, the 15 young performers in the JCC CenterStage’s production of “School of Rock: The Musical” are very good.
Featuring new music by Andrew Lloyd Webber (yes, the composer behind “Phantom of the Opera” and “Cats”) and lyrics by Glenn Slater, the musical adaptation of the 2003 Richard Linklater movie is staged under the playful, smart direction of Karin Bowersock and runs through Dec. 22.
The show is essentially a modernized, rock-infused version of “The Music Man,” in which an imposter with selfish intentions does good for a community (and along the way finds love with a closed-off, locally spurned woman).
After getting kicked out of his band, rockstar wannabe Dewey Finn (played by local singer/songwriter Evan J. Miller) needs to find a new way to live out his rock ‘n’ roll dreams while still paying the rent to his more responsible friend Ned Schneebly (JoJo J.M. Adams). When the prestigious, preppy Horace Green Elementary calls Mr. Schneebly to substitute teach for over $900 a week, Dewey pretends to be him and accepts the gig.
He has no interest in the students until he hears them playing in music class. “I thought you were all a bunch of little douchebags,” he says, “but now I know that you’re soul brothers and soul sisters!” He forms a band with the student to compete in Battle of the Bands, promising them the win will go on their permanent records– provided they can keep the scheme hidden from their parents and the other teachers, including by-the-book Principal Mullins (Lyndsey Lord).
“School of Rock” needs two things to work: a leading man compelling enough to get the audience on board with the self-serving, shallow Dewey Finn, and a cast of talented youth. This production nails both.
The original movie was largely a vehicle for comedian Jack Black’s chaotic goofiness. Without that star power, Dewey Finn is a tough role: a childish con artist, he drinks directly from communal coffee pitchers and orders an elementary school student to buy him lunch with her own money. As Dewey, Miller wins over the audience with an exuberant stage presence, immediately distinguishing himself from Black with his long hair and beard as well as a more grounded comedic sensibility, earning laughs without being overly silly. He knows when to ham up a solo, and when to tone down and let the kids shine. With a strong command of the rock vocals, he wholeheartedly commits to the role, keeping energy high for over two hours.
Miller is well complemented by the classically trained Lyndsey Lord (a real-life music teacher in Greece), who is delightful as the strict, secret Stevie Nicks-enthusiast Principal Mullins. The adult cast is rounded out with a dynamic ensemble that plays a mix of roles including band members, bar patrons, parents and other teachers.
The large cast prominently features 15 local young people, ranging from fourth grade through middle school, many with professional credits already in their bios. The stage adaptation (book by Julian Fellowes, who also penned “Downton Abbey” and “The Gilded Age”) gives less time than the movie to individual backstories of the students, giving them all the similar struggle of being ignored and over-pressured by their parents. Even so, every young cast member has something unique to offer, whether it’s amusing background bits during the classroom scenes or high energy dancing (choreographed by Katie Keller Groat), such as during the stand out song “Stick It to the Man.”
In a highlight of the show, Dewey assembles his band and it’s revealed that the students, who already proved they could sing, can also play: Lorelai Edwardsen (Lauren) on keys, Nola Sullivan (Freddie) on drums, Makayla Pulley (Katie) on bass guitar, and Eryn Howard (Zoey) on electric guitar. Beyond these musicians, two of the biggest roles are the precocious band manager Summer, played by the small and mighty Quinn Kenyon, and shy but talented Tamika, played with endearing awkwardness by Olivia Eloi-Evans.
The scenic design by Alec Walsh is effectively minimalist, with chalk drawings on blackboards used to depict both the Pink Floyd and AC/DC posters on Dewey’s bedroom walls and the gates of Horace Green. Lighting design by Jennifer DeHollander imitates a rock concert, with colorful, flashing side lights that illuminate Dewey’s rock ‘n’ roll fantasy until it becomes an unexpected reality.
Both the rock and prep school worlds are brought to life through costume design by Kristen MacKay. The students wear argyle uniforms with variants that hint at the student’s individuality, becoming more pronounced when they wear leather jackets and striped hats for the final performance. Dewey’s outsider status is made clear through orange and floral shirts under his suspenders that clash with the school’s magenta color scheme.
The show is set in a mythical 21st century year that incorporates both corded phones and Instagram; where the kids don’t question being handed a CD, yet also reference Bad Bunny and mewing. Some of the humor is a bit outdated, like the framing Ned’s girlfriend Patty — who just wants a man to take bare minimum responsibility for himself without committing fraud — as an uptight nag. (Patty is played with gusto by Jennie Gilardoni, who is better than the role deserves.)
Timeless, though, is the transformative power of the arts. The plot may not hold together if you think too hard about it, but the celebration of music and children makes up for it. The production contains some swearing (no F bombs) and passing references to sex, drugs and rock ‘n’ roll, but otherwise has an infectious energy and catchy score that makes it a show, in earnest, fun for the whole family.
“School of Rock: The Musical” runs through Dec. 22 at JCC CenterStage. For more info and tickets, visit here.
Katherine Varga is a contributor to CITY.
This article appears in Dec 1-31, 2024.
