Theatre review: In School of Rock, youth performers jam out with skill and authenticity
Despite some cartoonish antics, Theatre Under the Stars musical showcases its cast’s impressive versatility as both actors and instrumentalists
Colin Sheen, with members of the youth cast in School of Rock. Photo by Emily Cooper
Theatre Under the Stars presents School of Rock at the Malkin Bowl in Stanley Park to August 24
THEATRE UNDER THE STARS has a tradition of showcasing young talent every summer—and it’s spotlighting some wonderfully talented kids in School of Rock, a Broadway musical adaptation of the 2003 film that starred Jack Black. The demands on the young performers for this show are huge, with some roles requiring them to play instruments in addition to acting and singing. (Andrew Lloyd Webber rounds out the score, adding to songs from the film.) The group of youth performers assembled on the Malkin Bowl stage is incredibly impressive and fun to watch in a show that sometimes leans a bit too heavily on cartoonish antics.
Directed by Tracey Power, the production follows down-on-his-luck rock musician Dewey Finn (Colin Sheen), who impersonates his best friend, Ned Schneebly (Matthew Valinho), to do a substitute-teaching job. He’s been freeloading and needs to earn money to pay rent to Ned and his girlfriend, Patty (Marija Danyluk). The teaching job is at Horace Green, a prestigious prep school under the stringent watch of principal Rosalie Mullins (Emma Love).
Dewey’s class comprises students with typical kid movie personas. There’s the overachiever Summer (the precocious Thailey Roberge), the shy girl Tomika (the exceptionally talented singer Azaleah Korn), the colourful Billy (the comical Grayson Besworth) and the brilliant mastermind kid Zack (the lovable Crosby Mark). When Dewey discovers the kids’ musical aptitude, he hones them into a rock band to enter the Battle of the Bands, hoping to show up his former band who kicked him out.
While it’s a tall order to step into a role made famous by Black, Sheen uses his charisma, energy, and terrific vocals to make the role his own and lead the way. Also helming the cast is Love, an outstanding soprano, who shows impressive versatility in performing a range of music that includes Mozart’s Queen of the Night aria from The Magic Flute, to her character revealing “Where Did the Rock Go?”. From the start, she hints at a softer, more personable side under her hard exterior, and she does a great job of gradually revealing her character’s somewhat-forgotten true self.
A first for TUTS is having so many youth actors also play instruments. Mark and Mya Forrest play the guitar and bass; Fumi Okochi plays keyboards; and Casey Trotter plays drums and percussion. These performers demonstrate serious skill in playing their respective instruments while being fully immersed in their characters.
It gives a necessary flavour of authenticity to a show that sometimes leans too hard into tropes and cartoonish humour. Must the French teacher wear a beret in every scene? Must the dad who works as a mechanic always wear his coveralls, even at the school’s parent night? At one point, a group of disgruntled parents circles Rosalie, all dancing in unison, and it’s unclear whether it’s meant to be funny or taken seriously.
It’s also hard to pinpoint when exactly the show takes place. Is it set in the early 2000s, like the film? The use of CDs, the mailing of cheques, and a reference to speed dialling suggest so. Yet mentions of Taylor Swift, Instagram, and the use of an iPhone ringtone argue otherwise.
While the kids perform with every ounce of energy and showmanship possible, the choreography and musical number concepts sometimes get repetitive. However, tiny Alex MacIsaac is a delight to watch as student backup singer Marcy, slaying every dance move with remarkable attitude for someone so young.
A big creative strength is Jennifer Stewart’s set (based on a concept by Lauchlin Johnston), with its wall of rock-band posters serving as the set’s base, and large panels that come in to take us to Horace Green. The smooth moving in and out of set pieces, such as Dewey’s bed and the classroom furniture, seamlessly take audiences from scene to scene, creating a cinematic experience that mirrors the film.
However, the sound was a weak element on opening night; it was often hard to hear the performers over the music—a shame during “Where Did the Rock Go?”, because it made it difficult to hear Love tell her character’s story.
A wonderful initiative on Power’s part is the naming of every single cast member during the curtain call—fitting for this show, with its roster of many young performers who deliver. They rock out to the max. 
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