Don’t be late for this class: the School of Rock is astonishing audiences at Milwaukee’s Skylight Music Theater. Based on the successful 2003 film, School of Rock was prime material to be produced on stage. No less a composer than Andrew Lloyd Webber bought the rights to School of Rock and launched his own Broadway outing of Rock in 2015.
The musical, all about a deflated would-be rock star who becomes a teacher at a private prep school and turns a bunch of kids into fledgling rock musicians, pretty much follows the same storyline as the film. The film, by Mike White, features a book by Julian Fellowes and lyrics by Glenn Slater. The Tony-nominated musical features extra music by Lloyd Webber.
Dewey Finn, the failed rocker (played here by Joey Sanzaro, who appearance and gestures strongly suggest the film character created by Jack Black), starts off on a sour note. He has been ousted by his own garage band (who sing the hilarious, “I’m Too Hot for You”). This means he has no way to pay his former bandmate, Ned, the back rent he owes. As played by Jake Horstmeier, this tall, thin and gawky Ned Schneebly is near-perfect as the nerd with a steady teaching job who lives vicariously through Dewey. Part of Ned longs to rekindle his former rock roots, while the more stable side of him needs to pacify his bossy girlfriend, Patty (a thankless role that’s played with gutsy appeal by Jackey Boelkow). (By the time Ned finally stands up to Patty, the entire audience is on his side.)
Meanwhile, Dewey finds a way to impersonate Ned and is hired as a substitute teacher at a private prep school. The school’s stellar reputation and goals are described by Rosalie Mullins, the school’s uptight principal. As Rosalie, Stephanie Staszak successfully leaps through her character’s numerous hurdles. She must transition from being an upstanding principal in a business suit to her slightly tipsy appearance later in a dive bar. Under the bar’s dark lighting, she tells Dewey that her love for Grace Slick’s music is a reminder of the music that once was part of her life. Going even further adrift, Rosalie eventually falls under Dewey’s spell. Theirs is such an improbable romance that only a pair of highly skilled actors can make this turn of events even mildly believable.
But all that doesn’t even mention the kids, who are the true stars of Skylight’s production. This reviewer saw the Broadway show, which featured musical prodigies from across the country who portrayed the prep school students. Milwaukee’s entirely local talent is certainly up to the tasks required here. Under the leadership of director Michael Unger (Skylight’s artistic director) and choreographer Tori Watson, these 16 kids deliver the goods. A number of these children are only in fifth grade, yet they have the chops to pull off rock guitar riffs (Elias Totleben as Zack and Annalise Nordstrom as Katie), keyboard pyrotechnics (Malia Brunner as Lauren), and drum solos (by Azure Schroeder as Freddy). Other students are assigned to be back-up singers (they are fantastic), roadies and security. The show’s abundant humor ranges from kiddie yucks to jokes that only the adults will catch. (Adults in the audience may chuckle over Dewey’s description of groupies as girls “who are like cheerleaders – but better.”) The show abounds with contemporary jokes, too, such as the girl who says she enjoys listening to Taylor Swift. Dewey immediately orders her to stand in the corner. Dewey indoctrinates the students to the songs of Led Zeppelin, Metallica, David Bowie, etc. He dreams of creating a musical student group to compete in the city’s “Battle of the Bands.”
Along the way, Dewey also learns to empathize with these privileged kids whose parents are far too busy to pay them any attention. His support bolsters their confidence. It is the connection between Dewey and the kids that makes or breaks School of Rock. Skylight need not worry; this cast is more than up to the challenge.
Additional support is provided by a cadre of talented adult actors who fill multiple roles as teachers and parents. Wearing suits and other formal teacher attire (by costume designer Patricia Hibbert), they form a stark visual contrast to Dewey’s mismatched and rumpled casual wear. (Dewey’s version of an animal-print shirt is wearing a shirt that features the life-size heads of domestic cats.)
A few technical glitches on opening night (mostly with sound cues) attest to the difficulty of mic-ing such a large cast, as well as the demands of moving scenery on and off stage. Set designer Lindsay Fuori sets the mood perfectly, whether it’s the poster-studded walls in Dewey’s bedroom or the school’s wood-paneled halls. Lighting design is by Zach Pizza, with sound by Steve Tonar.
Musical director David Bonofiglio does an impressive job throughout with his seven-piece band. This “real” band delivers a big sound for its size.
As expected, the musical ends with the students’ triumphant appearance at “Battle of the Bands.” Dewey has the spotlight at last. The performance shows the parents that their offspring are talented in more ways than they anticipated.
It’s a feel-good moment that will be cherished long after the music fades. School of Rock rules at Skylight for several more weeks, and audiences both young and old should definitely sign up to audit this course.
One shy student (Kyla Andreson) hangs back and later complains that she doesn’t have a role in the band. Once she opens her mouth and displays a dazzling vocal range, Dewey promotes her to lead singer. Another student, the smart, bossy and curious Summer (Emilia Kosek), becomes the group’s manager. Kosek does an impressive job delivering her song, “Time to Play.”
