“The musical production titled ‘Rock & Roll Man’ opens with a captivating scenario: set in 1965, J. Edgar Hoover is prosecuting the iconic D.J. and promoter Alan Freed, who is on the verge of death. Hoover accuses Freed of single-handedly destroying ‘the American way of life’ by inventing rock and roll, a genre of music that revolutionized the industry.
However, it becomes apparent that this scene is not grounded in reality but rather inside the mind of the ailing Freed, portrayed by Constantine Maroulis known for his roles in ‘Rock of Ages’ and ‘Jekyll & Hyde.’ Freed finds an unlikely defender in Little Richard, portrayed by Rodrick Covington, who promptly clarifies that his client did not invent rock and roll.
Rather, Freed’s contribution was introducing R&B singles to predominantly white audiences through the radio shows he hosted in Cleveland and New York, effectively bridging the racial divide through music. He cleverly marketed this music as ‘rock and roll.’
The majority of this biographical show, premiered at New World Stages, delves into a flashback that unfolds in a more traditional manner than the attention-grabbing prologue.
In the early 1950s, Freed stumbles upon groundbreaking sounds in a record store owned by Leo Mintz, portrayed by Joe Pantoliano, and instantly falls in love with the vibrant music that unites white and Black teenagers. His success as a D.J. takes him to New York, where he becomes associated with Morris Levy, played by Pantoliano once again, a shady record label and nightclub owner.
Gary Kupper, Larry Marshak, and Rose Caiola skillfully weave together a series of hit songs by renowned artists such as LaVern Baker, Jerry Lee Lewis, Chuck Berry, and Screamin’ Jay Hawkins, portrayed by talented actors including Valisia LeKae, Dominique Scott, and Matthew S. Morgan. Regrettably, Randal Myler’s production fails to capture the raw, chaotic, and often provocative energy that characterized early rock music. While Freed may have imagined the trial, it exemplifies a time when rock was perceived as a threat to the established sexual and racial norms. Unfortunately, the show struggles to convey why Freed and the artists he championed were perceived as such a threat to American values.
Freed’s life was undeniably interesting and filled with rock ‘n’ roll antics. However, the show merely scratches the surface of his indulgence in alcohol and women, as well as his association with Levy, both of whom eventually faced consequences for payola. The storytelling, particularly regarding his family life, feels disjointed and lacks coherence.
Even more disappointing is the fact that since Freed himself did not sing, Maroulis, a former ‘American Idol’ contestant and a truly authentic performer, does not get the opportunity to showcase his talent through the iconic hits. Instead, he is confined to performing lackluster original songs written by Kupper. Only towards the end of the show, during the titular number, does Maroulis get a chance to unleash his true rock spirit. However, this moment arrives too late and fails to compensate for the missed opportunities earlier in the production.
‘Rock & Roll Man’ is currently running at New World Stages in Manhattan, showcasing a runtime of approximately 2 hours.”
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