Rock of Ages
Book by Chris D'Arienzo
Directed by Kristin Hangii, Choreographed by Kelly Devine
Brooks Atkinson Theater 2009
Helen Hayes Theater, Broadway
Shaftsbury Theatre, Garrick Theatre, London
New World Stages, Off-Broadway
Comedy Theatre, Melbourne, Australia
Royal Alexandra Theatre, Toronto
Venetian Hotel, Las Vegas
US National Tour
UK National Tour
Norwegian Cruise Lines
Don't Stop Believin': Company
Don't Stop Believin': Mitchell Jarvis & Company
Nothin' But A Good Time: Adam Dannheisser & Company
Too Much Time on My Hands: Mitchell Jarvis, Adam Dannheisser, Constantine Maroulis, Savannah Wise & James Carpinello
To Be With You: Constantine Maroulis & Amy Spanger
We're Not Gonna Take It: Lauren Molina & Company
I Want to Know What Love Is: Amy Spanger & James Carpinello
Ja'Keith's Office: Andre Ward & Constantine Maroulis
Any Way You Want It: Angel Reed, Katherine Tokarz & Savannah Wise
Any Way You Want It: Mitchell Jarvis, Amy Spanger & Adam Dannheisser
The Search is Over: Amy Spanger & Constantine Maroulis
Don't Stop Believin': Company
Set Design Sketch
Norwegian Cruise Lines, 2013
Venetian Hotel, Las Vegas 2012
Shaftsbury Theatre, London 2011
Comedy Theater, Melbourne, Australia 2011
Helen Hayes Theatre, Broadway 2011
US National Tour, 2010
Royal Alexandra Theatre, Toronto 2010
Off-Broadway at New World Stages 2009
Cum on Feel the Noise: Will Swensen
Livin' In Paradise: Savannah Wise, Nova Bergeron, Angel Reed & Jeremy Woodard
I Wanna Know What Love Is: Kelli Barrett and Will Swensen
Harden my Heart: Kelli Barrett
"Ace designers (costumes by Gregory Gale, hair and wigs by Tom Watson and sets by Beowulf Boritt) mockingly evoke the sights, sounds and smells of the era with an affection so pure and an aesthetic so archly on-target that the familiar is freshened by a festive parade of gumdrop-colored lingerie and pungent grunge. When somebody pulls out a four-pack of
Bartles & Jaymes wine coolers, the audience roars as if at a punch line of supreme perceptiveness"
~ Charles Isherwood, The New York Times
Beowulf Boritt's witty set is a jumble of iconic signage -- the Chateau Marmont, an Angelyne billboard, Jack Daniels ads -- that re-creates Los Angeles' Sunset Strip in the '80s. That setting frames Dupree's Bourbon Room, a fictional venue festooned with bras and panties of groupies past."
~David Rooney, Variety
"This Off-Broadway transfer does provide its Memorex-induced pleasures - often embedded in Beowulf Boritt's clever set and prop design"
~Thom Geier, Entertainment Weekly
"The design is first rate; Beowulf Boritt has had the luxury to deck out the entire space with a set that extends far past the proscenium and through the theater."
~David Gordon, Theatremania
"The rock club set by Beowulf Boritt encapsulates the sunset strip in a single space, from its period Angelyne billboard and strip club signs to bar walls full of rock memorabilia."
~Terry Morgan, Daily Variety
"The flash-and-trash ambience in Beowulf Boritt's set never lags."
~Andy Webster, The New York Times
"The detailed rock club interior, designed by Beowulf Boritt, looks distinctly authentic."
~Jennifer Farrarr, AP
"The scenic design is gleefully materialistic."
~Matthew Murray, Talkin' Broadway
“The rock club set by Beowulf Boritt encapsulates the sunset strip in a single space, from its period Angelyne billboard and strip club signs to bar walls full of rock memorabilia.”
~ Terry Morgan, Daily Variety
"For 1980s nostalgics, Rock of Ages is no doubt a visual treat, from Gregory Gale's rad costumes to set designer Beowulf Boritt's well-curated collection of vintage Slurpee cups and wine coolers."
~J. Kelly Nestruck, Toronto Globe & Mail
"Beowulf Boritt's set is amusingly angled to permit maximum use of cock-eyed projections, and his is clearly a name to remember"
~Robert Cushman, National Post
"It is redeemed by the strength of Kristin Hanggi's production, Beowulf Boritt's fun set design (which features weird scaffolding, a Molson sign, tacky neon and an agreeable sense of crumbling decay), - and, above all, the show's refusal to take itself seriously."
~Jamie Portman, Ottawa Citizen
"Production design is from Broadway and fits like a glove in the Comedy. The set, a clustered collage of 80s decadence, allows cinematic crosscuts and seamless scene changes." ~Simon Parris, Theatre People Australia