RED ROCK DINER

Venue: Vogue Theatre Dates: 11 February - 22 February 2003

Director: Dean Regan Musical Director: Tom Arntzen

Reviewer: John Jane

Dean Regan’s two act retro revue Red Rock Diner returns to Vancouver for a twelve day engagement at the Vogue theatre. The show offers a snapshot of the banner year nineteen-fifty-seven. This was the year that the Soviets launched the Sputnik, American Bandstand was first introduced to television audiences, the European Common Market was created and the ‘57 Chevy was regarded as the car of choice.

The story outline revolves around a young local disc jockey, (Red Robinson) and his early career in radio when ‘Rock n’ Roll’ was in its infancy - Kids loved it, parents loathed it. But no-one could deny this new music was here to stay.

The show finally got under way (unaccountably fifteen minutes late) with an overture from the excellent five piece band, easily identified as “Rebel Rouser” originated by Duane Eddy . From then on the production cruised along sans risque for the next two hours. Therein perhaps was the show’s single drawback. Driving at a constant speed on a straight road can get a little monotonous. But the revue was not without some memorable moments, in particular Paul McQuillan’s contribution was outstanding. His performance portrayed the warmth and easy nature that Robinson certainly has, as well as ample showmanship that perhaps he doesn’t.

I had the privilege of meeting the legendary Red Robinson during the intermission. He still exhibits the same charm and genuine enthusiasm with strangers and old friends alike. Red also made an unplanned appearance on stage prior to the commencement of act two, acknowledging the cast and production crew in his trademark self-deprecating style.

The quartet of supporting players led by Neil Minor offered solid performances, without taking themselves too seriously. More notably in the second act, in tribute performances of Johnny Ray, Marilyn and Elvis.

Ted Roberts’ set design was basic yet creative, fitting the production style well. The first act set in a fifties diner mode and act two switching to the high school gym. There were also plenty of fifties symbols such as hula-hoops and yo-yos on display.

The choreography was pretty minimalist with the cast generally improvising their movements and interaction with each other.

The finale, though quite effective, was inclined towards self glorification with still photographs and film footage of fifties icons projected onto a monochrome backdrop. This was synchronous with the cast’s rendition of the classic Roy Orbison hit “Crying”.

Red Rock Diner is neither an attempt at maudlin nostalgia, nor is it really Robinson’s biography. It may best be described as a celebration of the Rock n’ Roll phenomena.

© 2002, John Jane