In Blank Canvas Theatre's Production of the 'Rocky' Musical, the Love Story Lands the Biggest Punch

It’s probably fair to say that most of us have never attended a boxing match because, you know, people hit each other and bleed and stuff. We’d much prefer going to a Taylor Swift concert or listening to a Taylor Swift song or watching Taylor Swift watch a football game.

Still, most of us also have a connection to the film Rocky, Sylvester Stallone’s Oscar-winning flick about a down-and-out palooka in Philadelphia, Rocky Balboa, who is conned into a boxing match with the world champ and manages to achieve a moment of dignity. We are drawn to the story because Rocky and his reluctant sweetheart Adrian are flawed folks like us, even though he spends his days hitting people and bleeding and stuff.

It took almost 40 years for a musical version of Rocky to hit Broadway in 2014, and although it only lasted for six months, it garnered some nice notices for its remarkable staging effects, including an elaborate boxing ring that appeared above and surrounded by audience members.

Rocky, with book and lyrics by Thomas Meehan and Stallone, has now landed in Cleveland, at Blank Canvas Theatre where the stage is just slightly bigger than an actual boxing ring. With gargantuan special effects out of the question, director Patrick Ciamacco has focused on the love story and the result is a split decision with the play winning on points.

What works best is the casting throughout. In the linchpin roles of Rocky and Adrian, Michael Snider and Carolyn Demanelis display genuine chemistry, showing us how these shy, romantically hesitant people find their way to each other. Snider has a powerful voice and it helps that he kind of looks like an athlete, say a young version of Bernie Kosar. Demanelis also sings well when she’s not forcing the volume, but she perfectly underplays her role which draws Rocky (and the rest of us) towards her.

They are supported ably by performers in smaller roles who etch memorable moments, highlighted by Steve Brown as Adrian’s pain-in-the-ass brother Paulie and John Lynch as Rocky’s blunt trainer and manager Mickey.

The staging by Ciamacco—who quadruples as scenic, projection, lighting and sound designer—has its moments, such as when Rocky is in training and runs on a moving asphalt road that appears under his feet. A stylized animation sequence that takes the place of the film’s famous training montage is interesting if somewhat less inspiring than the original.

In the potentially juicy role of Rocky’s boxing opponent, Apollo Creed, Matt Deus comes across as a pretty nice guy, and that’s not so nice for the play. Apollo’s ego should enter the room before he does and the lack of a nasty, aggressive, scornful foil for Rocky undercuts the buildup to their climactic bout in the ring.

Also, throughout the play songs and the timing of scenes feel slow, perhaps partly due to the need for changing the sets frequently. As a result, the production lacks the momentum that would help capture the energy of the film’s iconic song “Gonna Fly Now,” which is sadly not part of Stephen Flaherty (music) and Lynn Ahrens (lyrics) song list.

But all of that matters less and less as we see more and more of the lead couple. After the big fight is over, we don’t remember the jabs and uppercuts as much as the way we were gently touched by this Rocky and Adrian.

Rocky
Through December 16 at Blank Canvas Theatre, 78th Street Studios, 1305 West 78th St., Suite 211, 440-941-0458, www.blankcanvastheatre.com

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