Rooms – A Rock Romance makes emotional impact

Alexis Gerred and Cassidy Janson in Rooms – A Rock Romance at the Finborough Theatre. Picture: Scott Rylander

Playing at the Finborough Theatre, London until May 18.

A boy-meets-girl-with-ambition love story set during the dying days of punk, Rooms – A Rock Romance may be billed as a rock romance but it also has some mighty power ballads at its heart. It’s fun to see Cassidy Janson’s Monica and Alexis Gerred’s Ian rocking out and leaping about the stage energetically, but it is actually the more emotionally-led songs such as ‘Friday Night Dress’ and ‘I Love You For All Time’ that make the biggest impact.

It’s quite refreshing that although the Finborough stage is little bigger than the bedrooms and bedsits that much of Rooms –A Rock Romance is set in, the duo at the centre of the story attack the show’s multitude of musical numbers with gusto, never afraid to give a large-scale performance if the tune requires it. Although the auditorium is quite a snug room, there are times when the stark stage becomes a believeable concert hall and some members of the audience even get a brief moment to participate.

Being essentially a two-man show, the central performances are crucial to its success and happily Janson and Gerred are perfectly cast as the upbeat Glaswegian Jewish princess and the brooding musician from the wrong side of the tracks respectively. Taking the opposites attract principle to the extreme, the duo contrast in looks as well as personality – Janson flame-haired, tiny and dainty, and Gerred dishevelled, darkly-dressed and rugged. As performers, the vibrant duo holds the storyline together and as singers, although they have different styles, both are captivating and gel very nicely together.

Proving there is nothing like raging alcoholism to take the romance out of a relationship, the decline in Monica and Ian’s union is as predictable as it is inevitable. However, even though the whole adventure is presented with a knowing flourish, it’s a great tribute to the actors that we still care for the couple’s faltering union, and – despite the odds – hold out a hope for its resurrection.

In the wrong hands there is a risk that the story could become a sombre, melodramatic affair, but Janson and Gerred are skilled at keeping the underlying humour bubbling away. And when the comedy takes centrestage in tracks such as ‘Scottish Jewish Princess’, Janson’s comic delivery is a particular highlight.

Lastly, attention must be drawn to the four-piece band assembled on stage throughout. Not only are they clearly talented but the enthusiasm generated by musical director Barney Ashworth is contagious ­– by the end you’ll be bobbing your head along to the beat right with him.

Catherine Usher