I was not the youngest in line for “Heart of Rock N’ Roll” at the James Earl Jones theater, but I was not the main demographic either. There were many a grey-haired head and I spotted at least three mullets. I know a handful of Huey Lewis songs, I appreciate all things 1980s, and I was ready for a jolly good Wednesday matinee. And I got exactly what I expected. That is, though, because I’ve seen it before. HRR is yet another jukebox musical, this time with the songs of Huey Lewis interspersed in a brand new storyline. I don’t dislike jukebox musicals, but they usually leave me wanting more. The problem with these kinds of musicals is that the songs never quite fit, or they fit so literally that it is straight up annoying. And the songs rarely further along the actual plot, but rather drop in to emphasize a point for two to four minutes (five if there’s an added dance break…and in HRR there are many). 

The dancing is exactly what you wish to remember of the 80s. It’s dynamic and joyful and jazzerific—there is even a jazzercise number à la Richard Simmons at the start of Act II. But the dancing is also one note throughout the entire two and a half hour show…It’s big and bold and happy the whole time. And, like the songs themselves, the choreography doesn’t further along the story either. I imagine this is easier for a choreographer who can think more about shapes and tricks (which are noteworthy) rather than the narrative arc of each number. This is not true of all of Lorin Latarro’s work. I particularly loved her more intimate, purposeful choreography in “Waitress.” And don’t get me wrong, there are moments of storytelling in HRR, like a dream sequence of what the leading lady’s life would look like if she married her prick of an ex-boyfriend (described perfectly in the show as a ‘Pez dispenser’) and, ironically, a second dream-like sequence where three dancers (the ‘sirens’) embody the power and sensuality of the leading actor’s guitar. Still, overall, it felt like HRR’s one-note score and caricature-context actually limited some of Latarro’s creativity.

The talent—like what I’ve heard of nearly all Broadway shows this season—is spectacular. They double pirouette with precision, thwack their battements with verve, and get great height on their acrobatics. At times, the dancing felt so performative it resembled competition routines, but that also played into the style of the show itself.

I truly had a good time at HRR, I just wish it had a little less fluff. HRR has plenty of heart, but could use a bit more meat on its bones.

And spoiler alert…A Broadway show where the leading man gives up on his dreams isn’t exactly inspiring. Sure, he chooses love over rock n’ roll stardom, but for a life as a cardboard salesman? If you’re going to give me a cheesy jukebox musical with a made-up story, at least give me a full happily-ever-after ending.