The following is a review by Don Aucoin, published in the Boston Globe newspaper, of the stage show 'Rock of Ages' which stars Bermudian Rebecca Faulkenberry in one of the key roles:

(Boston Globe) – Like "Mamma Mia!'' – its mega-grossing forebear in the canon of jukebox-musical kitsch - "Rock of Ages'' doesn't have much on its feverish mind other than to entertain you.

And as with "Mamma Mia!'' your enjoyment of "Rock of Ages,'' which has arrived with a screech and a roar at the Colonial Theatre, will partly depend on how nostalgic you are for songs by 1980s rock bands like Journey, Foreigner, Styx, Poison, Whitesnake, and Twisted Sister.

But only partly. Even if your response to most of this music was and is a combination of eye-rolling and teeth-gritting, it is possible to enjoy "Rock of Ages'' if you have a taste for rowdy spectacle, self-aware camp, deliriously outsized emotions, and the simple pleasures of a dumb old good time.

From first (David Lee Roth's "Just Like Paradise'') to last (Journey's "Don't Stop Believin' ''), "Rock of Ages'' fills the stage with a riot of sound that threatens at times to burst the venerable walls of the Colonial. The show even contains a reference to Betty White, which, as you know, is mandatory this year.

As it travels its merry path – part affectionate homage to '80s rock and recognition of the place it occupies in its fans' hearts, part "This is Spinal Tap''-style satire of its macho, oversexed preening – "Rock of Ages'' deliberately leaves no showbiz cliché unturned.

At the centre of the action is Drew (though he would prefer that you call him Wolfgang von Colt). Though at the moment (described as "the mid- to late-'80s'') he is making ends meet by toiling in a Sunset Strip club called the Bourbon Room, Drew is an idealistic young striver who dares to dream big dreams of rock 'n' roll fame.

Constantine Maroulis reprises the role of Drew, which earned him a Tony nomination when he played it on Broadway. It's not hard to see why. Maroulis, a graduate of the Boston Conservatory and a former finalist on "American Idol,'' invests Drew with an endearingly abashed, puppy-dog quality, then shifts gears when he lets loose with a killer voice on Foreigner's "Waiting for a Girl Like You'' and Steve Perry's "Oh Sherrie.''

The Sherrie in question is a small-town girl from Kansas (played by Rebecca Faulkenberry in a powerhouse performance) with whom Drew is instantly smitten. Sherrie has come to the big city with stars in her eyes and ambition in her heart for an acting career, but she ends up working in a strip joint, a reluctant career move that Faulkenberry underscores with a poignant rendition of "Harden My Heart.''

There is a German father-and-son team of developers, Hertz (Bret Tuomi) and Franz (Travis Walker), who are pushing to have the Bourbon Room torn down as part of their scheme to give the Sunset Strip a tourist-friendly makeover. In an attempt to keep the club alive, the owner, Dennis (the towering and very funny Nick Cordero), persuades big-time rock star Stacee Jaxx to perform his band's final concert at the Bourbon Room.

Stacee (played by MiG Ayesa, who hilariously incarnates the quintessentially egomaniacal rock star), finds time before the concert to seduce Sherrie in a men's room while they sing Foreigner's "I Want to Know What Love Is.'' The one Sherrie really loves, you see, is Drew. But she succumbs to Stacee after becoming convinced that Drew only wants to be friends, thanks to a faux pas he commits on their picnic date.

In other words, there's a lot going on, much of it narrated by Lonny (Patrick Lewallen), the Bourbon Room's ribald soundman. But as is usually the case with jukebox musicals, the jerry-built story of "Rock of Ages'' is designed solely as a pretext for the songs. The scenes and dialogue in Chris D'Arienzo's book are just bridges to the tunes.

It's hard to care too much about the flimsiness of the story when a show is as enjoyable as this one. Don't stop believin'? By the end of "Rock of Ages,'' I was ready to start believin'.