By Sarika Chawla

The Importance of Being Earnest

Ahmanson Theatre
135 N. Grand Ave., L.A
Through March 5
Tuesday-Friday 8 p.m., Saturday 2 p.m. and 8 p.m.,
Sunday 2 p.m. and 7:30 p.m.
$25-$75.
(213) 628-2772
www.taperahmanson.com

"Less is more" seems to be the motto that Sir Peter Hall has taken to heart in the Center Theatre Group's production of The Importance of Being Earnest. And how right he is. A sharp cast against a crisp British backdrop provides the ideal medium for Wilde's timeless satire -- nothing upstages the real star of this play, which is its witty text and its spot-on observations of Victorian society, gender relations, and the trivialities that make life worthwhile.

Simplicity reigns as the curtain opens on the elegant English drawing room, the site of so much drama over the years. Jack (James Waterston) is a stodgy young Brit who sees no harm in leading a double life as "Ernest in town and Jack in the country," as he so nonchalantly explains to his friend Algernon (Robert Petkoff). A man who is open about his unfettered indulgence, Algernon also has no problem with this situation, explaining how his own mythical friend Bunbury helps him out of social obligations. The relationship between these two, of the misguided hero and his unexpectedly intuitive sidekick, is now so familiar that it's practically formulaic to modern audiences (think about any buddy cop film of late).

Trouble ensues when mistaken identity gets tangled up with matters of the heart, allowing for all sorts of confusion. Bianca Amato is a fine Gwendolen, a strong-willed woman who will settle for nothing less than a man named Ernest. Of course, a hearty constitution doesn't win much against one's own mother, and it's nearly impossible when that mother is Lynn Redgrave as Lady Bracknell. Redgrave positively revels in her role, just as we hoped she would, but never stoops to being a caricature of the snooty doyenne. Despite the focus on such straightforward characterization, there are some moments when some whimsy is appropriate: Cecily (Charlotte Parry) is Jack's flighty young charge, whose romantic notions have had her engaged to the imaginary Ernest for months, before she finally meets the object of her affections in the form of Algernon. Parry expresses this bubbliness with such sincerity that it is charming, and doesn't fall into the trap of being overplayed or grating. Similarly, the bosomy Miss Prism (Miriam Margolyes) is the closest thing we have to a cartoonish figure, and her presence is always amusing. Essentially, Hall is keenly aware that it would do Wilde a great injustice to try to overstylize this piece -- he simply allows each actor to breathe and absorb the roles as they stand. Earnest lovers come in awaiting the classic wit, so that in the end, the only real concern is missing some favorite lines because the expectant audience is already laughing before they're even half over.

Rock of Ages

The Vanguard
6021 Hollywood Blvd., Hlywd.
Through Feb. 18
Thursday 8 p.m., Friday 7 p.m., Saturday 8 p.m.
Tickets: $34.50-$45
800-595-4TIX
www.RockofAgesMusical.com

The thing about those of us who revel in '80s culture is that we see the humor in it. As far as I'm concerned, boys with big hair and tight jeans are still the penultimate of sexiness, and a power ballad sung the right way can rip my soul to pieces, but I also understand the utter uncoolness of it all. The great thing is that Rock of Ages gets it too. A hard rocking spectacle that already has visions of Las Vegas dancing in its head, this is no drippy comeback tour or cheesy cover band -- it's pure self-indulgence, sparing no expense when it comes to laughing at itself while paying homage to a period that ought never be forgotten.

Wrapped around the lightest plot possible, this is a musical that depends entirely on the music: If you're a fan, you're all set; if not, I still dare you to keep from shimmying your shoulders. The book by Chris D'Arienzo tells the tale of a small town girl named Sherrie Christian (Laura Bell Bundy) who took a (presumably midday) train going anywhere (in Los Angeles). Without any hesitation, the show kicks right off with "Sister Christian," where layers of powerful voices make for a goosebump inducing experience. Sherrie finds herself on the gritty Sunset Boulevard, where she meets Drew (James Snyder), a city boy born and raised in South Detroit who dreams of superstardom. Lest this start to resemble a Journey video, we are introduced to a generic subplot about a German conglomerate intent on cleaning up the city that was built on rock and roll. Director Kristin Hanggi and choreographer RJ Durell are in charge of an impressively large cast that swarms the stage and the walkways so that the vast club space seems barely big enough to fit it all. There's a just-barely-controlled chaos to it all, which will probably become increasingly fine-tuned as the show rolls on.

Rock of Ages leaves no rolling stone unturned, as it incorporates everything from the appropriate anthem "Don't Stop Believin'," to a thickly accented version of "Hit Me with Your Best Shot" by an earnest German pacifist (Tom Lenk). When they're not tugging at the heartstrings with soulful ballads, there is ample opportunity for the humor to shine through: Rock star Stacee Jaxx is played to the hilt by comedian Chris Hardwick, while Dan Finnerty acts as the play's narrator, pulling out all the stops with ad-libbed audience interaction. Later, Finnerty grabs the spotlight as he falls for an unlikely partner to a side-splitting rendition of "I Can't Fight This Feeling Anymore." Vocally, there is enough established talent like Bundy and Snyder to pull off a polished feel, but the live band tends to compete (and win) against voices that have to scream into their obtrusive headsets. The result is a whole lot of rock where the lyrics get swallowed up rather viciously. Whatever. You might pretend you don't know the words to every song, but the ruse will be up within minutes -- by the time they get to Joan Jett you'll be belting it out at the top of your voice.