ROCK OF AGES: Opera House Theater rock n’ rolls into the New Year

Chase Harrison
Dec 30, 2025
6 min read

Updated: 2 days ago

The theatrical world is one of traditions and superstitions, tricks of the trade passed down from one generation to the next. Phrases such as “break a leg,” “thank you five,” “find your light,” no one enters a theater knowing what any of that means. Yet through their own interest, and caring guidance from a mentor, an amateur can become a master. That might be the real magic of theater, in all honesty. Traditions that pass on, a community that grows, people who become staples, and staples who become myths. After all, isn’t that what the creative’s aim is when stepping into the spotlight, to become the stuff of legends?

I often say of the Cape Fear’s theater scene, “Wilmington might not be a big pond, but it certainly is a deep one.” A talent pool if you will. One that for well over a century has been drawing together producers, directors, actors, technicians, and every other role to be filled in a theater. Talents, who have staged productions that would rival most anything from Broadway all the way to the West End… But that’s just my humble opinion. Talents who have passed their wisdom down, and that my sweet reader, is what keeps this whole thing a-trucking along for us all to find, and be welcomed into.

Those are certainly values shared by one of the most talented underdogs of the underground here, Morganna Bridgers. This siren of the stage has shined in so many roles, but a personal favorite is as Roxie Hart in “Chicago” for the long-lost but never forgotten City Stage Co. Though people outside the theater world here might say “Hey, isn’t that the girl from the opening of 'The Conjuring'?”

Horror movie jokes aside, the actress now challenges herself by stepping out of the spotlight and into the role of director. A journey that Bridgers was able to tell me all about as we sat down to discuss her upcoming directorial project, “Rock of Ages” for Opera House Theater Company.

Photos by Bryan Putnam

As the director of a massive show on the precipice of opening night, Bridgers was in a tech meeting when I arrived. This gave me time to walk the halls of the Shuffler Center, the habitual rehearsal space for Opera House’s shows. As someone who doesn’t sing, I don’t spend much time at the Shuffler, and it was cool to look around. The concept of community legacy creeped back into my mind as I passed by decades of posters from the production company’s past. When we sat down to discuss the production, Bridgers wanted audiences to know right off the bat what the vibe will be.

“This show is a jukebox musical, it’s not deep, but it’s so much fun. The whole thing about this musical is its very aware of itself as a musical. That kind of awareness, that you can’t help but enjoy and bang your head to, it’s joyful!” Bridgers lets out a melancholy sigh. “I think we desperately need joy. Some lightness, some laughs, and I think that’s a lot of what this is.”

Bridgers continues “…And I do think with how things are now, and we’re just influxed with it all the time now. It’s too much, it’s too much. I think coming to the theater is just a good idea. It forces you to turn off the phone. It forces you to be present with whatever is happening in the moment. It’s one of those rare times where we move slowly, more calmly. So, I think we need it for those reasons, we need to laugh, we need to find ways to lighten our hearts…”

BOOM! The bellowing roar of the rehearsal space’s heating system coming to life echoes out, eliciting a genuine “AHH” from yours truly.

Without missing a beat, and with ever the slightest of a sly chuckie, Bridgers assures me, “yeah don’t worry about that, its terrifying, I know.” Then on a dime goes back to her point “We need to find ways to keep our hearts light.”

“Rock of Ages” is the New Year’s Eve Gala show at Thalian Hall. So, with this show, like hair in the 80’s, the director knows everything needs to be big. “We have the big production design, we have the big wigs, this is a love letter to the 80’s. Andrew Fisher is doing our lights, and he wants to keep it to what would be available to use in the 80’s as much as possible. He wants it to look like a performance venue and… I don’t even have the words, but the club, the Bourbon Room. It’s going to be the premier night club of the sunset strip, no doubt.”

With “Rock of Ages” being a jukebox musical, I had to ask how the hits of the ‘80s were interwoven through the plot, if at all? That’s when Bridgers becomes excited talking about the songs which make up the plot.

“Our Lead Girl, her name is Sherrie Christian, this small-town girl, so we have “Sister Christian” by Night Rangers which is about her leaving home to go off to the Big City. We have a protest happening on the Sunset Strip over commodification, so we have “We’re Not Gonna Take It” by Twisted Sister, it has kind of this protest feeling. The songs are definitely weaved into the story strategically.”

A major element that will help add to the meta feel the production is aiming for, a venue within a venue, the director adds, “We have our band on stage, let me not forget Chiaki Ito our music director, and our band. She brings that energy to it and she is going to honor the music. And the cast is so stacked with people who are just so good in the musical theater world here. This is going to be your favorite 80’s songs sung by your favorite local actors! And yeah I know that sounds cheesy but it’s a found family here. This is a very special place, Wilmington is a very special place, with a deep creative history, so let’s nurture it, let’s protect it, let’s support each other. This theater community will always be…”

Bridgers takes a moment of introspection then grins, “Home.” And I, for one, can’t help but join in on that sentiment.

After that profound of an answer, we went on to talk about this new stage in her own life, a director. “I directed Spring Awakening for the Opera House Apprentice Program and that was my first time doing it. I had to submit for it of course, put a plan together for it, and had such a wonderful time doing that. So, I’m so grateful they gave me the opportunity to do it again.”

That sly grin returns.

“… And I don’t know if I should say this but, this show, this production, it kinda feels like the old City Stage days. You know what I mean? This style is campy, it fun, it’s a little edgier. That’s what I hope we’re doing here, there are so many opportunities for dumb jokes, and winks to the audience that I just…” (At this point the director began to make nom, nom, nom sounds. As if eating the imaginary joke before her.)

When I put the director on the spot to tell me her favorite 80’s song featured in the show. Like a gunslinger, Bridgers answered before I could finish my question, “IT’S OH SHERRIE!” Bridgers goes on to add “Man, I die for that one. When all the Drews auditioned, that was the song I had them sing, and, and I was just delighted to listen to “Oh Sherrie” time and time and time again. Never got old.”

There’s a moment of silence following the reveal that is broken by a Steve Perry impression from the director, “ You should have been gone…” Not to leave her hanging and knowing the song myself I couldn’t help but add “…Knowing how I made you feel.”

We both laughed as her cast began filing in to begin the night’s work. As I close my notebook and turn off the recorder, ending our interview, Morganna punctuates our time on a solid final note. “I mean if this show takes itself too seriously we’ve done a bad job. This is 80’s glam rock music, you’re gonna know these songs, love these songs, and wanna sing along with us. You know, just not too loud.”