uses a vocabulary intimately familiar to anyone in the three or four generations raised on rock 'n' roll: head-banging, high kicks, pogo dancing, high-five and backslap, coke-nose wiping, windmill arm, raised-hand clapalong, skanking, Axl Rose shimmies, simulated sex acts, simulated sex acts with goats, guitar theatrics on a woman's bare thigh, doo-wop snaps, and stage dives. Imagine early Baltimore Rock Opera Society as a dance troupe and you get the picture. It was fun and funny, engaging and interesting; each of the three dancers was charismatic, clever, and flawless. But ultimately it was a one-note performance. There was little to ponder afterward. It was a parody, funny and easily digested.