Wilson Freeman
Fifty-two years ago in London’s West End, Richard O’Brien’s gender-bending, sci-fi, horror, comedy rock musical The Rocky Horror Show opened in a tiny space upstairs in the Royal Court Theatre. The show became a sensation, moved to different, larger venues, traveled to the Roxy in Los Angeles in 1974 and played to sold out houses, which led to a film deal with 20th Century Fox which released The Rocky Horror Picture Show in 1975. The movie famously flopped but someone, somewhere had the brilliant idea to give it a midnight screening, turning the film into a phenomenon that has played pretty much continuously somewhere for the last 50 years. And the live show itself has continued to be produced all over the world since 1973.
Now, as we celebrate Pride Month in June — and yes, it is still Pride Month despite the best efforts of right wing politicians, evangelical leaders and bigots — Baltimore’s professional queer theatre, Iron Crow Theatre, has brought the show back again for a special Pride Edition. It’s hard to believe that a show that is FIFTY-TWO years old is now facing bans in the United States because of some backwards, ignorant, hateful politicians. The show it literally banned in six states already because of anti-drag laws, and there are at least ten more states that are attempting to erase queer expression. It boggles the mind that a show is being banned because of the costumes which, by the way, have no gender but if a male performer dons a piece of clothing society has designated as ‘female’, then that’s drag and is not acceptable. We are living in a bonkers timeline (and to think that some performers like Milton Berle, Jonathan Winters and Flip Wilson made careers out of playing drag characters in the 1950s, 60s and 70s). Of course the show also subverts gender identity and sexuality, something the loudest closet cases use to deflect from their own repressed desires. So if you’re wondering, yes, The Rocky Horror Show is a political statement, and if these issues scare you or offend you … buy a ticket and expand your mind.
Iron Crow’s production of The Rocky Horror Show maintains the basic plotline of the show — a young, virtuous (virginal) couple, Brad and Janet, get engaged, catch a flat tire on their way to see an old friend (Dr. Scott) to tell him the good news, and end up at a strange castle in the hopes of using a telephone (castles don’t have phones!). Instead, they find themselves smack dab in the middle of an all-night White Party (a new addition to make the show even more relevant) hosted by a ‘sweet transvestite’ named Frank ‘n’ Furter, with the assistance of his helper Riff Raff, Magenta and Columbia. There’s also the ne’er-do-well Eddie (Dr. Scott’s nephew), and Rocky, a Frankenstein’s Monster-like creature Frank has created for his pleasure. But Frank gets distracted by both Brad and Janet, and Janet becomes drawn to Rocky while Brad finds there may be more to his sexuality than he ever imagined (or admitted). When the true nature of the castle’s denizens is revealed, Brad and Janet’s lives just may have been changed forever.
Wilson Freeman
As a long-time fan of the movie (and having had seen the live show once as well), Rocky Horror is ingrained in my DNA at this point in time, and if you’re like me any messing about with the show may cause you some anxiety about the production. Will it stay faithful to what we all know and love? I admit I was extremely reticent about seeing this production but any doubts I had were quickly assuaged as soon as the Usherettes (this production has three) began singing the opening song, ‘Science Fiction/Double Feature’. By the time Brad and Janet get to the castle, everything is as it should be and the setting of the White Party instead of whatever kind of ball (or Rocky’s ‘coming out’ party) Frank is throwing is really inconsequential to the plot. Director Sean Elias manages to use the production’s static setting as multiple locations, mainly with the assistance of Thomas P. Gardner’s lighting design and some clever set=pieces by Bruce Kapplin, that move the action from a church, to the castle ballroom and laboratory, to bedrooms and the stage of a floor show. It’s all done so expertly that you forget you’re just looking at the same set for the entire show.
Of course, you can’t have a show with just a set and some lighting and props. You need a cast and any group of actors who choose to take on such iconic roles so well-known from the movie performances know they have some big shoes to fill but they also have to make the roles their own. This cast absolutely slays. Right off the bat, Jack Taylor and Kristen Stickley perfectly embody the repressed and awkward Brad and Janet. They also bring growth to the characters as the story progresses, discovering more about their own sexuality but their love for each other never wavers. Stickley’s Janet has to become particularly sexual with Rocky and nails her ‘Touch-a, Touch-a, Touch-a, Touch Me’ number. Taylor brings a real humanity to Brad as he goes on his sexual journey, and totally kills with Brad’s numbers that were cut from the movie, including his one verse in ‘Over at the Frankenstein Place’ and his solo ‘Once in a While’. By the time they get to the Floor Show, Brad and Janet are very different characters than the ones who started the show, and both actors make the transformations believable.
Lucky Marino and Cera Baker are also outstanding as Riff Raff and Magenta, and Marino in particular has a powerful voice that he puts to good use in his ‘Over at the Frankenstein Place’ verse, as well as in the iconic ‘Time Warp’ number. Kiley Ernest is also adorable and terrific as Columbia, running through a gamut of emotions while dealing with being cast off by Frank and the fate of Eddie. She also gets to completely steal the spotlight in her final moments on stage. Darsen Durant is a fine Rocky, decidedly more verbal than the one in the movie, and Brooke Donald pulls double duty as Eddie and Dr. Scott, even playing them both in the same dinnertime scene in Act II. Ben Fisler also does a good job as the Narrator, having to deliver his lines while also dodging the verbal bombshells from the audience, often waiting for one to come and acknowledging them when they do. Alex Hong, Michael Lewis, Madison Rossi and Geraden Ward fill out the cast as the Phantoms/Party-Goers. (Rossi will be taking over the role of Magenta for the final weekend performances.)
Wilson Freeman
Of course, you can’t have Rocky Horror without Frank ‘n’ Furter and Nicholas Miles is outstanding, truly making the role very much his own. He sings the hell out of ‘Sweet Transvestite’ and ‘I’m Going Home’, and he gives the character a lot of sass, very often breaking the fourth wall to address or just throw a glance to the audience, especially during some of the call outs (at out performance, one call out caused him to break character which was funny because you’d think he’s heard it all by now). Miles makes Frank cordial and flirtatious at first with the new arrivals, becoming more aggressive as he seduces both Brad and Janet, dangerous when he feels he’s been betrayed, and relieved when he finds out they’re going home … until the tables are turned again. Miles gives nothing short of a magnificent interpretation of an iconic character that is all his own.
Any fears I had about seeing The Rocky Horror Show ‘reinterpreted’ or ‘reimagined’ for a new era were quickly allayed by the sheer talent on display here, both on and off the stage. The Iron Crow crew has put together a show that is joyful and entertaining, but in this day and age they make it all the more important as a cultural touchstone but managing to never hit the audience over the head with the message. The Rocky Horror Show has been and always will be subversive, and this production subverts all expectations. And, yes, audience par-tici … pation is encouraged (prop bags are provided, and there are interactive elements as well). Don’t miss out! And come early as cast members roam the stage and play games with the audience before showtime (and again at intermission). There’s no better way to celebrate Pride Month than with Iron Crow Theatre’s The Rocky Horror Show/
The Rocky Horror Show runs about 2 hours 20 minutes with one intermission. The production includes sexual themes, innuendo, kissing, simulated intercourse, stylized violence, partial nudity (including brief exposure of buttocks), and depictions of death. Production elements include loud sound effects, haze, bright and strobing lights, reflective surfaces, and props that resemble and sound like firearms. This production may not be suitable for individuals with sensory sensitivities.
The Rocky Horror Show runs June 21-22, and June 27-29 at Baltimore’s Iron Crow Theatre. Visit the official website for more information.