Give Yourself Over To The Absolute Pleasure Of THE ROCKY HORROR SHOW
The “bad boy of musical theatre,” New Line Theatre focuses on the elements that matter in a thoroughly entertaining production of The Rocky Horror Show. The musical is a bawdy, upbeat, and essentially sex positive sci-fi thriller with moments of delightfully over-the-top theatricality, a commitment – but not obsession – to the original, and a touch of space-age mutiny that’s easy to embrace, lightly subversive fun.
Recently engaged, Brad Majors and Janet Weiss are driving to visit their former professor when they get a flat tire. On a dark night and nearly deserted road. During a thunderstorm. Brad remembers passing an old castle and decides to go and ask if he can use their phone to call for help, Janet insists on accompanying him. They are greeted at the door by the oddly aloof yet inquisitive Riff-Raff and soon joined by Magenta and Columbia. The three are a bit unnerving, but it’s the entrance of Frank N. Furter, the self-proclaimed “sweet transvestite from Transexual, Transylvania,” that notches the tension and action up several levels. Before the night is over, the couple will have their norms challenged and their senses overwhelmed as well as reuniting with the professor.
Todd Schaefer is nearly perfect as the voraciously sexual cinephile Frank N. Furter, fully inhabiting his character with a runway-worthy stomp, sardonic eyebrow arch, and finely tuned vocals. Schaefer commands the room with gleeful excess then shows elegant restraint and emotional depth in the affectively intimate and tear inducing “I’m Going Home.” Rafael DaCosta and Brittany Kohl are genuinely likeable and humorously naïve as Brad and Janet, with voices well suited for their roles, as evidenced by the cheerfully romantic “Damn It, Janet” and tender “Once in a While.” Additionally, both performers are winningly charismatic, creating a sympathetic bond with the audience.
As Riff-Raff, Bee Mecey is a sometimes hypnotic, always intriguing presence. Katie Orr and Tori Shea Cole are quite complementary as Magenta and Columbia, respectively, and all three bring an agreeable pop rock sensibility to their vocals. Orr’s “Science Fiction / Double Feature” starts the musical with aplomb and a wink, Mecey’s lead and Cole’s solo on “The Time Warp” kick the show into a higher gear, and the three add welcome texture and harmony backing Schaefer. Chelsie Johnston is gamely up to the task as The Narrator, Christopher Strawhun is slick as Eddie and bumbling but sincere as Dr. Scott, and Zachary Thompson is, appropriately, all innocence, curiosity, and muscle as The Creature.
Johnston doubles as choreographer, smartly referencing the original while successfully incorporating the scenic design and use of handheld microphones. But there were moments, such as Columbia’s solo and Eddie’s “Whatever Happened to Saturday Night,” where I wanted more energetic dance moves. The band, led by conductor Randon Lane, provides excellent, well-balanced accompaniment, as usual. The scenic design, lighting, and costumes serve the show well, particularly the long runway center stage, but are a bit underwhelming. There’s a need for more informative set dressing on the scaffolding, Frank N. Furter’s final scene dress needs refitting, and I really wish Schaefer’s makeup was a bit more polished, at least at the top of the show. Still, as a smaller company with a tight budget, New Line spends wisely and delivers a terrifically entertaining show.
Co-directors Scott Miller and Chris Moore acknowledge the underlying themes of the original era and reflect their relevance to today’s social and political realities, ensuring the tone and currency aren’t lost while keeping the mood playful. The directors also find creative ways to express scenes that may feel cringey to contemporary audiences, most notably through the contrast of scenes initiated with deceit and a lack of consent occurring offstage and onstage intimacy being more clearly consensual. Minor design quibbles aside, theatergoers who enjoy well-performed high-camp, bawdy romps, catchy songs, subterfuge, and a humorously memorable sci-fi romantic comedy plot shouldn’t miss New Line Theatre’sThe Rocky Horror Show.
