Die-hards beware: This Rocky is a different show
By SARAH?SEPANEK Tribune ChronicleWhat makes something become a cult phenomenon? It has more to do with the fun and camaraderie that people share by either making fun of the work, or by enjoying it in a lighthearted way.
The Rocky Horror Show is no different. In stage form or in the film, the plot is so absurd that dancing, costumes, shouted-out jokes and props help the fans enjoy something that otherwise would be pretty bad. A little fun can make something bad so good.
For the uninitiated, here's the plot in a nutshell: A mad transvestite named Dr. Frank N. Furter and his servants - Riff Raff (Shawn Lockaton), Magenta (Molly Makselan), and Columbia (Melissa Cook) - come to Earth from planet Transylvania and set up shop in a castle. Hapless travelers Brad and Janet, while going to visit their old professor, break down and seek refuge there, only to find that tonight is the night Dr. F. is going to create his new masterpiece: a perfect male specimen named Rocky (Rick Morrow). Catchy rock songs, sexual exploits and all manner of drama ensue.
The Oakland Center for the Arts' new production of the Rocky Horror Show chose to go in a new direction, away from the imagery and familiar faces that fans knew. Director Robert Dennick Joki completely redesigned the looks of the characters, save for Brad Majors and Janet Weiss, clad mostly in their undergarments. Instead of the 70s biker gear, maid uniforms and tuxedo jackets, Joki had the actors in garb reminiscent of mid-90s club-kid culture. Dreadlocks, neon wigs and striped tights with platform boots were worn by most of the ensemble, combined with metallic makeup and drag queen flamboyance. Joki took a risk with the changes, knowing that die hard fans hold the things they love sacred. But did it pay off?
For starters, the 8 p.m. show did not allow the audience participation that goes with the live show or the film version; only the two midnight shows will let the audience do the usual shout-outs, throwing of rice, cards and other objects related to the film. This put a major drag on the show (no pun intended). Fans engaging in shout-outs were told to be quiet by the usherette/narrator, and bags of rice went un-tossed. The Oakland's staging of Rocky Horror in 2004 encouraged participation in all shows, and was more suitable for the die-hards. Fans wanting to participate are urged to take a disco nap and attend one of the midnight showings.
Another change: choreographer Debbie Pesce retooled the classic "Time Warp" dance, making it look more like the 90's dance "the butterfly" than the usual "jump to the left, and a step to the riiiiiight." When the song says "but there's the pelvic thrust that really drives you insane," the dancers aren't thrusting anything; the dance moves don't match the lyrics. The new dance was interesting, but it again robbed the fans of a chance to participate, since they usually dance along to the "Time Warp" during and after the show. Maybe they can teach the audience the dance before the show in the future so they can join in.
The actors do a fine job with the songs, with Brad (Eric McCrea) sounding a whole lot better than the movie's Brad, Barry Bostwick, in "Damn It, Janet." The ensemble does a great job backing up Brad and Janet for "Over at the Frankenstein Place," complete with flashlights and umbrella hats.
As with the film and stage versions, things really pick up when Frank shows up director Joki plays Frank as it should be done, larger than life. With a glitter mohawk and black gown instead of corset and heels, Joki belts out "Sweet Transvestite" with gusto, and chases around Rocky ferociously. A built-in slide in the set is a neat touch and allows the cast to run around the "castle" quicker.
After the intermission, things get a little raunchy, and more fun. When Rocky is "born," he comes out of a makeshift womb, which allowed for some blush-worthy set design. Seeing Frank interact one-on-one during late-night trysts with the characters is funny and showcases the actors better than the ensemble parts. However, the encounters are a little too racy for some viewers after the song "Touch-A Touch-A Touch Me," two adults were seen leading a young boy out of the theater. Those scenes in the play were far raunchier than in the film, which were done in silhouette.
Standouts in the production are Rick Morrow as Rocky, who plays the perfect boy-toy, complete with spiked collar, chew toy and painted-on abs. Andrew Labedz as dead rocker Eddie was more Sid Vicious than the original Meat Loaf, as he ran through the audience during "Hot Patootie," climbing on the seats. Alyssa Connelly nailed Janet's prissy-innocent-turned-sexpot, singing clearly and hitting the high notes. Shawn Lockaton maintained the Igor-esque voice of Riff Raff, and sang "Time Warp" well. His makeup, however, hid his facial expressions, which was a shame since Lockaton is a fine actor, having done a lot of physical comedy in the Oakland's "Bat Boy." Many of the actors' makeup hid their expressions, so you couldn't tell whether they were smiling or grimacing. Geri DeWitt as Dr. Scott did a good job of translating the role from elderly male to elderly female, riding around the set on a motorized scooter, and later stripteasing for the crowd. And Joki translated the loneliness of Dr. Frank, which brings heart to an otherwise absurd story.
Some technical problems occurred. Microphones cut out or were static-y because of the elaborate costumes. The spotlight had trouble hitting its mark, distracting from the otherwise poignant song "Once In A While." The Oakland balanced songs, dancing, set design and costumes very well with the superb "Reefer Madness," but this production didn't mix those elements as well.
So, die-hards, beware. If you want to have fun in a cult-film setting, attend the midnight shows. First-timers, try and see both the stage show and film showing of Rocky Horror. Getting the complete experience is the only way to become a true fan of this unique piece of cult history.
