I was introduced to The Rocky Horror Show as a Freshman at Rutgers University in the Fall of 1975. Some friends and I ventured to the downtown Art Cinema movie house in New Brunswick, NJ to catch a midnight showing of the soon-to-be cult classic. The film was strange, sexually charged, and tuneful, with some very good performances by Tim Curry, Barry Botswick and Susan Saradon. The real entertainment, however, was the audience participation. It seemed everyone in the theater knew when it was the proper time to yell bon mots at the screen. For example, whenever the narrator appeared, people would yell out “No neck.” The actor playing the part did not have much of a neck. Watching the movie was also an interactive experience. At the beginning, when Brad and Janet are lost in a rainstorm seeking shelter, the audience would break out their flashlights to shine around the theater. At the wedding scene…you guessed it - people threw rice.
I preface my review with these remembrances from almost 50 years ago as a way to illustrate how theatrical productions nowadays - Rocky Horror did begin as a stage musical - are rather tame in comparison to when it had a mystique and cultish glow to it. The show eventually came to network TV, then cable, VHS, DVD, streaming, etc. The film and stage show are now commonplace. The shock value is gone. You see worse escapades on family-oriented television shows. The interactive nature of the show? The current production at the Music Theatre of Connecticut states on their website - "For the safety of the live actors and other audience members, bringing or throwing props is NOT permitted." The audience participation factor, which can be the most fun? At the press night performance, one young, brave woman gamely chimed in, at least through Act I, and then gave up probably since she was the only one letting fly the humorous call outs.
Director Kevin Connors states in his program notes - "Rocky Horror is Rocky Horror, and we have framed our production with a collective love of this classic cult Icon." The result is a mostly entertaining musical that neither offends or shocks.
The plot centers on chaste Brad and Janet, newly engaged, but stranded in the middle of nowhere when their car breaks down. They stumble through a rainstorm to the castle of Dr. Frank ‘N’ Furter, an alien transvestite from the planet Transsexual in the galaxy of Transylvania. Seeking to call for roadside assistance, the lovers, instead become unwilling witnesses to the Dr.’s experiment to create an Adonis-like humanoid to satiate his sexual desires. Abetted by a motley group of henchmen and women, Dr. Furter achieves his goal, which sets off a unique number of sexual pairings with the various principles. And this is only Act I. Act II…I have always believed the librettist, Richard O’Brien, who also wrote the score, didn’t really know how to end the show, which makes the second half a bit muddled. Suffice it to say, there is death. There is destruction. And Brad and Janet do escape, a little more worldly than when they entered the realm of Dr. Frank ‘N’ Furter.
The songs by Mr. O’Brien, primarily in the beginning of the show, are well-crafted gems. Director O’Connor puts an amusing spin on the opening, “Science Fiction Double Feature.” The other notable songs in Act I include the silly “Damn It Janet;” the crowd pleasing, “The Time Warp;” and the energetic rock ‘n roller, “Hot Patootie.” As with the book, the songs in Act II are more middling than memorable. All of the numbers receive spirited backing by the six-piece band, which can occasionally overpower the singers.
The cast, guided with a tongue-in-cheek quality by Mr. O’Connor, is game for the shenanigans required for the show to succeed. Justin Johnston gives the requisite Frank ‘N’ Furter sneer and sexual bravado to the role. Michael Luongo is agreeably annoying as the straight-laced Brad. While radiating a degree of innocence and wholesomeness, Skye Gillespie’s Janet also has a mischievous streak that finely rounds out her character. Longtime MTC performer John Treacy Egan contributes two fine performances, as rocker Eddie, and the righteous scientist Dr. Scott. Domenic Servidio would make Charles Atlas proud, delivering a muscular portrayal of the brawny Rocky.
Director Kevin O’Connor provides the musical with naughtiness and good-natured charm. He incorporates a few choreographed flourishes by Chris McNiff, most noticeably in “The Time Warp.” The costumes, designed by Diane Vanderkroef, are suitably risque, with fishnet stockings being the article of choice. Sean Sanford’s Scenic Design is lo-tech and comes across as makeshift, which adds to the weird, wacky and far-out nature of the show.
The Rocky Horror Show, playing at The Music Theater of Connecticut through April 8. Click here for dates, times, and ticket information.
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