The premise of Richard O'Brien's “The Rocky Horror Show” is splendidly cheesy and accommodates a good amount of sexual kitsch. The stage version premiered in 1973, followed shortly thereafter by the 1975 film, which probably coined the term “cult classic”.
The film has its own monopoly on extra fun, encouraging audiences to hitch in with costumes and interludes that accentuate every little bit of raunchy wit they’ll muster. But Rocky Horror was born for the stage, and when done right, the musical absolutely oozes a delicious wildness that the film can't even come near matching.
In this regard, the City Lights Theater Company got it right. My goodness, did they really get it right?
Under the elegant and complicated direction of director Amber Smith and Stephanie Staszak's sizzling choreography, the troupe pulls off a story of sexual passion. From the very starting, every ounce of energy, skill, wit and wisdom radiates out of this thing like a laser.
The show is a success with every audience, from those that appreciate the sexual liberation and gender fluidity of the story's raunchy elements to those that just wish to rock out and shake their butts. The trials and travails of Doctor Frank-N-Furter (Bart Perry), who makes toys for boys as a occupation with various degrees of success, are each hilarious and have gentle power ballads at their core.
It only takes a number of seconds to know that this show goes to pack a bloody wilderness punch, due to absolutely the strength of Chloë Angst as a B-movie tribute singing Usherette, who later emerges with diva-like skills because the incestuous Magenta. Shortly after, a few dapper guys from the Fifties are brought into the world – Brad Majors (Ethan Glasman), a man as white as his name, and his loyal, stuffy girlfriend Janet Weiss (Gwynnevere Cristobal).
They flatter one another, always profess their love for one another, and every little thing is so wonderful until a broken-down automotive forces Brad and Janet right into a spooky mansion inhabited by a bunch of strange people, including Magenta, her accomplice Columbia (Alycia Adame), and the sinister, cheeky bouncer Riff-Raff (Kit Wilder on opening weekend). It's not long before things go completely uncontrolled, due to the creation of the show's title character, Rocky (Will Patrick), who shakes things up with a brand latest libido able to rock.
Ultimately, the sassy hot dog doc's downfall comes after an altercation with Doctor Everett Scott (Matt Regan), but not before putting on a really odd show where everyone wears lingerie and feels great, until they don't.
What makes this production so exciting is its freshness and vibrancy. Every classic number is a success, with a fascinating energy that shakes the old theater constructing to its foundations. Even in a brand new interpretation of a task like that of the Narrator, taken on by veteran performer Karen DeHart, her playful charisma, twinkling eye and sharp commands offer something latest and fresh, especially within the cheeky little interactions with the famous, spontaneous audience calls.
From start to complete, the performances are viral and daring. Every production of “Rocky” begins and ends with cute transvestite Frank-N-Furter, and Perry brings him to life. Besides the theme song, his versions of “I Can Make You a Man” and “I'm Going Home” are unforgettable.
That freshness even offers something exciting within the finale. Glasman's comedy in “Once in a While,” through which a gradual stream of photos appear in Brad's outfit, manifests itself in a very human moment marked by Smith's direction. Brad and Janet are close, having traveled up to now, and now living far apart, with sad silk and lace as their only mask.
While the show is a joyful curiosity in its narrative, its technical elements make the production the gloss-fest that it’s. Lonie Fullerton's costumes capture each the liberating sexuality and energy of the Ike era, which provides a robust contrast within the narrative. Ron Gasparenetti's laboratory-like set is the right complement to Carsten Koester's luminous lighting design. And the band smokes greater than Rocky's birthing cell, led by the musical direction of Brian Allan Hobbs and his well-rehearsed band, together with Tina Paulson's vocal coordination.
This production of The Rocky Horror Show definitely suits into the “running instead of walking” category and is just as much fun because the classic late-night double feature. After you've traveled through time with these people, you'll wish to do it again. And again, and again, and again.
“THE ROCKY HORROR SHOW”
Book, music and lyrics by Richard O'Brien, presented by City Lights Theater Company
Through: 25.08.
Where: City Lights Theater, 529 S. Second St., San Jose
Duration: 2 hours with break
Tickets: $38–63; cltc.org
Originally published:
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