Lipstick, popcorn, sci-fi and sexual innuendoes light up the stage in Richard O’Brian’s culty-campy phenomenon The Rocky Horror Show – which hit Tansill Theater this weekend to massive crowds.
Director Peter Deffett, who helmed last year’s theatrical production of Hair, returned in his role as the director of this play, and it’s debatable to say that he’s surpassed this past achievement with this most recent work.
I won’t use this review to explain the show’s plot like I usually do – because doing that would essentially be a waste of time. The show, or shall I say this thing, doesn’t rely on plot – it is a clever parody of subversive B-movies, science fiction films and other cultural references.
What’s special about the play is that while it is predominately revered and run by a cult of devoted fans, is that it still manages to engage the casual viewer (which was I on Wednesday when I went to the synergetic preview performance).
Here, Peter Deffett demonstrates two talents: 1) putting a piece together and 2) bringing out the energy in his cast. I can only imagine how much they love working with him.
Phillip Barber and Kristin Kerr play the familiar couple, Brad and Janet. Kerr brings a similar sexiness to her performance that Susan Sarandon was famous for in her break out role in 1978’s Rocky Horror film and Barber seems to fit the bill as the nerdy awkward Brad.
Grant Jacoby has a remarkable stage presence, and kills in his role as Frank ‘N’ Furter with flamboyance and accrues authority with his acting. Ryan Cameron is as scary as he is funny as Riff Raff.
Another cast member who shines the hell out of the stage in her debut performance is Kimmie Braunthal, who sings, acts and has a number where she tap dances that is truly electrifying.
The rest of the cast, from ensemble to featured, also seems to bring their full potential.
Tim Golebiewski proves himself to be a master in the art of scenic design – every time he designs a set for one of these productions, it seems that the set itself looks like it belongs on Broadway (which in some productions has even been problematic, because the sets were too good compared to the people occupying the stage: e.g. The Tempest).
The production value displayed here has exceeded some of the previous productions – but the Theater Department has not gone overboard, which is nice for a change.
Sabrina Notarfrancisco has fun dressing her actors in drag and goth; she is able to transcend through the ages. In Rocky Horror, everything fits together appropriately and each nook and cranny helps embellish it in a delightfully technical and aesthetically advanced way.
You want to know what I think of The Rocky Horror Show? I really don’t like it.
Some of the music is awesome, but when I heard “The Time Warp” again, I had chills running down my spine as I remembered the fifth grade when I was first introduced to that song in Health class.
But even though I’m not a fan of the plot or premise, and even though I didn’t understand the jokes or the lines some audience members were calling back, I enjoyed watching it. The actors’ energy invigorated me, and their dancing made me want to get up and dance. They gave me a reminder of how much fun it is to be in a theatrical production – especially a musical.
That may not satisfy you readers out there. The job of a critic is generally to tear apart a play for its flaws, and this show does have several. There are times when the band/orchestra’s loud music overrides the actors’ not-as-loud singing. Spoof, for lack of better word, is probably my least favorite genre.
But the show, whether you’re a Rocky Horror fanatic or a pessimistic critic, is truly a blast. Despite unorthodox origins, it will make you want to sing along, chime in if you know the words or sit the song out if need be – but no matter what, you’ll be having fun, and you’ll be entertained – which is the main reason we see a show in the first place.
On a Connecticut College Camel Rating Scale, out of a Possible Four, I’m going to give The Rocky Horror Picture Show 4 Camels.
