Chris Tsujiuchi on redefining Frank 'N' Furter as transcendent

Photos by Marco Ovando

11 Sep 2019


Chris Tsujiuchi has us shivering in anticipation. After his work in Unravelled, Parade, Box 4901 and Onegin, his starring role in The Rocky Horror Show intrigues and excites. And as the iconic character Frank 'N' Furter is wont to do, we have no doubts that Tsujiuchi will seduce audiences as well as Brad and Janet. Even though he is busy in rehearsal, as well as prep for multiple other projects, Tsujiuchi took the time to answer some email questions about this step in his multi-faceted career.

Drew Rowsome: We’ve seen you on cabaret stages, in theatre, and behind a keyboard in musical productions, how does it feel to be the lead in a big production on a large stage?

Chris Tsujiuchi: It’s terrifying, but in the best possible way. Three years ago, I participated in a six day bike ride from Toronto to Montreal. When I registered for that ride, I felt a very similar fear; you know that there’s going to be a long journey ahead, but that at the end there will also be a lot of learning, and growth, and a version of you that’s still you, but even better than present you.

Rocky Horror was a pivotal film/stage show for many queer kids. When did you first encounter it and what was its effect on you?

Chris Tsujiuchi: The first time I saw the movie was at a summer theatre camp when I was 16. However, I didn’t fall in love with it until I graduated from college. Rocky Horror was the first show I music directed out of school.

How did you come to be cast as Frank 'N' Furter? How gruelling was the audition process?

Chris Tsujiuchi: It was a pretty standard audition process for a musical. We were asked to prepare and sing two songs (with cuts), there was a dance call, and then there were callbacks where we read and sang for specific roles in the show. I wouldn’t say it was “gruelling,” but auditions are always extremely nerve-racking for me, even when there are friendly faces on the panel. This is also the first book musical I’ve done as a performer in quite some time.

How difficult is it to not imitate or react against or pay homage to Tim Curry's iconic performance and costume? Laverne Cox, Nathaniel Bacon and Dan Chameroy all took a mix and match approach, what is yours?

Chris Tsujiuchi: I’m not really interested in doing the Tim Curry version of the character, or the Laverne Cox, Nathaniel Bacon or Dan Chameroy version. Don’t get me wrong, I think that all of those interpretations of Frank were wonderful for all sorts of reasons, but here’s the thing: Frank ’N’ Furter as a role is wide open for interpretation, because he’s an alien from outer space. There’s plenty of room for play and individuality within the role. I’d like my approach to be to inject as much of my own personality into this part as I can, because I think it will result in a much more truthful performance.

You referred on Facebook to making some "wackadoo acting/vocal choices" during the first read through/sing through. How much room do you have to experiment?

Chris Tsujiuchi: Hahaha! Yes, I’m a pretty wackadoo person, so there were some wackadoo choices. We have a lot of room to experiment and make offers and discoveries in rehearsal, which is great.

How are you redefining Frank-N-Furter? How is your notorious sense of humour manifesting in the rehearsal process?

Chris Tsujiuchi: I make the cast laugh a lot in rehearsal, yes it’s true. As far as redefining Frank goes, I’ve never seen an Asian Frank before, or a fat Frank for that matter - and I say "fat" in the most body-positive possible way. I love my big, strong body and all the things it’s capable of. All of the characters in Rocky Horror are drawn to/attracted to Frank in some way, and big, Asian man bodies are pretty much never portrayed as attractive or sexy in art, or the mainstream media. I’d like this rendition of Frank to challenge that. I think that in some ways, my playing this part is, before I’ve even sung a note a huge redefinition of the character, as well as a redefinition of what is or can be sexy.

Every Halloween there are sing-a-longs and stage productions of Rocky Horror, many of which are cover versions. Will this production treat it as a sacred text or as a reinterpretation?

Chris Tsujiuchi: Definitely a reinterpretation. Our director, Jennifer Walls had shared her inspirations for the show as Drag meets Gaga meets Twin Peaks in its presentation. The text will remain the same - with room for improvisation and audience participation of course - but we’re not reinventing the wheel, just infusing it with elements that have had a big big impact on pop culture that were clearly inspired by Rocky Horror in the first place.

Director Jennifer Walls is an intriguing talent based on her work on Heathers for Hart House and Just Call Me Lady with Mandy Goodhandy. How is she approaching Rocky Horror? You two have worked together at Club 120, how does it feel to have a different playpen?

Chris Tsujiuchi: Yes, Jeni and I have worked together in many capacities: at Statlers, 120 Diner, I music directed her all Alanis Morissette show Jagged Little Me . . . in fact, Jeni played Magenta in that first production of Rocky Horror I music directed after college! The best thing about Hart House as a “playpen” is that neither of us have to be producers on top of our respective roles as actor and director. Usually when we’re putting something up, we’re self producing, so to have the support and resources of Hart House Theatre’s wonderful staff to help us, as well as the wonderful creative team Jeni has assembled, is truly a gift.

Hart House does have a lot of resources in terms of sets, costumes, lighting and sound design. How spectacular (or intimate) will this production be?

Chris Tsujiuchi: Without giving too much away, it’s going to be spectacular in the truest sense of the word. Kathleen Black’s costumes alone are going to be worth the price of admission.

The show utilizes Nate Bitton as a "Fight & Intimacy Director," an intriguing twofer. Where has his direction been the most helpful?

Chris Tsujiuchi: I haven’t been in any fight calls in rehearsal yet, but his guidance as intimacy director has been extremely helpful during the staging of the “don’t dream it, be it” section of the show, as well as the, um, top of act two. (If you know what I mean, then you know what I mean.)

Choreographer Stephan Dickson was the assistant choreographer on the Stratford Festival's Rocky Horror. Is this his chance to show up Donna Feore?

Chris Tsujiuchi: No, it’s my chance to show up Dan Chameroy! I’m just kidding of course. I’d really like to work with Donna Feore at some point in my career, so I’m not gonna spill any tea/throw any shade. Stephan Dickson is a beautiful human being, and an excellent choreographer, and I hope I can do justice to his vision for this piece.

Who is more fun to seduce, William Mackenzie as Brad or Katie Miller as Janet? Or Chiano Panth (Into the Woods, West Side Story) as Rocky?

Chris Tsujiuchi: Chiano and I have known each other the longest, so I’m most comfortable seducing him I’d say.

Which songs from the show would you add to your cabaret work and why?

Chris Tsujiuchi: "I’m Going Home" has the most wiggle room lyrically for re-interpretation. Lyrics like “I’ve seen blue skies through the tears in my eyes” could apply to so many situations in my own life.

Which song are you most looking forward to belting out onstage?

Chris Tsujiuchi: The answer to this question has changed several times already in rehearsal. I can’t choose!

After so many gigs musical directing with finesse, energy and precision, are you able to resist conducting the band?

Chris Tsujiuchi: It’s easy when one is trying to remember all of one’s lines, blocking, and choreography to leave the band in Giustin MacLean’s more than capable hands.

There is a tempest in a teapot controversy over Rocky Horror and its misuse of the words "transvestite" and "transsexual." Will this production address that? Did you feel you had to address it? 

Chris Tsujiuchi: There has been an ongoing conversation about this in rehearsal. And Jeni recently did an interview with dailyhive.com that I’m just going to lift a quote from, as it explains what we’re trying to do better than I ever could with my own words. “In this production We’re inviting audiences to rethink the definition of the 'trans' as 'transcendent' rather than 'transitional' in the context of our story. We feel like this changes the character of Frank 'N' Furter and doesn't come at the expense of personal identity or orientation. Our goal is to tell a story that follows the journey of a being from a planet of transcendent beings who comes to earth in search of the connection they lack (as well as the understanding of human emotion which he also comes to learn) and in the process, opens the minds of conservative Brad and Janet's and challenges them to rethink their ideas of who they are versus who society has made them believe they should be.”

There is a whole section on the Hart House website on "Rocky Etiquette." Do you have any fears about being upstaged by Frank-N-Furter/musical theatre wannabes? Hit by toast?

Chris Tsujiuchi: Being hit by toast would be pretty terrifying - I’m off carbs at the moment. But seriously, as long as I’m the one with the microphone, I’m not worried. My entire career as a cabaret performer has prepared me for the run of this show, and I think the audience is in good hands. But please don’t throw toast.

After you've wowed audiences with your Frank 'N' Furter, where else will we be able to get a fix of Chris Tsujiuchi in the future?

Chris Tsujiuchi: October 25th and 26th at the Al Green Theatre, I will be music directing Urinetown for Toronto Musical Concerts. November 21st, I’ll be at 120 Diner with Tash Buckeridge (and some surprise special guests!). December 5th, 6th and 7th I will be at Buddies in Bad Times Theatre starring in my big, gay, holiday spectacle A Very Chris-terical Christmas Cabaret!