The Rocky Horror Show: the exuberant joy of multiple sexualities
7 Oct 2019

by Drew Rowsome -

Hot patootie, bless my soul, The Rocky Horror Show is a rollicking good time. The energy, glitter and vocal chops that have been lavished on this production elevates it beyond a recreation of the beloved and well-known source material. Perhaps too well-known. Screenings of the film gained notoriety, and a second life, with audience participation. This production of The Rocky Horror Show has decided to embrace that tradition - minus the tossing of objects and water pistols - with ambiguous results. This audience is not expected to "sit back."

While it would have been a wonderful evening just experiencing the performances without the momentum killing shout outs from the audience, the cast is also prepared and their retorts are often the funniest moments. One almost wondered if there were plants in the audience rather than just sad attention-seeking wannabes who know all the interactive lines and want to make sure everyone knows they know. Regardless, extra kudos to a hardworking cast who kept on track despite the interruptions - a film just keeps rolling obliviously but a stage production is vulnerable - and a few technical glitches.

All the elements that made the original a classic are there, with the addition of a much looser and explicit view of sexuality. Bisexuality, queerness and crossdressing just aren't shocking any more. Apparently neither are anal probes and deep throating. That is a good thing, and made for some very charming moments when Brad and Janet are seduced/awakened.

The other big change is Chris Tsuijuchi (Unravelled, Parade, Box 4901, Onegin) as Frank-N-Furter. Subverting expectations in favour of talent pays off big time. From the moment that Tsuijuchi makes a dramatic diva entrance, he owns the stage. This Frank-N-Furter is sensually grounded in confidence, style and powerful vocals. And the rendition of "I'm Going Home" takes its cue from Charles Aznavour's "What Makes a Man" achieving an emotional heft that shakes the theatre. Tsuijuchi removes his make-up, undoes his elaborate hairdo and doffs his protective finery to stand, symbolically stripped naked, in a leotard and tears. It is extraordinary. And no-one, no-one, dared shout out through their own tears.

The costumes by Kathleen Black are a mix and match of fetish, fun and glamour. And there are a lot of them, a fresh surprise seemingly every number. Director Jennifer Walls (Heathers: The Musical, Just Call Me Lady) also takes full advantage of the camp factor and Charles Ludlam would be delighted to have a disciple of her skill. Just because a show is self-aware and vaguely reverential to its groundbreaking source, doesn't mean it can't be outrageously funny and exuberant. Even the set, all Warhol silver and gleaming, is studded with pink triangles that occasionally catch the light and give a harsh reminder that we didn't get to this sexual freedom without paying a harsh price.

The cast is uniformly slick and fine-voiced if hampered by an erratic sound system. Katie Miller (Hair) and William Mackenzie (Hair) take Janet and Brad from naive repressed innocence to enthusiastic embracing of their sexuality, with Mackenzie even gamely turning a cute pink dildo into a microphone and several sight gags. Ian Backstrom's Riff Raff is sinisterly subservient until he opens his mouth, his first peek-a-boo entrance rivals Tsujiuchi's with showstopping vocals. Becka Jay (Heathers: The Musical) is a sweetly vulnerable Columbia who makes the entire evening about her heartbreak over rejection. Rachel Hart does double duty as the Usherette who belts a new and riveting take on the opening number "Science Fiction/Double Feature," and a gangly vengeful Magenta. Unfortunately Aaron Cadesky as Eddie is dispatched, by stiletto, far too soon. There is nothing like a deep voiced sexy bad boy.

Chiano Panth (West Side Story, Into the Woods) is physically and acrobatically breathtaking, muscles on etched muscles, as Rocky. He projects such an adorable innocence that one wishes that his big number, "The Sword of Damocles," hadn't been hampered by the aforementioned sound problems. He more than makes up for it in the "Floor Show" proving he is far more than eye candy. All of the Phantoms deserve accolades for multiple characterizations and pulsating and undulating non-stop through Stephan Dickson's perpetual motion choreography, doubling as prop movers, film-goers and even puppeteers. But Heidi Michelle Thomas (Hairspray, Legally Blonde) as the gradually soused Narrator, tucks the show under her arm and strides away with it. Imperious and statuesque while vivisecting hecklers with ease, even her costume changes are comic moments climaxing in a burlesque inspired number that even Cher would not dare to flaunt. And might not wear quite as brazenly well.

This production doesn't solve Rocky Horror's problematic ending where sexual awakenings and liberation ultimately lead to disaster, but it is fabulous fun getting there. And before we can ponder the mixed message, we are all exhorted to "do the Time Warp again." And the whole audience dances in the aisles, just a jump to the left.