Cult classic comes off with panache and quirkiness

by Nancy Sundstrom

Eyebrows were raised a few years ago when Traverse City's Old Town Playhouse announced that itwould be staging "The Rocky Horror Show," the live version of the infamous cult classic film, "The Rocky Horror Picture Show."

As time went by, expectations for RHS also were being raised, primarily based on the general quality of OTP's work during the past few seasons.

When it came to the show's opening last weekend, it was bodies that were being raised, certainly on the stage, but primarily in the audience, as a deliriously happy crowd couldn't wait to jump out of their seats to lavish their appreciation on the fine company of players who bravely took on this project and pulled it off with all the panache and quirkiness that are its trademarks.

The show is one of the most interesting show business phenoms of the past 30 years.

Originally produced in the United Kingdom in the early 1970s, this rock musical by Richard O'Brien was a scramble of campy elements from pop culture of the '50s and '60s, with dashes of drug use, sexual innuendo and classic horror and science fiction themes thrown in for good measure.

It ran for five years then was turned into a film that literally defines the term "cult classic" because of the way audiences across America became interactive participants with it every time it was shown, mainly at midnight.

It is the undisputed king (though some might say queen) of the cults because it is the one film that cannot even be mentioned without discussing the role its fans play in having turned it into a multi-media event.

The film led to a revival on Broadway and other stages around the world, where, just like the movie, it continues to pack them in.

The story has Brad and Janet, a young, straight-laced couple mistakenly wander into a remote castle that houses, among others, the demonic Riff Raff, the morbid maid Magenta, a "sweet transvestite from Transsexual, Transylvania' scientist (Dr. Frank 'n Furter), and Rock Horror, the creature he is trying to bring to life for purposes other than science.

Frank secudes both Brad and Janet as Eddie, groupie Columbia, science teacher Dr. Scott and a criminolist narrator all become part of a plot to transport the castle back in time to Transylvania before it explodes and becomes "lost in space and meaning."

Even given that rudimentary plot synopsis, it should be said that the task of translating Rock Horror from the screen to any stage is a considerable one, but veteran actor-director Bryan Dungjen is buoyed by an exuberant, talented cast, an accomplished production crew and the Rock Horror Band, a quartet of musicians who make the music soar.

All that's left is for the audience to settle in and give themselves over to the nuttiness.

You'll have to leave the lighters, water pistols, toast and toilet paper at home, but OTP has thoughtfully assembled a small kit for sale that allows for some audience interaction; and, of course, if you know any of the continuous non-sequiturs that accompany the actors dialogue, your encouraged to shout them out.

Brett Nichols, who has charmed audiences in numerous OTP musicals, unleases a new range of talents as Frank 'n Furter, a role that could perplex even the most skilled performer.  Nichols lets it rip, and his vocal and general stage command completely pay off.

He's got a swagger in his prancing that gives his character a different edge, making for a bold, memorable portrayal.

Likewise, Jeffery D. Curtis as Riff Raff, Chris Horvath as Rocky, Rob Stow as Brad and Micha E. Thomas as Janet, Sarna Salzman as Magenta and Lesley A. Tye as Columbia are all perfectly cast and up to the heft of their roles.

Whoever would have thought that so many Traverse Citians were just waiting to channel their inner RHS counterparts?

It may not be completely fair to group them all together, but in addition to the considerable individual talents that render each so right for their parts, they ably carry the freight of the ensemble work.  Kudos also to Braden Giacobazzi as Eddie, Al Lien as Dr. Scott and Jim Shultz as the Narrator.  Collectively, everyone makes the show seem as fun as it should be.

And like the cast, it's evident that Dungjen, vocal director Sara Quigley, musical director Rick Buist (who leads that impressive band), set designer Al Thompson, lighting designer Cinder Conlon and costume designer Jeanette Mason have banded together to achieve the high level of technical excellence this show has.

The choreographic work of Nicolle Girard, Cathy Tallman and Tamara DePonio also stands out among the lengthy list of production credits, which reads like a veritable who's who of OTP's best technicians, directors and designers.

The material in RHS may not be suited for all levels of audience, but those who have an inkling of what they're in for should expect to walk out as ebulliently as did the crowds on opening weekend.
The musical runs through March 25th.