Review: The Rocky Horror Show

Review of the Saturday, March 28, 2006 preview performance at Studio 54 in New York City. A Roundabout Theatre Company production. Starring Luke Evans, Rachel Dratch, Andrew Durand, Amber Gray, Harvey Guillén, Stephanie Hsu, Juliette Lewis, Josh Rivera and Michaela Jaé Rodriguez. Book, music and lyrics by Richard O'Brien. Scenic design by dots. Costume design by David I. Reynoso. Lighting design by Jane Cox. Sound design by Brian Ronan. Intimacy coordinator Ann James. Choreography by Ani Taj. Direction by Sam Pinkleton. 2 hours including one intermission.

I suppose I should note, as director Sam Pinkleton did in his pre-curtain speech, that we saw the third-ever preview of the new Broadway revival of The Rocky Horror Show. A lot may have changed since we saw it nearly a month ago. To be blunt, I hope so. As it stood at the time, it was largely a boring mess of a show.

While I can appreciate the production's desire to return to the stage show's original campy over-the-top silliness and not all that comes along with the more successful cult history of the film, posting signs that say "don't be an asshole" and an essay in The New York Times detailing all the reasons why they don't really want the audience to participate does not foster much good will with audiences. At our performance, people called out with gusto at the start, but as the show progressed, it petered out until there was virtually none. How was this achieved? At first there were small pauses to allow for key lines to be shouted at the cast, then, increasingly, lines were delivered to cut us off until we collectively just gave up. I really enjoyed the 2001 revival, which not only embraced audience participation, they encouraged it! Between the narrator (the legendary Dick Cavett) admonishing us for not being loud enough, and the "props kit" they actually sold at the merch stand, an immersive experience made it a ton of fun. It also helped gloss over the shortcomings of Richard O'Brien's book and score. An interactive experience not only makes it less obvious just how bad it all is, it celebrates it!

A straightforward presentation lets everything show - the good, the bad, the ugly. The good news is that there were a few things that made the evening at least tolerable. First, there is the scenic design by dots, who have added elements to the hallowed walls of Studio 54, with string lights that cast the whole place in sickening green hue. There are long strands of construction ventilation tubing that snake around the walls and over the boxes where the orchestra is seated. This combination of rustic movie palace aesthetic (there is a false proscenium with broken statuary and fancy faded gold framing and a velvet curtain that has seen better days) and Frankenstein's laboratory fit both the framing device and sci-fi movie motif of the show. That said, the scenery revealed behind that curtain is somehow both too much and not enough, cheap looking but not in a purposeful way, but more like they ran out of money. Throughout the house and the entire performance, Jane Cox's lighting design is spot on and evocative, while David I. Reynoso's costume design manages to embrace what we've come to expect, while making it new and fresh. It works especially well in Frank-N-Furter's costumes that successfully distance this new take from the iconic outfits worn by Tim Curry. The most glaring and less successful change is in the costumes designed for Rocky, who now wears a wrestling singlet with dark lines that suggest he was pieced together instead of the provocative Speedo-like garment traditionally worn by the character. The new version is dramatically sound, but leaves one wondering why he isn't a little over the top sexy.

  

Realizing that at the point we saw it, it was still finding its footing, Pinkelton's direction is shocking in its relative conventionality (read: uninspired), there are a few moments that hint at what could have been. The sexual assault scenes between Frank and Brad and Frank and Janet are crazy, and dare I say fun??!! (Kudos to intimacy coordinator Ann James!) And Frank-N-Furter's entrance on a Studio 54 inspired set piece was hilarious and, well, inspired. To be completely honest, I only vaguely recall there being any real choreography (by Ani Taj), so that may be a good or bad thing depending on your point of view - A Chorus Line this isn't. On the other hand, "The Time Warp" should be something I remember vividly, right?

The best part of the evening was (most of) the cast, which included an ensemble of four "phantoms" who occasionally added to the attempted mayhem, but more often than not seemed in the way. Rachel Dratch used her deadpan Rachel Dratch persona to mixed effect as the narrator. One hopes as the run continues, she's allowed to loosen up just a tad and be a little more...Rachel Dratch. As Columbia, one of the assistants, Michaela Jai Rodriguez seems to be struggling with find her place in this, and is not aided at all by the shrill speaking and singing voice she's adopted for this. I was hoping for much more and better. Speaking of which, Harvey Guillén in the dual roles of Eddie and Dr. Scott, in both parts, his affected speaking styles render a good deal of his dialogue unintelligible, and he is the one actor I might say is too over the top. He is trying too hard, and he isn't doing us or himself any favors.

Much more successful is the scenery chewing fun that Juliette Lewis is having as Magenta, another assistant. She is quirky and funny, with just the right amount of danger. Even though she was ailing (her singing voice was a tad shaky), her performance was solid and well on its way to perfection. Similarly, the always amazing Amber Grey was a creepy riot as Riff Raff - loved the blonde braids and the stalking gait. I wish - as I always do with her - that she had more to do. As square peg Janet, Stephanie Hsu grew on me as the performance went on. At first, she seemed to be trying to get her footing, but as Janet became more...interesting, so did she. ("Touch-a, Touch-a, Touch Me" is a highlight.) I can only imagine how great she'll be now. The handsome Andrew Durand was pretty terrific as nerdy Brad, and reminded me of his turn in Head Over Heels as he becomes more aware of his characters' hidden sexuality. Like Hsu, I can only imagine how great he will be by opening night. (Also loved his blink-and-you'll-miss-it Dead Outlaw Easter egg!) As Rocky, Josh Rivera is fine, and does what he can with an under-directed role. He is unrecognizable from his most famous role, Chino in Spielberg's West Side Story.

The find of the production - and the only reason I'd ever consider seeing this again - is the glorious Broadway debut of Luke Evans, who as Frank-N-Furter, leads the company with the very best style and flair of any great leading man. He can sing, dance and deliver the zaniest of lines with such finesse you get lost in his performance. And boy can he make an entrance, which is a great thing since virtually every time he comes into a scene it is a star entrance! And everything you may have heard (or seen) about his finale costume is definitely not fake news! Let us all hope that this is just the first in a long (pardon the pun) line of Broadway performances. Bravo, sir!

More disappointing than satisfying, I had high hopes for a revival of a show I have such fond memories of, and directed by the "fun" director of the day. If only this revival was actually as fun as it could be.

📸: J. Marcus