In my first year at Oberlin, the second piece I ever wrote for the Review was titled “Rocky Horror Shows Revived with Love, Laughter, Latex” (Nov. 18, 2022). Since then, attending shadow cast productions of The Rocky Horror Picture Show has been a tradition for me, whether they’re performed by Cleveland-based group Simply His Servants, or the 2022 student production — which was the focus of the piece — at the Dionysus Disco, directed by Sadie Wilson-Voss, OC ’24, and Julia Maskin, OC ’24.
This year, Chair and Professor of Theater Matthew Wright is presenting Richard O’Brien’s The Rocky Horror Show, the 1973 musical which predates the cult classic film. For Wright, this final collegiate directorial project is his “swan song” (“On the Record with Matthew Wright: Actor, Director, Professor,” The Oberlin Review, Sept. 13, 2024). Wright, who saw The Rocky Horror Picture Show for the first time in 1976 — one year after the film’s debut — has put on what can only be described as a masterful production, imbued with love, laughter, and, what lacks in latex is made up for in pink feather boas and sequined sexiness.
The set is refined yet extravagant, characterized by marbled poles detailed with gold and black and a traditional red curtain designating where characters enter and exit, a stonelike projection screen on which the background for scenes are framed, and detailed scaffolding decorating the perimeter of the stage, all evoking an old-school movie theater look. Rather than a pit positioned underneath, the musicians instead sit atop an elevated platform upstage right and a great catwalk protrudes into the audience for the cast to traverse. Needless to say, I was in awe of the utilization of space.
As “Science Fiction/Double Feature” begins, Columbia, played by College fourth-year Nova Gomez, and Magenta, played by College fourth-year Ana Morgan, enter in usherette costumes, boxes filled with popcorn bags suspended over their shoulders. From the get-go, I was blown away by both of their killer vocals. The way their voices blend together and yet contrast one another astounded me throughout the entirety of the show. Alongside the pair were the seven Phantoms, dressed in costumes which I found to be a bit of a let down knowing the playful eroticism traditionally associated with Rocky Horror. All the same, their movements were almost intoxicating as they danced about the stage.
From there, the beginning of the show lacked the fervor I would have expected after such a strong opening number. Granted, I was attending a dress rehearsal, and even while watching the film version I’ve often found it hard to remain engaged before Brad — College second-year Nathan Greeley — and Janet — College third-year Elisabeth Desmond — reach the Frankenstein Place.
For me, the first peak of the show happens at “Time Warp.” The energy is unmatched with Riff Raff’s — College third-year Travis O’Daniel — opening riff and fabulous wig, reminiscent of David Bowie in Labyrinth. The sexual energy between O’Daniel and Morgan — for those who don’t know, the characters are siblings — is palpable as they dance sensually on the edge of the platform and engage in “elbow sex” — if you know, you know. For me, the pair and Gomez rule the production. The subtleties of the trio, and the easter eggs O’Daniel and Morgan implement throughout the musical to insinuate their puppeteering of all that occurs at the Frankenstein Place was a magnificent choice.
“Time Warp,” was so strong, in fact, that the entrance of Frank-N-Furter — double-degree third-year Leo Wurgaft — from behind a glittering curtain was more subdued than the climactic elevator entrance I’ve grown accustomed to at the top of “Sweet Transvestite.” She quickly captivated the audience, however, with a commanding presence that drew all eyes with sensuous confidence and powerful pelvic thrusts. And, as a longtime lover of The Rocky Horror Picture Show, I was enamored with Wurgaft’s homage to Tim Curry’s Frank in the film. This is a performance characterized by flamboyance and camp, and it certainly helps that her hair holds the same curls as the film Frank that audiences know and love. Plus, Wurgaft’s responses to audience call-outs were superbly clever.
The remainder of act one breezes by. The energy is solid throughout the cast and chaos ensues almost as if everyone on stage is building up to an orgasm. It’s no coincidence that the second half of the act is dominated by the spectacular inception of Rocky — College second-year Jacob Fife — the blond poster child of the musical. Not to mention: the grandeur of “Hot Patootie” and Eddie’s — College second-year Ela Carola Shapiro-Alster — breathtaking entrance (and… exit!) upon the intricately detailed motorcycle cutout coupled with the resonance of the saxophone in the rock ballad.
I found Act 2 to be strong, aided by the fact that it opens with one of my favorite songs in Janet’s performance of “Touch-a, Touch-a, Touch-a, Touch Me,” where the clarity of Desmond’s voice brought a perfect contrast between her character’s innocence and profound, growing lust. Following this, I was impressed by Greeley’s solo song in “Once in a While,” a song exclusive to the stage musical. I was grateful to see the two of them shine in these solo moments and truly embody their characters, proving to be stand outs throughout the mayhem of the act.
Really, Act 2 is fun; there’s almost no better word to describe the experience. If I was roused by the ensemble number in “Time Warp,” my expectations were subverted yet again in “Floor Show/Rose Tint My World,” and certainly by Rocky, Brad, Janet, and Columbia being adorned in the aforementioned pink feather boas or the proverbial orgy this song denotes. Of course, Wurgaft’s performance of “I’m Going Home” was beyond moving, an energy I felt throughout the captivated audience. And, my favorite sibling duo returns for an elevated entrance, dressed to the nines in iridescent, alien garb, which rendered me nearly speechless. Lights of cyan, magenta, and yellow aid in the otherworldliness of this moment as O’Daniel and Morgan duet fabulously in “Spaceship.”
What I love most about Rocky Horror, movie and musical, is the personality of the actors which shines through: through dance, through song, through laughter, shrieks, and gasps. To say this show is worth a watch is an understatement, and Wright is to thank for his directorial prowess and his love and care so evident in the musical. There are four more shows: tonight and tomorrow at 7:30 p.m. and two matinees tomorrow and Sunday at 2 p.m. in Hall Auditorium. In the wise words of Frank-N-Furter: “Don’t dream it; be it!”
