REVIEW: The Rocky Horror Show
I hate this musical. But this production is one of the best things I've ever seen.
I was dreading this night. I love theatre, of course, but there are some shows that I would be happy never to see again. The Rocky Horror Show used to be high on that list. I understand why theatres include it in their season; it’s a popular title, especially for casual patrons. But it’s usually so crude and crass and done poorly.
Of course, I loved the version Vincent DeGeorge directed at CCM. That production did its best to mine the stupid plot for something meaningful—and succeeded. But most of the time, “Rocky Horror” productions are mindless, silly, cheap, and a little boring.
I don’t think Eric Byrd, the director of this production, aspires to change the world with this piece. However, he has set a new bar for expectations for musicals in this space, as this is by far the best production I’ve ever seen at The Carnegie. I don’t say this lightly: the first act of this show is flawless, and I gave up trying to find something wrong after intermission. The cast is Broadway quality, from top to bottom, and since each of them is so talented and professional, I won’t single anyone out - except for Dusty Ray Bottoms as “Frank ‘N’ Furter.”
Stunt casting is a gamble. You might draw in some new ticket buyers, but will they be let down? Well, not in this show. Bottoms, a nationally known drag queen, is so good in this show that I sat transfixed by their performance. Every nuanced eye roll, every flick of the wrist, every word out of their mouth was brilliant. And from what I have been told by cast members in the show, he’s been an absolute dream to work with.
For the first time, maybe ever, I heard every word and every note in this cavernous auditorium. Mia Catherine Teboe’s sound design is perfect - I didn’t even think about it during the performance. Steve Goers, the musical director, commands a rocking four-piece band, and the energy from having live music is palpable. Goers is also responsible for the vocal work in this show - and it, too, is impeccable. Some of the notes that these singers hit are mind-blowingly good.
The set design by The Carnegie’s Theatre Director Tyler Gabbard is a work of art. (The video projections he designed are equally professional - and move the story forward.) It all looks very expensive; that’s high praise. The lighting by Julie Cowger is as high quality as you will see anywhere regionally - including the national tours that come through the Aronoff. I was tickled with the costume design by Jeff Shearer, especially the ushers who set the tone of the show during some pre-show atmosphere work. Candace Leyland’s wigs are beautiful and exactly what this show needs.
Did I mention how much I hate this musical? Especially when audience participation is encouraged. For decades, people have been going to midnight showings of the film, throwing things at the screen, and yelling out loud, and the very thought of that makes my head hurt. But somehow, through the brilliant use of the cast of ushers in this show, Byrd made this element so natural that it didn’t bother me. Also, there’s only a minimal chance the cast will single you out during the show - and that’s a huge relief.
(Speaking of participation, The Carnegie is selling $10 goodie bags with props you need if you want to engage in that way. They sold out tonight, so get there early, buy your bag and cocktail, and settle into your seat early to watch the ushers in action.)
The Rocky Horror Show is stupid. It’s bawdy and raw and definitely for mature audiences. Eric Byrd and his entire team lean into this with abandon and somehow also manage to execute a tasteful, beautiful, and wildly entertaining show.
It’s so good that I plan to go back and see it again.
THE ROCKY HORROR SHOW continues for three weekends (with a special midnight showing next Friday). Tickets and more information can be found here.