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| Rocky Horror Show
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| Times
Staff Photo/Heather S. Hughes ROCK N' ROLL: Eddie, played by Christopher Robin, hugs a swooning Columbia, played by Tara Leigh Moore, while rehearsing "The Rocky Horror Show." |
"It's astounding;
Time is fleeting;
Madness takes its toll.
But listen closely ... "
"The Rocky Horror Show," the summer smash hit for the Elden Street Players, blasts through the narrow, dense clouds of safe musical productions with a vigor, enthusiasm and magical spirit that is deftly set into motion under the superb direction of Todd C. Huse. The Industrial Strength Theatre may be on its way to Jupiter now, but it should be back in time for its next show that includes performances on Thursday and Sunday dates as well as two extra shows on the following Saturdays at that Rockyish midnight hour.
"The Rocky Horror Show" as presented in 2001 is a continuing work in progress achieved by its cult status from its famous midnight movie shows, with audience participation matching the on-screen action. For Elden Street Players on this night, the audience was a mix of the costumed, more normal theater-goers and a few surprised souls who arrived to find out the show was sold out.
With a bag of props, including a deliciously shedding boa, and our set of lines rehearsed at home to the movie so they could be shouted out at the proper dramatic moment, we were ready to take our seats.
Todd Huse is all over "The Rocky Horror Show." His love of the rock musical genre bounces off the black box theater walls with every word spoken and every note played. Huse's "Rocky Horror" is faithful to the movie and the Broadway stage production, but he has skillfully applied his original twists to the creative mix and has built that around as fine a complete ensemble assembled for an area show.
Producer Rich Klare also serves as the technical director and with Huse and a large group of volunteers along with set designer Shawn Paul Evans have put together a complex stage set that turns the house into the "Frankenstein Place." Huse is a director that likes to make sure the story is not lost in the music. His passion for detail and crisp timing gives us a show that delivers a solid, full two hours of entertainment.
J. Michael Eric d'Haviland is a majestic Dr. Frank'n'furter. He captures the essence of the memorable Tim Curry role on celluloid. And he captures the amoral decadence of the role, while oozing a sly sweetness in his gestures and voice.
Arron Rothbart is a delicious Riff Raff--a show favorite. Rothbart can send shivers down your spine when he appears early in the first act upstairs in the castle with his first words in song, "The darkness must go down the river of night's dreaming. Flow morpohia slow, let the sun and light come streaming into my life."
Rothbart teams with Molly Hicks, who plays Magenta, with memorable authority. The two remain in character throughout, giving a sense of on-stage bonding that adds to the show's richness. Hicks unleashes a sensuality that never lets go, with a beautiful voice to match.
Tara Leigh Moore, as Columbia, joins Hicks in an equally impressive stage cohesiveness to keep the tightness of the ensemble glued together. She and Hicks open the show with "Science Fiction Double Feature," done with irrepressible enthusiasm. Later, Moore lights the stage with her own sparks (and sultry voice) when she slithers down the stage of the "Floorshow."
David Savolaine is as thorough a Brad as I could imagine. He stammers, he stumbles and wears his hose well. Oh, he can sing, too. Savolaine is an anchor for keeping the show in balance and on course.
Shannon Dunne re-creates the Susan Sarandon role with an alluring innocence and sexuality that pours from her experience at the hands of the Frank'n'furter influence.
"Touch-a Touch-a Touch Me" is her calling card, and Dunne looks as comfortable and vulnerable as one should singing in their underwear--a great song at the beginning of the second act.
James Vaughn brings us a Rocky that is everything Frank'n'furter wanted when he created a man, and his stage authority and attitude highlight his acting and singing. Vaughn gives a professional sensibility to an amazing production.
You won't forget the wheelchair performance of John Bordeaux as Dr. Scott. He adds the vigor of wheel choreography, which would be the envy of many actors working with their feet. His change to a German accent is seamless and convincing.
Forest Rawls has choreographed a tight show for his Phantoms and the cast. It stays well within their talents, while adding to the show a motion that helps to keep the story moving along. His presence on the stage is a strength that cannot be overlooked as he interacts with the group. Sara Brunow, Amber Shirley and Brendan Ranson Walsh stand out with their relentless weaving in and out of the story.
The lighting design by Les Zidel is the most adventurous this reviewer has seen on a community theater stage. Clicking seamlessly on more than 240 light cues, Zidel achieves an eerie cast to the show and actors that never falters or brings undue attention to his art. That must be a good feeling--to design a show that defies the normal capabilities of the house system and then have it succeed.
It was a classic touch by Huse to have the band form the backdrop to the stage--set across the breadth of the rear wall. In costume and in touch with the music, Samantha Whitesides, as musical director, and Conspiracy Theory, the band, were a vital element of the show.
My only comment is that I would hope that Huse and Whitesides would let the band kick it up a notch or two to release more of the energy of the rock music. That would raise the level of energy another 50 percent.
Costume design by Judy Whelihan is superb and racy--just the way we like to find it in "The Rocky Horror Show." Makeup and hair design by Hyman is wild and fun, and kudos to the cast for managing it themselves once they were taught by Hyman and her assistants Sherry Santana and Craig Braquet. Sound was the only technical area that offered any detractions. The wireless mikes kept dropping from the actors' ears with all the stage action, and, as a result, a couple of songs were sung without the stage sound.
Elden Street Players has done it again. They've thrown down the gauntlet to the other community groups--the artistic challenge to all who may place limits on what volunteer theater can add to the creative experience. Their friends and families may have doubts about the commitment required, but that is what it takes when you want to "thrill me, chill me, fulfill me." Elden Street Players did all of that and more.
Critic's Note: Three weeks of research, interviews and rehearsal for last week's Weekender cover story on "The Rocky Horror Show" has unavoidably taken from the objectivity I strive for when doing theater reviews. I know too much and lack the spontaneity of seeing the finished production for the first time.
That doesn't take away my critic's eye or my theater standards. The last rehearsal I attended was 12 days before the show I saw. I did not see a full run-through with all costumes, finished makeup, the complete stage set or the final changes until Saturday night.
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