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| Rocky Horror Show
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Brad and Janet are coming to town!
"Rocky Horror" saw its first performance at The Royal Court Theatre Upstairs in London on June 16, 1973. On August 3, 2001, the show will return from its alien hiatus when audiences at The Industrial Strength Theatre in Herndon will see the Washington-area community theater premiere presented by the Elden Street Players. Ten days out, the show's 16 performances are 75 percent sold out--one might stop reading now and call the box office at 703-481-5930. "Rocky Horror" could possibly sell out the three-week run after this weekend's opening performances.
Lisa Kurtz Sutton tells the story of "Rocky Horror" on one of the many "Rocky Horror" Web sites. Go to any Internet search engine and type in the title, then say goodbye to the world as we know it for a few hours.
Sutton recounts that Rocky Horror began as a small production in England, warmly received by critics and audience alike. The play, a musical, was written by Richard O'Brien. This former cheese farmer in New Zealand had moved back to his native London to resume acting when he created the vehicle for a future cult-like following. Originally titled "They Came From Denton High," interest in a movie production brought us the name "The Rocky Horror Show."
The play found its story and backbone in a combination of grade-B horror movies, Steve Reeves muscle flicks and 1950s rock 'n' roll. It starred O'Brien as a maniacal handyman named Riff-Raff, and another Hair alumnus, Tim Curry, in the leading role as Dr. Frank-N-Furter, the kinky scientist who creates "Rocky Horror", his personal perfect man.
Rocky's storyline focuses on an unworldly, young American couple and their adventures during a singularly ill-fated evening. After facing a blowout on a deserted highway on a rainy November evening, Brad Majors and Janet Weiss seek refuge at a nearby castle, hoping to receive the assistance that their plight requires. Instead, they encounter the unexpected: an alien mad scientist from Transsexual Transylvania on the evening of the unveiling of his greatest creation--the blonde, muscle-bound "Rocky Horror". The fun continues from there in is this raucous, irreverent, bawdy, fast-paced rock-n-roll musical.
"The Rocky Horror Picture Show" (the movie name) had its American theatrical debut September 24, 1975. The film was dying rapidly at the box office, nearly ready to be buried in the film archives of celluloid losers, when it received a creative infusion from desperate promoters. They made it a midnight movie, starting in New York City.
Within weeks, "The Rocky Horror Picture Show" was also playing at several other theaters throughout the country at the midnight hour. The audience continued to grow steadily as they began to develop a special relationship with the movie. Singing along, dancing, wearing show look-alike costumes of favorite characters and props to use during the show sprang forth as groups of regulars developed loyalty to their "Rocky Horror" heroes wherever it played. By the end of 1977, "Rocky Horror" had seen its own creation evolve into a loud and boisterous come-as-you-are party where anything could--and often did--happen. The act of calling (let's say, shouting) back to the screen clever (or just dirty) words and phrases became the norm for a most non-normal movie showing.
"Rocky Horror" and Elden Street Players' Todd Huse loves a good rock-n- roll show. He likes to work with shows that are fresh and new and just plain isn't looking to do another "Oklahoma."
"I want to be a part of a show that has good music, a story to be told and a fresh viewpoint," said Huse before a recent rehearsal of "The Rocky Horror Show." For four years he presented to the board of the Elden Street Players the desire to direct the stage version of the movie cult sensation.
Not often done on an amateur stage, the rights had not been available for purchase--that is until January 2000, when Elden Street made its offer to buy the rights for their summer 2001 musical. In August, 2000 Richard O'Brien, the show's writer, creator and Riff Raff signed the agreement.
There was a scare when the group heard the "Rocky Horror" was headed to Broadway, when they feared a pulling of the amateur rights. No such concern was necessary, as they learned that all agreements are as strong as Richard O'Brien's personal approval.
Richard Klare, who has produced the last five musicals for Elden Street, including the award-winning "Tommy", was named the producer. He named Huse as the director, the same role he had with "Tommy." Completing the Tommy connection was Forest Rawls III, joining the team as the choreographer.
As the producer and the Elden Street Players' board representative in the show, Klare has overseen the money, budget, coordinated the backstage activities and has served as the overall project manager. "That means I take the trash to the dumpster if I have to," said Klare.
Klare, who, like most of the others on the Elden Street team, works a full-time job in the daylight hours. "I hope people understand that we are a 100 percent volunteer organization," said Klare last week.
"My goal for Rocky Horror is that we are going to tell the story," said Huse, while preparing for a full run-through of the show. Huse considers himself lucky to have found the band Conspiracy Theory, which brings musical director Samantha Whitesides into the mix. "Rocky Horror didn't show up with music," said Huse when asked about the biggest challenge faced by the theater team.
"We got a piano score without any of the other parts for the other instruments, and no harmonies." That meant many extra hours for Huse and Whitesides as they updated the show to Broadway and scored the missing parts.
Then Huse tackled the set with designer Shawn P. Evans, with whom worked in previous years during the summer at the Theater at Lime Kiln in Lexington, Virginia. Evans now serves as the technical director for the University of Virginia's drama department. Evans brought to Elden Street the first experience of metal in set design and the welding that comes with it. With that goes grinding and smoothing the rough edges, making it safe for the actors. Huse can now add this talent to his skills of the theater.
When looking at the costumes of Judy Whelihan, there is a surprising bit of trivia shared by Huse regarding the lingerie that had to be purchased. When they went to the area stores, one served as the best source for the Rocky Horror actors: Sears. I knew those catalogs in my puberty years had some merit.
Les Zidel has been working on the light design for three months. This has been the most ambitious show ever attempted by Elden Street said Zidel at his position in the middle of the theater for a rehearsal. They have 70 lights with 240 lighting cues that have to be programmed. "Light design can't be about ego," said Zidel. The lights can't overwhelm the production. "My goal is to resist temptation and focus attention where the director wants it."
Zidel pointed out that when the theater was built 15 years ago, a hoist for moving equipment was included. Never used before, the winch has its debut in "Rocky Horror" when the box holding the creation of Frank-N-Furter, Rocky, is lowered onto the stage. Then it is moved away at intermission. Don't worry if you notice that the decibel level inside the theater increases dramatically during the box's lowering. It's noisy and you'll hear music instead. The cable may look thin, but each of the four is rated to hold the weight of the box by themselves.
Actor Molly Hicks plays the role of Magenta, the sultry usherette/maid in the show. By day she is sales manager at the Sierra Suites in Chantilly; for the next three weeks she has defined her goals on stage. "I am privileged to be playing Magenta," said Hicks. "So many good actors were at the auditions that did not get this part. I want to give the best, craziest, most daring Magenta possible for the Elden Street show." She first saw herself as Janet, but realized that she had the facial features and freedom of expression to get the most from the Magenta character. Her biggest challenge has been to let her classically trained (Peabody Conservatory of Music) voice sing with a rock-n-roll soul.
Shannon Dunne, when asked if had time to talk before a rehearsal last week, said, "Well, yes--as long as you don't hang up on me." Her quick wit combined with her mischievous smile blew right by me. I was left mumbling something about not hanging up on her, even though we weren't on the phone.
Dunne, a dancer/performer with two local companies, Momentum Dance Theatre and the Cat Scratch Theatre, said she actually prepared for her audition for the role of Janet--something she doesn't usually do. For her audition number, she performed Summertime, a sexy, jazzy Summertime. "Then you realize at the end, now you're in it," said Dunne. She said her grandmothers will come to see the play, but doesn't think her grandfather will attend.
"He's just doesn't want to see me dance in my underwear," Dunne said.
Forest Rawls III really didn't know that much about Rocky Horror before accepting the choreographer challenge. "Now I've seen it 18,000 times," said Rawls last week. "We've been preparing since last August," said Rawls as he sat in the theater before a rehearsal. He explained that until the cast is set, he doesn't do any fixed choreography. "I always dance in the plays I choreograph," he said explaining his style. "I have to work with each of the players and get a feel for their own dance level." He can then set the dance steps to the caliber of the troupe. After having the talent and the space they are working with, Rawls' goal is to make sure "everyone makes it their own." "You have to feel comfortable on stage," Rawls said.
James Vaughn is Rocky. He didn't always want to be Rocky and he definitely didn't want to be a blonde, like the movie version of Rocky. All it took to finish convincing him was what had been started by Forest Rawls and Rich Klare was for him: to see the Broadway Rocky. There was not a blonde hair on that Rocky's muscular body.
Vaughn, who is the director of government and politics for America OnLine in Dulles, said a group of 18 would be coming from work to see the play. His biggest investment in research was hiring a personal trainer to make sure he had the muscles and body tone to match the Rocky character. "I've spent some money on protein powders and on tanning for this role," said Vaughn as he contemplated the possibility of his beach visit as a tax deduction. This is an all-volunteer theater.
Well, it's all coming together. As you read these words, the final rehearsals are taking place before the Friday night opening. In the spirit of the movie, Elden Street has added a show on the middle two Saturdays--at midnight! The actors are moving into place and you have just a few days to get your own costumes ready--you are coming dressed aren't you? I'll be there as Brad (wishing I could be Riff Raff) and my wife will be there to do the Magenta thing.
So before you go let's do the time-warp again:
"It's just a jump to the left. And then a step to the right. With your hands on your hips. You bring your knees in tight. But it's the pelvic thrust That really drives you insane."
Now don't be afraid just "Be it!"
A prop bag is being sold for $5 to benefit the Herndon High School Drama Group.
Taking a cue from the current Broadway production, Elden Street Players wants to make sure that the actors aren't in danger from any of the items used in audience participation. "Celluloid" is not the same as "live" theater and the use of water and hard objects would make the stage unsafe.
For "Rocky Horror," the stage literally comes up to the knees of the people sitting in the front row - brave souls that they will be.
The prop bag may include the following:
Feather Boa
Light Source
Confetti
A Playing Card
Noisemaker
A set of instructions (at no extra charge)
What: Richard O'Brien's The Rocky Horror Show
Who: Elden Street Players
Where: The Industrial Strength Theatre, 269 Sunset Park Drive, Herndon
Tel: 703-481-5930
Performances: August 3, 4, 5 at 7 p.m.; 9, 10, 11 (two shows--8 p.m. is sold
out, second show is at midnight); 12 at 7 p.m.; 16, 17, 18 (two shows--8 p.m. is
sold out, second show is at midnight); 19 at 7 p.m.; 23, 24, 25. Curtain is at 8
p.m. except for the dates noted.
Tickets: $15 for general, $13 for seniors/students.
Visit www.eldenstreetplayers.org online for more information.
With many potential sell-outs, one should note that the theater will release all unclaimed tickets at curtain for waiting list.
This play contains mature themes not suitable for children.
The Elden Street Players' "The Rocky Horror Show"
Producer: Richard Klare
Director: Todd C. Huse
Music direction: Samantha Whitesides
Choreographer: Forest Rawls III
Set design: Shawn P. Evans
Light design: Les Zidel
Costume design: Judy Welihan
Sound design: Marty Rosenfeld
Stage managers: Angie Anderson and Leslie Peterson assisted by Jessica Armstrong
The cast:
Usherette/Magenta: Molly Hicks
Usherette/Columbia: Tara Leigh Moore
Brad Majors: David Savolaine
Janet Weiss: Shannon Dunne
Narrator: Richard Hildebrand
Dr. Frank 'n' Furter: J. Michael d'Haviland
Riff Raff: Aaron Rothbart
Rocky: James Vaughn
Eddie: Christopher Robin
Dr. Everett Scott: John Bordeaux
The Phantoms: Lydia Anderson, Kimberly Booker, Sara Brunow, Chris Galindo, Brendan Ranson-Walsh, Forest Rawls and Amber Shirley
Music performed by: Conspiracy Theory
Editor's note: Some of the text contained within this section is intended for an adult audience and may not be appropriate for children.
Don't get offended at "The Rocky Horror Show" if someone walks up to you in the entryway into The Industrial Strength Theatre and asks you, "Are you a virgin?" Just know that you are a virgin, if you are someone who has never seen The Rocky Horror Show. And we don't mean the video either. But it's all OK! No one will think any less of you.
At the end of the night you grow into a neophyte, and nobody really cares about that. The key to a good time for virgins at "Rocky Horror" is to relax and enjoy the flow--let's hope the coat and tie have already been lost and the lingerie is very special.
Nobody is going to think any less of you if you just sit back and chill. Before you know it, you'll know more than you ever really wanted to.
The first rule is not to find an audience participation script and try to memorize it. Get one from the Internet--that's alright--but don't get too hung up on knowing every phrase. You can't do it.
For your first show, just go and listen. Hey, go to a few more shows and you'll be slinging the call-backs freely, or maybe even making up a few of your own. Here are a couple of freebies that anyone can learn.
 | Every time you hear Janet's name, yell out "slut." |
| Then when you hear Brad, it's proper to yell "asshole." |
| Now here are a couple of more that are bound to get a laugh or two: When Eddie begins singing his song near the end of the first act, he says this line: "Whatever happened to Saturday night?" That's when you jump in and yell, "You ate it!" You and I may be the only two that say that one. |
| One of my favorites that is thrown out in rehearsal is when Dr. Scott
says, "I happen to know a great deal about a lot of things." Now it's your turn, "Do you know how to walk?" |
So finally, what to do on the day of your ticket to the show. It's best to skip work before a performance. Get a little sleep. Then drink a thermos of coffee. Dress in a bit of lingerie. Practice putting a newspaper over your head. Review the four call-backs I just gave you.
Remember: relax, it's all going to be OK.
"Don't dream it, be it."
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