By KELLYN MERRELL
A Seat on the Aisle
Richard O’Brien’s The Rocky Horror Show is a scandalous celebration of personhood which first premiered in 1973 before it was adapted into the (cult classic) film in 1975. This campy, indulgent musical is often hailed as a cornerstone of the theatrical world, and for good reason. The portrayal of macabre elements combined with unabashed self-expression and sexual exploration makes this a uniquely human show in many ways.
For those unfamiliar, The Rocky Horror Show is a tale in which a young couple, Brad and Janet, embark on a journey through the rain to meet with their old science teacher, Dr. Everett V. Scott, but instead need to rely on a stranger’s help when things go awry. Soon, the couple is welcomed into the mansion of Frank-n-Furter, where they meet Riff Raff, Columbia, Magenta, and Rocky Horror himself.
I am pleased to say that the atmosphere was distinctive even before the show could begin. Ensemble members (referred to in the program as ‘Phantoms’) scattered the audience with commanding presence, and the programs were made to look like newspapers in the most exquisite example of immersion I’ve seen in a while.
As the show was foreshadowed by an Usherette named Trixie (Gwen Burke), the stage was set with irrevocable excitement. Soon after, we met Brad and Janet (Kelby Herwehe-Schounce and Dezaray Dagey, respectively) and the actors portrayed a love so convincing it was sickeningly sweet. Dagey’s soprano range is clear, and their voices together are wonderfully resonant. Herwehe-Schounce is hilarious and Dagey characteristically coy. I would, however, love to see both actors capitalize more on their debauched devolution.
The Narrator (Broden Irwin) interrupted the proceedings frequently with a distinguished presence which hilariously juxtaposed each scene and forced the audience to re-orient themselves in the world of the story with every abundantly earnest proclamation.
Riff Raff (Logan Laflin) was also a treat, with a pure tone quality to rival his captivating performance. Columbia (Alayna Hope Whitis) had clearly developed her character into a beautifully complete presence onstage, and her voice was one I sincerely hope to hear again. Her range and timbre were incredible, and musically there is nothing to nitpick.
Frank-n-Furter (Bradley Allan Lowe) was lovably charismatic, deliciously evil, and brought sensuality to every scene to induce maximum chemistry between characters. Rocky Horror (Dasean McLucas) also blew me away, as they showcased immaculate range and breath support during difficult physical feats on numerous occasions, proving to be truly multi-talented. Eddie (Jake Carrico) was memorable despite limited stage time thanks to Carrico’s suave confidence.
Dr. Everett V. Scott (Jonathan Ramey) was uniquely funny throughout the second act, and had a consistent character voice (no doubt thanks to Dialect Coach Melissa Bowman). Magenta (Talje Wiersma) was enthralling, hilarious, and killed it when finally given a Time Warp solo. The ghouls were delightfully spooky as they executed powerful choreography by Bryttnei Whitehurst and sang tight harmonies (thanks to musical director Ben Rose).
I would be remiss not to mention this set’s inventive use of revolving doors for quick scene changes. The set decor was overall immersive, and excitingly evocative, thanks to set construction by Kristina Lawyer and scenic painting by Dave Reynolds. Props by Kathy Watson were also perfectly kitschy, and the live band was a phenomenal addition to the talent seen onstage. Tessa Gibbons created a lovely diversity of onstage aesthetics through hair and makeup, and costumes by Tony Sirk were suited well to each member of this wacky ensemble. As always, I love to see an Intimacy Director in the program.
Every provocative motion was gorgeously choreographed in a way that represents relationships between characters but respects each actor’s autonomy. Technical director Bill Miller made this show seamlessly enjoyable with light and sound transitions – my only gripe being that it was often difficult to understand what the actors onstage were saying.
I’d like to extend nothing but gratitude to the show’s co-directors (James H. Williams and Brandon Schultz), producers (Brandi Davis, Molly Kraus, and Teresa Skelton), and Stage Manager (Fran Knapp). This ghastly production is a reverent love letter to the queerness and weirdness we should be celebrating far more often, both in the theatre and outside of it. For anyone looking to get spooky, silly, or a little bit more liberated, the perfect show is lying in wait for you in Westfield.
The Rocky Horror Show continues at Basile Westfield Playhouse through Oct. 4. Information about the schedule and reservations can be found at BasileWestfieldPlayhouse.org.
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