Market Theatre "Rocky Horror" a Time Warp

Greg Wilson/Anderson Observer REVIEW

The Market Theatre kicked off a Halloween offering this weekend, with “The Rocky Horror Show,” a mixture of horror, science-fiction and sexual coming of age story intended exclusively for an adult audience. This one is not for the kids.

The show is based on the movie of the same name which debuted in London in 1973 as a sendup of corny sci-fi films from the 1950s, the same fare “Mystery Science Theater” later tackled on cable television (which did not feature a transvestite host).

There is an intentional camp aesthetic of the early 70s, something you will either embrace or reject early on, and one which the crowd at the Market Theatre enthusiastically embraced even before the stage lights came up.

At least part of this was due to the optional audience participation kit and a cheat sheet providing the audience with retorts to shout every time certain characters' names were mentioned or in response to a variety of phrases welded into the stage play.

For those familiar with the film, and if you are interested in the stage play it is quite likely you remember the midnight showings of the movie in the mid-1970s, promoted with creepy newspaper ads and often the only time many local theaters became a smoky place of contact highs from the marijuana smoke from those attracted to the film.

More than a few of those from that generation were mixed in with the 20/30 somethings at the Market Theatre production Saturday night, singing and shouting with glee throughout the show.

The movie, the launching pad for Tim Curry’s career, features expanded musical numbers, and more complete character storylines, and the luxury of more extensive visuals not available to stage productions.

The play offers a much more personal show, with more audience participation, perhaps one of the big attractions to the show for those who are fans of the experience. 

The storyline, set in the sci-fi framework, is one of sexual identity and gender identity driven by the most recognizable character, the sexually fluid transvestite scientist Dr. Frank-N-Furter, Jonathan “Thor” Raines in the Market Theatre production. 

Raines channels the Tim Curry camp energy at full throttle, with a snarky energy that drives most of the play’s narrative.

His vocals and performance have to be good to compete with the distractions of fishnet tights, black lipstick and ability to walk in very high heels, hitting the middle of the target.

There is a lot of fun in the performances of his alien sidekicks, Riff Raff (Aaron Pennington and Magenta (Lindy McCoy), especially in the finale. Both are appropriately looney in their evil laugh performances.

Likewise, the alcohol-swilling narrator (Libby Pennington) glides in and out to keep the story moving. The original script featured a Vincent Price-like character sitting in an armchair reading the story from a book. Pennington seems to be both bored and happy to tell the tale, which works.

Alex Poteat is Mott The Hoople glam as Rocky, a gold/glittery and wide-eyed Frankenstein.

Meanwhile the couple who kick off the play, Brad (Absalon Richardson) and Janet (Taylor Baxley) as the literally and psychically lost engaged couple bring life to the roles with a different spin, although they capture the intended wild-eyed innocence of the couple well. Baxley vocals are strong, and both actors jump into the increasingly quirky roles with relish.

The cast is huge. Abbey Sullivan as Frank’s groupie/servant Columbia delivers some of the best lines off on her transvestite master dripping with anger before losing herself to his wiles.

Andrew Collins as a Meatloaf-like rock singer who lost it all to this space balls group makes the most of the only real rock song in the show. But it is in his other role as the wheelchair ridden former Nazi madman Dr. Scott that Collins brings even more fun, especially in getting his wheelchair on stage.

But it is the Phantoms and their anthems and choreography (led by Kristopher Parker) that steal the show. The numbers are lively and creative, and the Phantoms bring a jaunty attitude, kinetic movement and abundant talent to the dance numbers and songs which feature the harmonies.

The members of this group - Savannah Brown, Mimi Massey, Lilly Schuchart, Olivia Tippett, and Gigi Wain – give an already over-the-top show a special visual punch. 

Of course, the signature “Time Warp,” kicks things off with perhaps the most entertaining number of the show. But the almost sentimental contrast toward the end of “I’m Going Home,” offers sweet harmonies that tone down the snark of the rest of the play.

Director Drew Whitley keeps the frenetic pace moving, a feat for such a play, while costume designer Kelsey Crews and her assistants Cassondra Lloyd and Andrea Seemuller must have put in some long nights putting together so many excellent layered and unusual costumes.

For seasoned fans of the movie, this event will be the perfect night for you. I encourage those unfamiliar with the story to watch the movie first to have a smoother experience.

“The Rocky Horror Show” runs through Nov. 2 at the Market Theatre. Tickets here.