author: Jake Schwartz
Let’s do the time warp again! But this time, in the 60s! Stand Up for… Theatre returns with their third annual production of Rocky Horror, but this time with a groovy twist! Everything from references to Beach Boys, Scooby Doo gags, Laugh In, to the entire set being painted a yellow floral pattern, director Ed Higgins wanted a 60s feel and he sure got one! Major kudos to Higgins for making the bold choice to take a classic like Rocky Horror, and give his own unique twist on it. I’d say, it worked wonderfully!
The DoodleHATCH space is… challenging to say the least. The acoustics in the space make it very difficult to manage the sound for the show. That being said, Charles Hirsch (sound design) does an excellent job live mixing the show. While there were a few moments of static, it didn’t affect the quality of the production at all – and it was handled swiftly. Lighting by Andrew Vida was creative, dynamic, and matched the 60s theme beautifully. Costumes by Grant Myers were everything you’d expect from Rocky Horror and then some. Some stand out costumes were Frank’s different coats he wears throughout the show, Columbia’s rainbow outfit, Eddie being dressed as a Beach Boy, and Dr. Scott’s… well I won’t spoil it but it got a huge laugh out of me when I saw it.
Lilou Altman returns as the choreographer for the third year in a row, and this is the cleanest and most polished the dancing has been. The 60s theme bleeds into the choreography – specifically in songs like Eddie’s Teddy and Rose Tint my World, adding a boost of energy into the dances. Music Direction by William Zellhofer was fantastic as usual. Songs were clean, clear, and had a beautiful sound. “Eddie’s Teddy” and “Sweet Transvestite” were some personal favorites. Special shoutout to the pit, who brought so much energy to the show – Darius Ray on Tenor Sax, Jeff Leitch on Guitar, Kevin Jones on Bass, and Winfield Clasing on Drums. They were conducted skillfully by William Zellhofer, who was on Keyboard simultaneously. It would be so easy for the live pit to overpower the actors in that space, but they navigated the balance very well.
Director and Set Designer Ed Higgins told me after the show that he had been planning to have a 60s theme for the past year, and it really shows. A lot of care and detail went into all of the subtleties in this show. From the trap doors on the walls for actors to pop out of, to the type of microphone he has Brad use in act 2, to a… certain moment with dolls that I think you need to see for yourself – Higgins obviously put his heart in this show and it really shows. The 60s theme really allows the actors to ham up their performances, and give some subtle adlibs – which is a risk that definitely paid off. These actors were so high energy and larger than life, you couldn’t help but dance around in your seat.
Dr. Scott, played hilariously by Chris Pence, may have been a smaller role – but Pence really makes the most of his time onstage. Pence’s comedic reactions to everything going on around him was a real treat to watch. Even as a phantom, every moment he was onstage he was engaging. He was able to create many noticeable moments throughout the show that will make you laugh out loud if you are able to catch them.
Tate Erickson plays the Beach Boy version of Eddie, trading in the leather jacket for a Hawaiian Shirt and motorcycle for a skateboard. While I really enjoyed Eddie’s chemistry with Columbia (played wonderfully by Lucy Blumberg), the song “Hot Patootie” fell a little bit flat for me. Compared to the rest of the show it seemed lower energy. That being said, Eddie’s cameo in Act 2 was an enjoyable and fun surprise that made use of the trapdoors very nicely.
As soon as Ricky Vitanovec and Lorilei Kahn step on stage together as Riff Raff and Magenta you know you’re in for a treat. Vocally, they both do an excellent job. Riff Raff’s solo in “Over at the Frankenstein’s Place” is hauntingly beautiful, and Kahn does a fantastic job with the challenging vocals in “Science Fiction/Double Feature” (and its reprise!) The two of them have some of the strongest stage chemistry I’ve ever seen, they were basically connected at the hip the entire show. And when I say connected… I literally mean connected. Vitanovec’s acting also deserves a special shout out, truly it was Broadway level.
Playing the Narrator, Landi Rodriguez struts on the stage donning a Beetlejuice inspired outfit and Brooklyn inspired accent. Rodriguez gives a very grounded and naturalistic approach to the character – which unfortunately clashes with the rest of the cast’s over the top performances. This caused the Narrator to read as low energy for a good portion of the show.
A true standout: David Valderrama completely owns the titular role of Rocky. From the second Valderrama bursts on the scene, you hear his beautiful tenor belt in “The Sword of Damocles.” Seriously, I think Valderrama took every single opt up that he could and it sounded fantastic. His ability to be so over the top and commit to the absurdity of the character was a joy to watch. His interactions with the rest of the cast were hilarious, especially his scene with Janet in Act 2. Valderrama is clearly having the time of his life, and you can’t help but have a good time watching him do his thing.
Kristin Demers plays such a dynamic version of Janet Weiss, that by the end it’s like she’s playing a different character. Demers’ has a lovely voice, with a very solid belt and sensational lower register. It’s difficult to pick out a standout vocal moment for her because there are so many, but if I had to pick – her solo in “I Can Make You a Man (Reprise)” was such a powerful sound I need to mention it. At the same time we can’t overlook her acting. Her emoting was excellent, and you could clearly tell what Janet was feeling at any moment. Her chemistry and comedic bits with Brad, like the pronunciation of her last name – were absolutely hilarious.
I have a confession to make: I don’t like the character Brad. I think he’s an asshole. And I think the character can be a little boring. But oh man, Sean Hogan gives the performance of a lifetime as Brad Majors. Everything about Hogan’s performance, from his hilarious reactions to everything going on around him, to his beautiful singing voice, to his character growth throughout the show – it was thrilling. Watching Brad’s transition from the beginning of the show to the end of the show was incredible, and it was really nice to see Brad relax and let his hair down, literally, by the end of the show. Another confession: “Once in a While” is normally my least favorite song in the show, which, I know that’s a sentiment shared by many. However, major props need to go to Higgins’ staging and small changes he made to the song, especially its ending. Turning the song from a depressing ballad into a jam session with Brad was a genius way of keeping the energy of the show up in a part that normally sucks the energy away. And the ending of the song… I won’t spoil it but it’s possibly one of the most humorous and creative endings to a song in a musical I’ve ever seen. This performance is genuinely the gold standard of what a Brad Majors performance should be, paying homage to Barry Bostwick while still making the role your own.
And of course – for the third year in a row, Bryan Brown completely embodies Frank N’ Furter. Brown completely disappears into the role, and from the second he shows up on stage you realize that it’s his show now. Brown doesn’t try to do an impersonation of Tim Curry, he does his own thing with the role – and it’s captivating from the start. His adlibs, quips, and subtle interactions with the audience are to die for. Vocally, Brown has this role mastered. “Sweet Transvestite” and “I’m Going Home” were highlights that had people on their feet cheering by the end of those songs. Brown hams his performance up to an 11 – whether it’s him calling a time-out on dying or taking an entire minute to faint, his commitment to absurdity makes his portrayal of Frank so engaging that you can’t take your eyes off of him. Brown’s portrayal of Frank really is the glue that makes the show come together. Watching him play Frank N’ Furter is like watching a master at work, and he deserves all the praise that’s coming his way.
I’m out of my head! Hurry or the show may end! You only have 3 more chances to see the classic Rocky Horror at Stand Up for… Theatre. Don’t miss it!
Running Time: Approximately 1 hour and 50 minutes with one intermission
Rocky Horror Show plays through October 26th 2024 with Stand Up For…Theatre at DoodleHATCH— 8775 Cloudleap Court in Columbia, MD. Tickets are available for purchase at the door or in advance online.
