Open Circle Theater's The Rocky Horror Show: Earning The 'R' Rating

Richard O'Brien's Rocky Horror Show is now such a ubiquitous part of our culture, that we often take its celebration of alternative lifestyles for granted. It is easy to forget that without Rocky, the various sub-cultures we now see everywhere (e.g. - polyamory, furry, cosplay, fanfic, BDSM) would be as closeted as Brad Majors and Janet Weiss, our protagonists, are at the beginning of their story.

It is easy to forget that Rocky first came to prominence in England not because it provided ample space for wiseass shout-outs aimed at the performers (all of that happened after the leaden pacing of the Hollywood movie caused it to flop at the box office). Instead, it came to prominence for three reasons, which are addressed and updated in Open Circle Theater's production of The Rocky Horror Show currently running in Belltown. Specifically, they are as follows: 1) rock and roll; 2) the portrayal of the culture clash that took place when 1950s conservative values met the alternative lifestyles that were emerging in the 1970s; 3) it was produced not in large venues, but small, run down, derelict and nearly abandoned performance spaces.

This last is important because the show thrives under an in-your-face approach; the audience has to be just as shocked and discomfited by the proceedings at Dr. Frank N. Furter's chateau as Brad and Janet, our paragons of square, timid and safe values. This is much harder to do when the performance is taking place in a large and comfortable venue, where the stage feels remote and far away (as evidenced by the recent production of Rocky at the 5th Avenue Theater, Nick "Saving Grace" Garrison aside). OCT's intimate, 70-seat theater provides a perfect setting for the voyeuristic thrill ride.

There's barely enough room for the set, the 15 actors (including four dancers) and the 4 piece rock band (drums, bass, guitar and theremin) on the stage. As a result, all of that energy has no place to go except right at the audience, often quite literally. Director Gary Zinter embraces and takes advantage of OCT's intimate space to great effect; using the audience to amplify the resultant discomfort. This is used to comedic effect during the pre-show tableau as Magenta (Terri Weagant) harasses "VIPs" in the audience, or during "Once In A While," Brad's showstopper of a song during Act II. No matter how open one is to life's experiences, this production will eventually make you squirm and enjoy it.

Foremost among Zinter's successes is the manner in which he updates the material. To put things in perspective, the movie Rocky Horror Picture Show came out the during the same year as The Apple Dumpling Gang and Shampoo. While the source material may have been campily jostling boundaries in 1975, it is absolutely tame by today's standard. By mining the play's nihilist roots Zinter takes a big risk; as a result, Rocky, a 38 year old musical, feels relevant for the first time in a long time.

This production takes a dark turn during "The Time Warp," treads thematic water for the first act, and gets progressively darker and darker during the second act. Its graphic, amoral sexuality is hilariously and unapologetically frank; there is an overwhelming and enjoyable amount of skin on display from both genders (yes, this is topped by equal opportunity nudity); for these and other reasons, the show is for mature audiences only.

What's truly surprising is how coherent and speedy the stage experience is compared to the movie -- one finds that there's no reason for all of the shout out jokes created for the movie going experience. The dialogue and the situations are funny enough on their own.

(NOTE TO LONG TIME ROCKY FANS: The producers ask that you keep the items you normally bring to an RHPS movie outing at home, and, on a personal note, while that gag you've memorized is funny at the movies, it is utterly distracting at the theater.)

The music also comes in for some revamping, going with a punk, post-punk and new wave ethic. All in all the arrangements are well done, but the musical aspect presents one of the few problems in the production: The band's volume is too loud, particularly during the first act. It often overwhelms the vocals of most cast members, who are already having some trouble because there are a limited number of microphones. The music rocks, but it would have been nice to hear more of the lyrics.

This is by far the biggest complaint to be had with the show, though there are other niggles. For example, the set design (and size of the venue) does not provide enough space for even the most rudimentary non-functioning video panel system which plays an important role in the plot machinations of the second act. Ultimately, they don't detract too much from the experience.

The production boasts an attractive cast, greatly accentuated by the skimpy, form fitting clothing they are required to wear (the production was designed by Rodney Shrader, seemingly intent to match Zinter's transgressions every inch of the way).

Among the stand-outs: Jenrenee Paulson and Christine DiTolvo's deadpan splitting up the narrator duties. Terri Weagant, one of the singers who is able to be heard above the band, gives a delightfully scheming turn as Magenta. Joan Jankowski nearly walks off with the evening as Dr. Scott. Monica Wulzen and Tadd Morgan do an outstanding job of being both audience surrogates and providing comic relief in the midst of all the perversion.

Josh Hartvigson, however, owns the role of Frank N Furter. His entrance in stiletto heels, crotchless fishnet stockings and a form fitting leather bustier, as he proceeds to blow the roof off the joint with "Sweet Transvestite" will not soon be forgotten. This is Hartvigson's most self-assured performance in Seattle, and it is refreshing to see.

Considering Open Circle's recent announcement regarding its financial misfortunes, it is important that they come out swinging with a strong showing to prove they are willing to fight for their survival (similar to Intiman and All My Sons). Zinter, who is also OCT's Artistic Director, delivers. This is a smart and savvy production that is unafraid to be provocative, titillating, off-putting and daring. Rocky will put his company on a lot of people's map, and will hopefully turn their fortunes around.

Fridays and Saturdays at 7:30 p.m., Sundays at 4:00 p.m. (new shows have been added, see OCT's calendar for full details) through April 16 // Open Circle Theater, 2222 2nd Avenue // $18 - $20, tickets available at Brown Paper Tickets