Review: Crown Uptown’s ‘Rocky Horror Show’ demented fun

Not enough people seem to remember the shout-back responses to “The Rocky Horror Show” to make the Crown Uptown’s 40th anniversary revival of the stage version a real audience participation romp like the good old/bad old days. Perhaps an overhead screen flashing the appropriate phrases – like subtitles – would help.

But that doesn’t mean the cult musical by British rocker Richard O’Brien – as directed by Christi Moore – isn’t a triumph of gaudy, outrageous, eye-popping proportions. The show that gave the world the “Time Warp” dance craze with its twin messages of “Don’t dream it, be it” and “Give yourself over to absolute pleasure” is still a satirically silly, sometimes dementedly sexy and often hilarious creepfest.

It’s obviously not for the faint of heart – or children. But after all these years, it’s not really shocking. It’s just deliciously subversive as a send-up of old 1950s sci-fi and horror movies as well as complacent suburbia and smug middle-class morality. The show, with its rousing rock ‘n’ roll heart, keeps aging like fine wine.

The key to Crown’s success is Monte Wheeler coming back for his fifth time as cross-dressing mad scientist Dr. Frank N. Furter, whose pieced-together monster is the titular Rocky Horror. Wheeler, who has won best actor awards both in Wichita and Minneapolis/St. Paul for this role, pays homage to the original stage and movie Frank – Tim Curry – without copying him slavishly.

Cavorting provocatively and strutting dangerously in black corset, fishnet stockings and thigh-high boots, Wheeler stalks the stage like a time bomb threatening to go off at any second. His breathy speaking voice – two parts Marilyn Monroe and one part Darth Vader – oils its way through every shade of mock sincerity, from charming purr to menacing growl. And his singing travels a roller coaster from basso profundo to rock-god screech.

Best of all, Wheeler, with flashing glares and curling sneers, is hilarious at all the key moments. When he crows that “in just seven days, I can make you a man,” you just know he’s got more than science in mind.

Maurice Sims, who also choreographed lively – and sometimes cartoonishly creepy – movements along with the famous “Time Warp” number, plays Rocky Horror. The comic irony, of course, is that Rocky is a handsome muscular hunk rather than a clunking, scary monster. With Sims’ casting, Rocky is also black for the first time, which doesn’t change the dynamic but does make Rocky more distinctive.

Sims, also dressed in skimpy red shorts and high-heeled boots provided by his creator, plays Rocky as the ultimate curious innocent: a baby in a man’s body. Sims is funny and sometimes touching as he copies other characters’ movements, soaking up life experiences like a sponge as fast as he can without actually understanding what he’s doing.

The story deals with Brad and Janet, a young couple who has car trouble one stormy night and seeks shelter in Dr. Frank N. Furter’s creepy home. Dr. Frank welcomes them in with the help of sibling servants Riff Raff the butler and Magenta the maid.

Austin Stang as handsome, stalwart Brad and Janet Wiggins as pretty, sweetly naive Janet have strong singing voices that tickle us with the comically romantic “Dammit, Janet” but also thrill us with the haunting and surprisingly lovely “There’s a Light.” The two are also fearless in throwing themselves into awkward pratfalls – including stripping down to undies – to spoof the leading man and leading lady types they generally play.

Anthony Gasbarre as hunchbacked Riff Raff reaches a little for a few high notes but otherwise has a powerful rock presence as leader of the notorious “Time Warp.” Shannon McMillan as maid Magenta is all bawdy bravado with a red-and-black fright wig both for the “Time Warp” and for backing up heroine Janet’s sexual awakening in “Touch-A Touch-A Touch Me.”

Kyle Gallegos in two distinctly different roles has the right in-your-face voice and attitude for doomed rock star Eddie (“Hot Patootie, Bless My Soul, I Really Love that Rock ‘n’ Roll”) as well as a “Dr. Strangelove” weirdness (minus the nutty accent) as Frank N. Furter’s rival scientist Dr. Scott.

This production with set design by Wheeler and costumes by Dora Arbuckle has a surprisingly chic, color-coordinated elegance even though the look is meant to be spooky. Everything is in red, black and white with lots of sequins, glitter, chandeliers, spiral staircase and faux marble architectural features. It’s more nightclub than circus, and it proves to be a gorgeous playground.

This story was originally published October 11, 2014 at 3:33 PM with the headline "Review: Crown Uptown’s ‘Rocky Horror Show’ demented fun."