BWW Reviews: Bayou City Theatrics' Rocks Richard Obrien's ROCKY HORROR

Sorry y'all. No introduction today. Richard O'Brien's ROCKY HORROR SHOW does not deserve the introduction of a serious artistic venture. If you're surprised, the play's cult classic status should have been a tip-off. The plot and narrative hang on by a thread. The messages about gender and sexuality are confusing and underdeveloped. The ideas are dated. But that's not what this show is about. It's a Halloween show that you take your friends to, get tipsy, then curse and throw things at the people on the stage. On the other hand, I don't drink, I go to bed at 9 pm, and I still had a good time.

Colton Berry creates a fun, fabulous atmosphere with a dripping blood red dominated color scheme, lots of makeup, fishnets, big hair and even bigger sound. Every vocal performance Jane Volke coaches is bold but measured. There are plenty of vocal acrobatics, but she's not afraid to allow a bit of chirpiness or earnestness in the performers. It's a comedy but the characters take themselves seriously. As they should. The band onstage is a nice touch and reinforces the production's cabaret feel.

Tye Blue is beguiling as Dr. Frank'N'Furter. The character just seems to flow from him. He's so at ease on stage. Maybe too much so. This role is not a risk for him, and sometimes it shows. But I nitpick (because that's why you read me). His aeronautic, gospel-tinged vocals and flamboyant personality make him a highlight of the show. Tim Curry's "Sweet Transvestite" creeped me out, but Blue's brought me in and made me crave more.

Speaking of highlights, Hannah Morgen as Riff Raff. Hannah. Hannah. Hannah. She's brilliant in the vocally demanding role despite being a fairly dim character on a stage full of stars. I'm so sad to have missed her in THE LAST FIVE YEARS because she is, ahem, out of this world here, breathing life into old favorites that have become stale like "The Time Warp." I dare you not to dance in your seat to this number. I double dare you.

Christian Quiroga has the perfect vocals for a leading man. His interpretation of "Damn It, Janet" is sensitive and wistful with the touches and qualities that embody Brad's innocence, naivete, and, you know, stupidity.

Derrien Kellum has all the qualities I usually enjoy from her as an actress. She has an uncanny ability to play the frank sexuality of Janet off the innate sweetness and apparent innocence she possesses. This skill is most noticeable in "Touch-a Touch-a Touch Me." Each note she sings has a buoyancy about it, making Janet as adorable as she is dirty. On top of this, her comedic movement and timing are strong. She gets a ton of laughs at midnight on a Friday. And the people in the audience were sober. SOBER.

As the companion (she hates this name) said to me during the show, "Colton Berry outdid himself." Indeed he does. He opens the show as the usherette, strutting in his heels and pacing the stage like a stand-up. His jokes land one after the other and he gets away with some audience participation, sprinkled with the best curse word of all time, better than any show I've seen. As Magenta, he has the perfect amount of scary sexy that the character requires. And I'm definitely jealous that he looks so much better than I do in a dress. Also, that he can walk in heels. Heels are tricky.

Unfortunately, there were mic issues the night I attended. While this did not dampen my enjoyment of the performance, I missed every bit of Heather Hall's performance as Eddie and, when I could hear her, she was talk singing as Dr. Scott. It's a pity. I always, always enjoy Heather Hall. Dr. Scott is a fairly marginal character with very few lines. She acts him capably, but there's not much else for her to do there.

Luke Hamilton's got it and he flaunts it. In gold lamé shorts. Look out Bey. His Rocky is the requisite amount of foxy and inexperienced. However, this is my third (or fourth) time seeing Hamilton act. When he's at his best, he's depending on his movement. Case in point: CHICAGO. His Rocky would have been richer if he had characteristic movements. I'll grant you, this isn't Shakespeare. But I still feel this is one skill he's got that he's not flaunting. This is not to say his performance wasn't swell. But Bayou City Theatrics keep allowing me at shows and granting me interviews, so I know what he's capable of.

Kyle Ezer is well cast as the show's Dick Cavett. At times, he seems a little out of place. But that's the writing. Anytime the characters aren't singing, I'm not interested.

R. "Chibbi" Orduña's Columbia and his character's overblown Spanish accent belong in The Birdcage. Comprende? (Jajaja!) But he does what he does well. He's funny, flexible, and quick. There's a Mexican hat dance and some rapid fire dialogue that will leave you stunned.

A note on the show: I know it's not right. I really do. But this is THE ROCKY HORROR SHOW. Everything about it's wrong. Dr. Frank'N'Furter is some sort of weird, mad scientist rapist, but because he sangs good, we ignore it. We call Janet a slut constantly for liking org*sms. Who doesn't like org*sms? Seriously. So, if these sort of things bother you to the point of annoyance, you might want to stay your a** at home. I say this with the utmost respect and with quite a bit of cheeky humour. Please don't send me emails.

And, the good thing about this show is that even though it's from the past, it isn't stuck in time. You do get to yell at the screen and at the actors, so if you want to change Janet's call out from "Slut!" to "Sexually liberated woman" then go right ahead. I say this with less cheeky humour and more of a straight face. What I mean, in the best wet blanket way possible, is make this show fun for yourself. You have wiggle room. To a point. They're going to say f**ker. A lot. Deal with it.

Second weekend performances (October 30 & 31) have a curtain time of 8:00 pm. Audiences are invited to participate in the full "Rocky Experience" by dressing as their favorite characters, call-out to the live cast, and snag an audience participation grab bag full of goodies to throw at the characters on stage. Don't act a fool people. Try to avoid the casts' eyes.

BCT suggests purchasing advance tickets for $30 at www.BayouCityTheatrics.com to

secure admission to their intimate venue. Tickets will be sold at the door for $35. The Kaleidoscope is located at 705 Main Street, Suite B (entrance on Capitol Street), next door to Flying Saucer. Convenient cash parking is available in BCT's official parking garage, the SAKS garage, located at the corner of Capitol and Fannin.

Photo Credit: Jeff Kellum

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