Review: A Dazzling ROCKY HORROR SHOW Ushers in an Overwhelming Feeling of Love at Jobsite Theater

“I would like- if I may- to take you on a strange journey...”- Narrator

Something we knew we always wanted, but unexpected is how much we would need a show like this. Who’d of thought, Rocky Horror in July? If ever there was a truer testament to the old saying, “If you build it, they will come...,” then that would be none other than Jobsite and their production of Richard O’Brien’s titillating cult behemoth The Rocky Horror Show.

With music, lyrics, and book by Richard O’Brien, The Rocky Horror Show is a humorous romp of a musical that pays homage to B movies of the horror and science fiction genres from the 1930s-60s. The adventures or in this case misadventures of its characters, tells the story of a virginal couple newly engaged on their way home down a dark and stormy road. The couple gets sidelined by a flat tire and in the rain stumble upon the castle of Dr. Frank-N-Furter, and his staff of servants. While attempting to use the phone, the couple (Brad & Janet), are thrust forward into the madness, have a chance encounter with Dr. Frank-N-Furter, meet his new creation Rocky, a Frankenstein-esque creature, a perfect specimen of a man, all the while discovering their true sense of self, and being put on display in front of the likes of Columbia, Magenta, and Riff-Raff.

The show was originally produced by Jim Sharman. It opened at the Royal Theatre in London in June of 1973. Then having traveled to other venues in London, finally closed on September 13, 1980. The show ran in London for 2,960 performances and won the 1973 Evening Standard of Theatre Award for Best Musical.  Despite its success in London and its nine-month run in Los Angeles, the musical premiered on Broadway at the Belasco Theatre, and closed three previews and 45 performances after its transfer. It managed to garner both a Tony nomination and three Drama Desk Nominations.

For our purposes the fine folks at Jobsite Theater under the superb Direction of David Jenkins, have created the perfect moment in time for this show to be staged. As the country is in the heat of Political Discord, and Inflation is at an all-time high, its a welcomed relief that we can be invited to usher in another story into our present worldview. A story that takes us away from the norms of everyday life, and allows us to escape, even if just for two hours. 

To say this cast is stacked is an understatement. Loaded with who’s who of Jobsite and other local regional houses, Jobsite’s The Rocky Horror Show, is a feast for both the eyes and ears. Coupled with stunning, and expressive lighting design by Jo Averill-Snell, working in the closest of company with the visually avant-garde, and sci-fi coupe-de-jour Scenic work from Michael Horn, The Rocky Horror Show is a breathtaking display.

What is it that makes this show so palpable? So exciting, so bizarre, and so special? In part is the music, the characters, and the cult nature of it all. At its heart, however, is the Audience Participation, from the callbacks delivered with the script, to the costumes each audience member dons in hopes of achieving their perfect amalgamation of their favorite character. Rocky, has its fandom, and Tampa was no stranger to the delightfully sinful nature,  and the idea of giving oneself over to “Absolute Pleasure.”

Before the evening began, Producing Artistic Director, David Jenkins, whom normally gives a pre-recorded curtain speech, opted for an in-person to give a run-down of the rules for the performance going forward. Letting everyone know that, unlike the movie where “The screen doesn’t care what happens, and has no say,” this is a Live stage production and one should refrain from throwing anything on the stage, or amongst the audience. Then there is the aforementioned AP (Audience Participation), something the cult-classic is known for. The script itself varies slightly from the film version, and therefore not all the dialogue lines up perfectly with the timing of the known AP. However, he did impart by saying we can absolutely heckle the Narrator about his neck... but don’t touch any of the performers should they make their way through the audience, and they definitely move seamlessly throughout the space.

As Janet Weiss, Noa Friedman is spot-on. Playing into the campy nature of the character and the show, and she is in the moment from start to finish. Her moments with Brad are great to watch, but her sexual awakening, which spawns a superhuman lust in her character is where her genius takes hold. Her rendition of Touch Me, is other-worldly and should be experienced. Her vocal prowess on display here is perfectly harnessed.

Brad Majors, played by Ryan Sturm, in his Buddy Holly-esque sort of demeanor, is the perfect nerdy prince charming. A big solo late in the show, “Once in Awhile,” really shows off his vocal technique. Ryan is always great in any arena, and his character is fully realized here. For me his Brad is portrayed slightly older, especially next to Ms. Friedman’s Janet, but his stage presence allows you to overlook any instance.

Spencer Meyers makes for a formidable Riff Raff. He alway dives head first in any role, and his Riff Raff is no exception. His wide-eyed gaze, and sinister delivery behind every line will make your skin crawl, in all the best ways. His vocals during the “Time Warp,” started softer than I wish to have heard, not so much roaring out of the gate as in most delivery, but soon found its footing and blast-off happened. His moments with Magenta are oozing with perfection and such fun to watch.

Heather Kreuger, as Magenta is masterful. Her vocals are exquisite, and her moment at the top of the show as the Usherette, helps welcome every one into the events of the evening. Heather, always at the top of her game, has some exceptional moments with Riff Raff, and her back and forth with Columbia is wonderful to watch. Heather proves why she is top-tier in the area, and an exceptional performer bar none. It was wonderful to see her in this otherworldly role, and different from her rendition of Janet in 2008, before my time in Tampa, but who some in the audience might remember.

The always exceptional Colleen Cherry, really brings to life the phrase, “...here hold my beer.” Her jaw-dropping vocal range, and her uninhibited nature to throw “balls to the wall,” and go all in proves why she is a standout amongst the fray. She has an unabashed courageous nature about her, that is so infectious, you never want to take your eyes off of her. I whole heartedly agree with my colleague, she is one-of-a kind for no one can do it better than Colleen Cherry.

Mark Wildman is truly a “Charles Atlas-approved,” version of Rocky and a standout here. His vocals are clear and pristine, though I wish they were easier heard in moments like “Sword of Damocles.” His upper body strength, coupled with his acrobatics make for a wonderful spectacle. A welcomed addition to both the Jobsite Family, and our theater community.

Matthew McGee, is the glue holding all of the madness together, as the story’s Narrator. He makes for not only an easy target, especially with the “No Neck,” bit, but he’s so damn likeable, and easy to banter with. No one in the area, proves to be as quick on their feet, or in their moment as smooth, and effective as that of Mr. McGee. If looks could kill, he would put you in your place with the most disapproving of stares. Always in the highest of form, his improv, nonetheless, a masterclass, Matthew McGee is in his element, and we are here for it. A true consummate professional of the highest regard.

Jaryn McCann tackles the roles of Eddie/Dr. Scott, he is so naturally funny, that his portrayal here is a fun joyride of hysteria. His moment as Eddie on a scooter, though brave, doesn’t coincide with the vision of the characters take away. Gone is this idea of James Dean, and instead we are left with what seems like a play-on a playground accident gone gruesomely wrong. In no part is this a flaw in the actor’s performance. Who knows maybe it was the set design, coupled with a Directing choice, but this moment missed the mark. His Dr. Scott, is like an Evangelical Colonel Sanders. The Southern Accent threw me slightly, but a funny portrayal. Jaryn is chocked full of talent that is on display here, from his comedic timing to his impressive vocals, he proves to be right at home in this arena.

As the Phantoms, Katherine Yacko, Jen Casler, William Alejandro Barba, and Jalyn King each have moments to shine throughout the story, and each help bring the story to life with their characters, where each proves to be in the moment from the start.

Finally, last, and certainly not least, the man of the hour who is the epitome of talent, harnessed in the heels of one Clay Christopher as Dr. Frank-N-Furter. The performance he delivers, the sheer magnitude of his presence, looking ten feet tall and bulletproof, Mr. Christopher is not only in command here, but he was destined to don the pearls, step into those heels, and would make Tim Curry very, very proud. He takes the breath away of everyone in the room upon entering, and you hang on every word, every movement, every bit of brilliance delivered ten-fold in his very capable hands. His vocals were delivered in abundance in “Sweet Transvestite,” and if we were allowed to throw anything onstage, all the shoes in the audience would be thrown during his 11 o’clock hour performance of “I’m Going Home,” he’s that damn good. His performance, his humbleness, his veracity, and his courage are the reason we go to the theatre, and you would be doing yourself an incredible disservice if you were to miss this performance. This performance, this moment in time, the unmistakeable brilliance of it all, is the reason the theatre is what it is, why we as patrons continue to go, and why the tradition of experiencing life-changing moments exists.

Having the live band onstage in the middle of the action is always a treat, and for this performance there is no exception. Led by the incomparable Jeremy Douglass, and featuring Elwood Bond on drums, Kenny Walker of bass, and Mark Warren on guitar. Ronnie Dee will blow you away with his talent on the sax.

Katrina Stevenson’s costumes bring to life the classic nods to each character that we have all come to know and love, while adding her own little twist on the twisted nature of the story. Each character harnesses their own unique personality, and they are exceptionally realized here.  Michael Horn’s set design in fully functional and perfectly realized, complete with portals and a coke machine of hidden surprises. All coming together to help cohesively conceptualize the look and feel of the world of these characters. Jo Averill-Snell’s lighting design perfectly compliments the world of the show, and the scenic elements on display here. It always thrills me when the lighting becomes a character all in itself and this is no exception.

Seamlessly, and exquisitely realized in the masterful hands of one David Jenkins at the helm. Jenkins ups the ante here, and proves why Jobsite is the resident theatre company of the Straz Center, and the one place to turn for the slightly bizarre, occasionally freaky, and downright weird, creating the perfect niche in our community. Along with the helpful guidance of Choreographer Alexander Jones, they have created an energy together that is so palpable, you will want to see it again and again. Not in recent memory have I had such a great time in a live theatre setting. You leave your troubles outside, and harness a little bit of weird, even if just for a couple of hours. This reminds me, the show is one of the most blistering, expertly paced two-hours I have experienced in some time.

A credit to the company and brilliance behind the Direction.

Will this production appeal to the masses? Probably not. Does this production have a following? Absolutely. Will just the sheer escapism of it all make for an unforgettable evening? You better believe it! Allow the exquisite company of Jobsite’s The Rocky Horror Show, to “Rose Tint your world, and keep you safe from your trouble and pain,” even if only for a little while. You’ll be mighty glad you made it, for its the company we keep that makes the ride, the journey, the experience that most worthy.

The Rocky Horror Show, plays through August 4th at the Straz Center’s Jaeb Theatre, and tickets are moving swiftly, so secure yours today at www.strazcenter.org.

Disclaimer: Jobsite heartily encourages fans to come in costume and be ready to party! They will sell approved prop kits, so leave your rice at home! Kits are for sale in the lobby for $10, and T-shirts for $25, Cashless payments preferred. Any audience member disrupting the performance at the expense of overall audience enjoyment or the show’s integrity will be asked to leave without a refund.

PHOTO CREDIT: JAMES ZAMBON PHOTOGRAPHY

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