Bucks County Playhouse presents Richard O’Brien’s The Rocky Horror Show

50 years of Rocky Horror

This year’s show coincides with the 50th anniversary of the movie based on the London musical that premiered in 1973 (both starring Curry). The story follows newly engaged couple Brad (Jordan Bollwerk) and Janet (Natalie Welch), who seek refuge at a castle during a storm.

There they meet the sexiest Victorian home-owner possible, Dr. Frank 'N' Furter, and his house staff, Igor-esque Riff Raff (Tim Shea), Glamazon Magenta (Alyssa Wray), and tap-dancing Columbia (Madeline Benoit). Throughout the night, they are seduced by Frank 'N' Furter and his man-childish creation, Rocky (Skyler Shields), who challenge their concepts of sexuality and relationships.

The script lovingly embraces B-movie film tropes including the Gothic haunted house (1959’s House on Haunted Hill), the highly dramatic, uber-glam villain (like Flash Gordon’s Ming the Merciless, 1954-55), the insane mad scientist (1933’s Doctor X), and the sexual awakening of the 1970s horror-flick heroine.

During the pandemic, I became obsessed with the script's dedication to inverting gender roles, accepting the queer community, and celebrating open sexual expression for all genders. The film opens with Brad and Janet listening to Nixon's resignation, and this script's embrace of the sexual “other” during charged political climates remains relevant today.

The spirit of camp, sex, and charisma

This production boasts a stacked cast. Any performers dedicated to the spirit of camp, improvisation, and audience participation can mount The Rocky Horror Show, but the talented Bucks County Playhouse cast shines as they cater to their highly enthusiastic audience. On opening night, Grande fired back at salacious audience comments by saying "You must be from New Hope."

The show features a range of showbiz veterans, including a hilariously plummy Patrick Richwood (Pretty Woman and The Princess Diaries), strong rock vibratos from Shea (national tours for Rock of Ages and School of Rock), and the bold, full-bodied voice of Wray (American Idol). Benoit brings dance talent including stints with Knicks City Dancers and The Marvelous Mrs. Maisel, and Stanley Martin (Broadway’s Aladdin) brings a hip-swinging Elvis-esque cameo. Welch, who doubles as dance captain, adds high falsettos to soulful vocals from Bollwerk and Shields.

Because I had no familiarity with Grande’s acting oeuvre beyond occasional pop-culture appearances, I had low expectations. But he blew me away. From his entrance in "Sweet Transvestite" to his final bows during the audience dance-a-long, he oozes sexuality, star power, and charisma, working the room with ease. And that goes for the entire cast: Bollwerk impressively works the stage during his solo, while Richwood is an ongoing narratorial delight. (I see why BSR critic Josh Herren enjoyed the production in 2023.)

Shea and Welch remain impressively in character throughout, even when on the sidelines. During the audience dance-a-long, Welch remains at peak Janet for each go-round, and Wray’s throaty vocals kills. The show isn’t perfect—sometimes Wray and Grande’s facial reactions are a little two-dimensional at the start, and Shields isn’t as flexible a dancer during “The Floor Show”.

Gender-bending design

Kudos to director Hunter Foster for updating the script with numerous sight gags and contemporary references, including an electronic house lock sound on the castle, the narrator’s dance cue sign, and a busker tip jar. Costumer Nicole Moody gives Frank 'N' Furter an awesome codpiece, bedazzled corset, and amazing Pucci-esque lab house coat. The unisex pink corsets in "Floor Show" match with the slightly grotesque yet asexual face masks, driving the gender-bending theme home. Likewise, lighting designer Travis McHale’s usage of pink and blue lights during Frank 'N' Furter's seductive shadow play further emphasize gender subversion. High five to J. Jared Janas for hair, wig, and makeup design.

Don’t dream it. Be it.

This 50-year-old show still speaks to me. O’Brien’s decision to kill or remove all the transsexual Transylvanians at the conclusion seems to replicate social fears. The lyrics smartly address gender identity when Frank ‘N’ Furter sings about wanting to dress like King Kong actor Fay Wray: “That delicate satin-draped frame \ ...How I started to cry \ ’Cause I wanted to be dressed just the same.” Like the song says, “Don't Dream it. Be it.”

So get your ticket and enjoy acceptance of all genders, sexual identities, creeds, nationalities, and species (Transylvanian Transsexual or other). Since Bucks County Playhouse will not be staging this production next year, drive your motorcycles and spaceships to New Hope now.