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| Tim Curry, Kim Milford, Boni Enten. |
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| Abigail Haness, Bill Miller. |
This elaborately staged, deliberately trashy, tacky, and
campy horror movie spoof, reeking of decadence, was staged in a venerable Broadway
theatre where the orchestra seating had been removed so that cabaret chairs and
tables could be placed there and drinks served. It came to New York from a
sensational run at a London Fringe theatre, followed by a hit reception in Los
Angeles. Included in the cast were two of its British stars, Tim Curry and
Richard O’Brien (who wrote the show and was billed as Ritz O’Brien). Broadway
didn't like it, but the show was soon made into a film that, as The Rocky Horror Picture Show, became
one of the greatest cult movie successes of all time, with people (often wearing costumes and makeup) jamming
special midnight showings for years.
A painfully loud rock score satirically redolent of the
1950s supported a story (called “simpleminded” by Martin Gottfried,
and “mindless” by T.E. Kalem) about a pair of innocent young newlyweds (Bill
Miller and Abigale Haness) who seek help at the gothic castle of Dr. Frank N.
Furter (Curry) when their car breaks down one stormy night in Transylvania. Soon
they are introduced to the bizarre world of this bisexual, transvestite
scientist whose most recent breakthrough turns out to be the resurrection of
Rocky (Kim Milford), a blandly gorgeous young Adonis who goes around dressed
only in brief briefs. Ultimately, young Brad and Janet become the mad doctor’s
sexual playthings, while around them loom other weirdos, like the hunchbacked
servant Riff Raff (O’Brien), and assorted groupies. Playing two roles, Eddie and Dr Scott, was chunky rock star Meat Loaf,
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| Meat Loaf. |
The last part of the show is simply a musical floor show
with little relation to the plot, but in which everyone appears in the
flamboyant costume that posters of Tom Curry (repeating his role in the film
version) made iconic in the 70s: black corsets, black fishnet stockings, high
heels, garter belts, and a garish makeup using black lipstick.
Songs included "Science Fiction," "Over at the Frankenstein Place," "Sweet Transvestite," "Charles Atlas Song," "Whatever Happened to Saturday Night," "Planet Shmanet Janet," and "It Was Great When It All Began," among others.
The Broadway version of the show was far more extravagant
than its British original, which had been done in a crumbling old movie house.
The reasons for turning the Belasco into an uncomfortable cabaret were not clear
to any of the critics. The seedier trappings and staging of the first version
were considered more appropriate, and the glittering sets (with a long runway
into the orchestra) and lights of this staging, though extremely well
done, were unable to overcome the generally tepid responses of the reviewers. It was
felt that the humor was too insistent and heavy, with little evidence of charm
or subtlety.
Curry proved a charismatic performer, often being “very
funny, flashing his eyes like headlamps, tossing his curls roguishly, and
talking in a voice of sugared bile,” as Clive Barnes described it. The only
Tony recognition, though, went to Chipmonck, nominated for Best Lighting
Designer.
