Rocky Horror Show Review: Monumental’s Horny, High-Energy Hit
Christian Montgomery’s electrifying Frank-N-Furter powers a fun, frisky, and immersive production at Dance Place.
“Well, that was horny.” So declared a knowledgeable patron to me following the amply entertaining opening night performance of Monumental Theatre’s The Rocky Horror Show at Dance Place.
True, the cabaret-style production, staged by company co-artistic directors Jimmy Mavrikes and Michael Windsor, accentuates every lustful beat of Richard O’Brien’s classic sci-fi horror musical. But the show boasts many other qualities in living up to the co-directors’ stated aim for “something sexy, immersive, goofy, gay, and, above all, fun!”
The audience brings a lot of the fun to Rocky Horror, through call-outs and other means of participation, encouraged here by the bag of props at your seat and instructions on your program. Further tips from the show’s ever-alert Usherette/Narrator (Cera Baker) also prove helpful for Rocky Horror virgins, such as myself.
So no one’s left out, unless they want to be left out, of the ridiculous joy of calling Brad, “Asshole!” and Janet, “Slut!” every time their names are mentioned.
Oscar Madson and Clari Swaggard make a winning pair as the intrepid duo whose flat tire forces them to seek help at the wrong old castle. Both actors combine the proper wholesomeness of newly engaged Brad and Janet, with the requisite spark of potential naughtiness waiting to be inflamed.
From Madson’s sweet “Damn It Janet,” to Swaggard’s adorably untamed “Touch-A-Touch-A-Touch Me,” each sings O’Brien’s rock-and-doo-wop score admirably. Swaggard’s able physical comedy adds much to the portrayal, although she could stand to turn up the volume, figuratively and vocally, once Janet is fully unleashed in the latter stages.
Christian Montgomery’s voluptuous Frank — as in Dr. Frank-N-Furter — feels unleashed from the moment he first appears on top of the bar in leather, lace, and platform-heel boots, introducing himself as a “sweet transvestite, from Transsexual, Transylvania.” It’s a treat to be in the room with a Frank so alive, and electrically charged with his mission to create life, in the form of a hot man, Rocky (Jackson Miller).
Presenting Frank’s potent sexual danger, leavened by well-timed humor, Montgomery also sings the house down, without — and it’s worth pointing out — aping original Frank, the late, great Tim Curry. Aided by Justin Sosebee’s louche costumes, and Ali Pohanka’s wigs and makeup, Montgomery looks and sounds like his own Frank, climaxing with a gorgeously sung “I’m Going Home.”
The songs sound great all night, thanks in large part to the tight five-piece band, led by music director Marika Countouris. She guides O’Brien’s score steadily, veering in new directions with the second act’s “Floorshow,” segueing through a sensual dance-rock remix of “Rose Tint My World,” into “Don’t Dream It Be It,” and an ’80s new wave take on “Wild Untamed Things.”
The adventurousness at play in the music, and in the three lead performances, seems muted in Frank’s henchfolk, Riff-Raff (Caz Shegogue), Magenta (Dani Rizzo), and Columbia (Jayson Broadnax). Enthusiastic in their duties, they’re not really in the same realm of pleasantly unnerving or politely menacing as their master Frank.
Over the course of this production’s brief run, it might be nice to see Riff-Raff, in particular, more unhinged, in keeping with the anything-goes, B-movie mood. Certainly the show’s ensemble of scantily-clad Phantoms could improve on the effortful dancing that does not cast Ahmad Maaty’s choreography in the best light.
The actual lighting, by Venus Gulbranson, brilliantly carves out the dancing, singing, and action within the hybrid cabaret-theater environment designed by Laura Valenti with Windsor. As advertised, cast, company, and audience are immersed together inside Frank’s castle, and in every moment that Brad (Asshole!) and Janet (Slut!) are teased and tortured, until they give in.
Watching them slip off their inhibitions, like their clothes, we’re all offered a taste of liberation, and the ridiculous joy of joining in and doing the “Time Warp” again.
The Rocky Horror Show (★★★★☆) runs through Sept. 6 at Dance Place, 3225 8th St. NE, with a Pride Night performance on Aug. 29, Industry Night on Aug. 31, and Late Night performance (starting at 9 p.m.) on Sept. 4. Tickets are $45 for your choice of cabaret table-style seating or traditional theater seating. Get $2 off per ticket and guaranteed assigned seating when you purchase a table of 4. Visit monumentaltheatre.org.
More from Metro Weekly:
Support Metro Weekly’s Journalism
These are challenging times for news organizations. And yet it’s crucial we stay active and provide vital resources and information to both our local readers and the world. So won’t you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each week’s magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
You must be logged in to post a comment.