I had never heard of The Rocky Horror Show before watching the Dartmouth College Theater Department’s production. I bought my pre-season ticket because I was attracted to the show’s unique name. But even when I saw the exciting decorations heralding Rocky Horror all around the HOP, I refused to Google the show, anticipating that which was to be delightfully unknown and grand.
The opening night exceeded my expectations. From the time the usherette, Chiara Klein ‘10 introduced this remarkable “Science Fiction Double Feature” to the starry light of a gorgeous disco ball, I knew I was in for the most extravagant, flamboyant and fun show of my life. When conservative 1950s couple, Brad (Jay Ben Markson ‘10) and Janet (Talene Monahon ‘13) enter Frank ‘N’ Furter’s (David Mavricos ’10) mysterious, out-of-this-world castle, I knew they weren’t ready for this sweet transvestite from Transexual Transylvania’s world of extravagantly sensual surprises.
So much effort went into recreating Richard O’Brien’s powerful story of sex, rock ‘n’ roll, pleasure and freedom. Evan Ross ‘13, who played Eddie, described his experience with the Dartmouth Theater Department as “incredible. They’re wonderful, kind, talented—everything you could hope for. The show was a blast.”
There was Dan Kotlowitz’s psychedelic lighting, Laurie Churba Kohn’s colorful costumes and Georgi Alexi-Meskhishvili’s spectacular set design. Dazzling special effects breathed life into the magnificent floorshow and even a rocket ship take-off. Gregory Daniel’s choreography and the Louis Burkot’s music direction brought the rock ‘n’ roll era to the stage. All of this was guided by director Carol Dunne, who expertly channeled O’Brien’s genius.
And who could forget O’Brien’s genius? Musical numbers like “Touch-a Touch-a Touch Me” and “Rose Tint my World” carried the cult midnight movie classic and the internationally acclaimed theatrical performance through more than three decades. His same-sex couplings, and Frank’s maxim of “Give yourself over to absolute pleasure,” pushed the gender and sexuality boundaries of the time.
Granted, Frank, the supercharged AC/DC of the story, is killed off by one of his henchmen in the end—the predictable fate of a character that challenged the heteronormative status quo back then. Yet, the fact that such a character could exist with such vigor and confidence is a testament to O’Brien’s bravery and the progressive nature of the ‘70s.
The audience is left free to decide whether Brian and Janet understand the implications of their sexual romp through a long, beautiful night or consider the entire debacle a Bacchanalian dream.
Yet, I was touched by what the director’s notes called “a roller coaster of the ridiculous and the imaginative.” I was inspired to live Frank’s words “Don’t dream it, be it.”
The road to personal fulfillment and pleasure doesn’t have to be the broad, heavily-trodden path, but instead a path of one’s own choosing, a path one shouldn’t be afraid to tread.
