Rocky Horror Picture Show history, cast and crew list, production notes, timeline, fan club background How RHPS became a phenomenon Interviews Q&A with Rocky Horror celebrities Cast & Crew List The stars of Rocky Horror Rocky Horror Timeline How it. Resource for fans of the film containing background information, fan club detail, memorabilia and show details. The Rocky Horror Picture Show cast got together for the first time in 25 years - to celebrate the film's 40th anniversary, for Entertainment Weekly 's reunion edition. The film follows a naive couple Janet and Brad who stumble across a castle, where mad scientist.
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But it's hard not to be struck by how comparatively little inspiration helmer Kenny Ortega was able to get from this canned and slightly mummified remake of the cult musical and film. Not airing live and never intended to air live, Let's Do the Time Warp Again suffers from suffocating staging and an utter lack of reflection on the source material — but also from the source material itself, as what little energy it possesses is gone by a second half that turns into a real slog. Working off the original script by Richard O'Brien and Jim Sharman, Fox's Rocky Horror take begins with an usherette (Ivy Levan) singing .
Join us for a pre-show party for Rocky Horror Picture Show! Party starts at 9pm and is open to all Rocky Horror Ticket Buyers. Party features a full service bar, a “Time Warp Costume Contest,” and live music! Plus, stop by our State Theatre New Jersey. The Rocky Horror Show tells the story of Brad and his fianc. It is an adventure they'll. Originally it opened in nation release on September 26, 1975 with an advertisement that had the. Your guide to watching The Rocky Horror Picture Show: Let's Do The Time Warp Again on October 20 on FOX!
It's a conceit that adds nothing, but at least acknowledges the importance of audience participation to the Rocky Horror phenomenon. Newly engaged squares Brad (Ryan Mc.
Cartan) and Janet (Victoria Justice) are seeking refuge from a storm when they duck into a castle to use the phone. Brad and Janet are lucky enough to show up for the Annual Transylvanian Convention, a gathering either attended or serviced by an assortment of outlandish personalities including Igor- esque Riff Raff (Reeve Carney), shrieky Magenta (Christina Milian) and lollipop- loving Columbia (Annaleigh Ashford) and briefly crashed by motorcycle- riding Eddie (Adam Lambert).
The true belle of the ball, though, is Dr. Frank- N- Furter (Laverne Cox), who has successfully made an idealized man, Rocky (Staz Nair).
Murder, deflowering scientific investigation and gender and sexual fluidity ensue. An opinion on Rocky Horror (the show, regardless of its specific adaptation) that should let you know if you want to believe anything I say anyway: The musical is front- loaded to an untenable degree. The first half of the show has . What that means is that either a production establishes sufficient momentum in its first hour to coast for the last hour, or it's doomed.
Mostly, Ortega's production is doomed, as one number after another fails to capture any of the spirit of abandon that's demanded to move the story along. Is it dull staging or meant to reflect how lifeless their romance is?
I suspect the former, but feel free to believe the latter. Too often in these scenes, which have to sell the anarchic nonsense of the entire endeavor, the camera seems glued in position and the editors seem to be working from a paucity of options that favor neither production scale nor performance intimacy. And it's the treatment of what's happening within the frame that's flat, not what's actually there, because my sense is that the choreography itself is far more ambitious than what's in the original movie. And I'm sure that the costumes, especially Frank- N- Furter's attire, are a leap forward. Nothing is being showcased in a way that captures the joy. Sadly, that applies to so many of the performances.
Once the show was always going to be filmed and not live, I get why the singing wasn't performed live, but the soundtrack album that the actors are lip- synching to has been overproduced to the point that almost all vocal distinctiveness is gone and then those vocals get pushed down in the mix. It's one thing when Disney- ified singers like Justice and Mc. Cartan are produced to sound smoothed out and undistractingly bland, but Lambert and Carney both have recognizable voices and ample rock- musical chops, which you'd never know from .
But Lambert and Carney, and so many of the flashier characters in the show, are hampered by a production that has given absolutely no apparent consideration to how what was daring and countercultural and outr. If you do a show like this without any interpretation or reimagining, you miss what attracted audiences to the show in the first place and you just end up further sanitizing material that was edgy 4. Having a hero self- described as a . Frank- n- Furter and that's great and it's progress.
But might it be smart and creative to look at what it means when one of the most unorthodox characters in the history of musicals has become oddly conventional and accepted by the orthodoxy? You don't have to change a word of the show to come to it with a vision for how to make what was once weird and wonderful feel renewed and what was once significant and boundary- pushing maintain some of that significance. That hasn't been done here. Part of why I ended up coming around on Cox's performance is that her voice isn't that great, so when she sings it ceases to be a matter of the big notes she's hitting, but rather the performance and intonation. Her limitations force her to act, and in acting, her versions of the songs and the character can't be rendered forgettable. Cox's arrival isn't the force- of- nature jolt of adrenaline that Tim Curry (a welcome presence here as the Narrator) is in the original movie, and her failure to hijack the show weakens the second half even further, but it's one of the few performances here that you can say really stands out as distinctive.
The only actual adrenaline jolt comes from the appearance of Tony winner Ashford (You Can't Take It With You), whose personality and talent pop onscreen so vividly that I spent much of the show wishing Columbia had more of a part. Most of the rest of my attention, which wasn't being held very well, was going to pondering how Fox and Ortega might have better integrated the audience component. I accept that you can't pretend the midnight shows aren't the reason we still talk about Rocky Horror today, but this acknowledgement of audience participation might be worse than ignoring. As anybody who has been to the midnight shows knows, they're lewd, uncouth, sloppy and often hijack the scripted movie. The audience participation is simultaneously embracing and subverting. You can go to a midnight show in London or Boston or Los Angeles and expect some overlap, but you'll also hear responses you've never heard before. It's organized, but with room for anarchy, an uncontrolled response to a movie that attempts to control an uncontrolled stage show.
But here, the audience is reduced to fewer than a dozen G- rated reactions, all predictable and all delivered in unison. It's a blunted assimilation of a populist reaction to a text, an absorption and commodification of something that was once pure and organic. It's like when Hillary Clinton's Twitter feed tries to adopt a popular meme and your reaction is, .
Then Fox could have streamed those full reaction tracks as a second screen experience. I guess doing that would have been impractical, since you'd have had audiences checking out early and falling into silence. You can't force a cult following and the limply conceived The Rocky Horror Picture Show: Let's Do the Time Warp Again probably isn't going to get that kind of following (or any kind of following) on its own. Airdate: Thursday, 8 p.