Sequined Glory at the Ritz: A Night with The Rocky Horror Show

by Lori Clark

Picture this: it’s opening night of Rocky Horror Show at the Ritz Theatre, and we are at a nearby restaurant, enjoying pre-show margaritas.  I’m people watching and take notice of some fellow patrons decked out in what I initially assumed were Halloween costumes.  It was only after further inspection that it dawned on me…these people were in their Rocky Horror finest - fishnets, glitter, sequins, hats. The WORKS! Their energy and excitement were palpable, and it followed them straight into the theatre.  What a gift for the cast, to perform for an audience that is all in from the moment the house lights dim.

For the uninitiated, The Rocky Horror Show follows sweethearts Brad and Janet, whose car breaks down on a stormy night, leading them to the bizarre castle of Dr. Frank N. Furter, a self-proclaimed “sweet transvestite from Transsexual, Transylvania.” What unfolds is part horror-movie spoof, part rock concert, and part glitter-filled fever dream about freedom, pleasure, and the joy of embracing your weirdness.

Director Lori Aleixo-Howard and Assistant Director Chase Dannely stayed true to the spirit of Rocky Horror: campy, self-aware, and deliciously over-the-top. The set, designed by Matthew Weil, was clever and full of campy detail. On the left of the main stage stood another stage, set diagonally with its own light-bulb-framed proscenium arch, with steps leading down to the main playing area. Projections on the back of that “inner stage” gave the feel of a movie house. A chandelier hung in the center of the main stage, and as the show began, two rich red cinema seats sat front and center beneath it…a perfect visual nod to the cult-film roots. A second projection screen hung to the right, prompting the audience with call-out cues.  Throughout the show, the audience shouted the classic Rocky Horror callouts, while the true devotees added in callouts beyond what were cued on the screen with regularity and gusto. How the actors managed to stay so poised amid the chaos is beyond my comprehension. If this review had GIFs, I’d drop in Wayne and Garth right here, bowing and chanting “We’re not worthy!” because, honestly, same.

Megan Iafolla and Deanna Marino’s bold, playful costumes were a visual feast. Every corset, fishnet, and lab coat captured the show’s outrageous spirit while still honoring its vintage sci-fi roots. As we’ve come to expect, Jen Donsky’s lighting design punctuated tableau beautifully, underscoring the show’s camp and intensity with precision and flair. Everything went off without a hitch thanks to Stage Manager Lisa Palena and Assistant Stage Manager Jackie Duran-Copsetta.

A live pit led by Music and Vocal Director André Vermeulen (piano) with Derrick Banks (drums), Mark Petti (bass), Kevin Buzby (guitar), and Kevin Hutter (sax), rocked the house. While I understand community theatre’s reliance on prerecorded backing tracks, hearing live musicians is such a welcome change to the status quo. It just fills the room with an entirely different energy, and truly the only choice for this particular show. Sound design by Brian Gensel was overall very good and helped bring this piece to life. My only critique is I would have enjoyed a little more of a punch in the amplification of the vocals to match the “umph” of the pit, but overall, the energy never lagged.

At the center of it all, Will Bryant took on the iconic role of Dr. Frank N. Furter. With his powerful vocals and commanding physical presence, he towered - literally and figuratively - over the stage. Dressed in heels and sequins, Bryant embodied the glam and grandeur of the role, and his larger-than-life stature made his Frank even more imposing. It was an inspired casting choice that captured the spectacle of the show and anchored it in the necessary decadence.

The evening’s surprise delight for me was Kevin Regan as Brad Majors. A new face to me, Regan delivered a pitch-perfect portrayal that honored the Brad we know from the film - endearingly nerdy, wholly sincere, and full of sharp comic timing. Even in the choreography, he never lost that square physicality that makes Brad so lovable. Opposite him, Lisa Krier as Janet Weiss, was lovely. Her initial demure sweetness and gentle hesitation were so genuine that I wasn’t sure if it was a character choice or simply her nature. But, by the end, she was a different woman entirely: confident, liberated, and bursting with playful energy. Watching her awakening was one of the evening’s most satisfying arcs.

Jennie Santiago as Magenta is, quite simply, a pro. The show opened on her, clad in an adorable red usher uniform and pillbox hat before revealing Magenta’s signature maid ensemble. Santiago’s commanding voice and effortless stage presence made her a natural focal point - when she’s onstage, it’s impossible to look elsewhere. Equally mesmerizing was CJ Mooney as Columbia, an absolute showstopper who seemed born for the role. Mooney’s vocals were spectacular, their dance moves electric, and their charisma unstoppable. In sequined vest, blonde wig, and shorts, they could have stepped straight onto a Broadway stage. Watching Mooney and Santiago perform together was pure magic. Two seasoned pros feeding off each other’s energy simply raised the bar for everyone around them.

John Jackowski as The Narrator nailed it. With impeccable presence and delivery, he masterfully threaded the needle between old-school announcer and sly co-conspirator. His comic instincts were razor sharp, and his grace under pressure was REMARKABLE… especially as the audience hurled their classic callouts (“Where’s your neck?!” and more). How he kept a straight face through it all, I’ll never know, but he did, and he made it look effortless.

Riley Newman as Riff Raff brought great energy to the stage. With their distinctive physicality they captured the eerie eccentricity that makes Riff Raff such a fan favorite. Shaun Grace as Rocky brought an affable, high-spirited charm to the role, clearly reveling in the fun. Performing mostly in a gold speedo is no small feat, but he managed it with confidence and humor, adding to the campy joy of the production. Cochise Jones as Eddie delivered a powerhouse performance, singing (my personal favorite song from the movie) "Hot Patootie", while Steve Phillips as Dr. Scott brought just the right blend of mad-professor energy and comic restraint. Having last seen him as the Monster in Young Frankenstein, I couldn’t help but notice a delightful theme emerging. 

Rounding out the production was the ensemble of Phantoms: Vivianna Aviles, Julie Byrne, Allie Coeby, Alec Lacher, Enweani Okaro, and Connor Shields. They were ever-present, filling the stage with energy and commitment, yet never distracting, creating atmosphere and movement that made the entire world of Rocky Horror come to life. Under Jodi Zeichner’s choreography, every number popped with personality. The result was a world that felt alive from the first pelvic thrust to the final pose.

A particularly delightful touch was the use of the audience aisles, as performers spilled into the crowd and blurred the line between spectator and spectacle. And for just five dollars, patrons could purchase an Audience Participation Bag – an adorable prop kit complete with instructions. I won’t spoil the contents but trust me: it was worth every penny.

It’s impossible for me to experience The Rocky Horror Show without remembering the first time I saw the movie. It was 1981; I was in high school.  Back then, I was a rule-follower, dressed in my preppy best.  Donning an argyle sweater, button down oxford shirt, straight leg Levis and penny loafers, I joined my new friend Gail, (who was as adventurous as I was timid), at a midnight screening at the Roosevelt Mall in Northeast Philadelphia. That night, I was the designated “virgin,” wide-eyed and overwhelmed by the fishnets, the callouts, the wild abandon of it all. I didn’t fully understand the movie then, but what I did understand changed me. It taught me that it was ok to embrace my, well…weirdness. After, I started experimenting with my style, adopting a punk-rock/new wave aesthetic.  I donned miniskirts and funky boots, started to accessorize with safety pins, and zippers, and regularly visited the thrift store (and my mother’s closet) for vintage pieces that popped. And even though it was the same “me” on the inside, I quickly pushed some buttons and received more than a few judgmental looks from my classmates. This was kind of delightful, to be honest.  Why? Because I learned that self-expression is a superpower, my superpower. Rocky Horror gave me permission to be bold, to take chances, to be weird. To this day, those words still resonate: “Don’t dream it. Be it.”

And that spirit: the freedom to be loud, colorful, and authentically yourself, was alive and well in this production. With its glittering costumes, lively direction, powerhouse performances, and an audience ready to dance, shout, and celebrate, this Rocky Horror captured the show’s timeless message: be yourself, in all your sequined glory. Rocky Horror runs now through November 2nd at the Ritz. You can purchase tickets here: https://www.tix.com/ticket-sales/RitzTheatreCo/6520