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Steampunk power Old and new clash wonderfully in Rust Belt’s zany ‘Rocky Horror’
By STEPHANIE OTTEY
YOUNGSTOWN
This weekend the Rust Belt Theater opened a real “science fiction, double feature.” Its annual production of cult-classic “The Rocky Horror Show” not only maintains its usual sci-fi-horror-musical-comedy status, but it jumps (to the left) into the steampunk genre as well.
“Steampunk” is defined by The Oxford American Dictionary as “A genre of science fiction that typically features steam-powered machinery rather than advanced technology.” Though this definition serves as a great explanation of where the movement began, it doesn’t describe what the style has become.
“Steampunk” now describes anything (fashion, art, literature, etc.) that marries the styles and innovations of the late 19th century with current and/or futuristic trends and ideas. Rust Belt’s vision to theme “The Rocky Horror” in the genre makes dark, zany sense.
Under the direction of Robert Dennick Joki, “The Rocky Horror Show” is revitalized by a new, albeit old-fashioned, look. With wisely chosen references to the steampunk style, “Rocky” reaches a new level of dark sex appeal while maintaining the strange fun that audiences expect. Joki achieves this mostly through unique, innovative costume design.
Constructed from recycled and repurposed materials, the costumes designed by Joki are a highlight of the production. They are highly detailed, seemingly well made, and single-handedly create the theme for the show. Though Janet and Brad are still decorated in fashions of the 1950s as is expected, the rest of the cast is dressed in a style that combines the trends of the late 19th century with sexy modern touches. The gray-scale color palette easily could have dulled the show, but whimsical touches, such as Frank-N-Furter’s necktie ball gown are attention-grabbing. An intricate make-up design by Kerri Rickard completes the look.
The cast is equally attention-grabbing. Marisa Zamary and Kage Coven give the show a vocally strong start in “Science Fiction, Double Feature” that grows stronger yet when the chorus enters. The ensemble grasps the harmonies of the music and blends to create a multitiered sound that is often overlooked in “The Rocky Horror Show” score. Despite not having a live band, the cast keeps the music energetic and infectious.
Josh Taylor’s sound design has a hand in maintaining a pleasant listening experience. Taylor clearly caters to his cast, increasing or decreasing the volume as necessary so that both vocals and accompaniment are always heard.
Melissa Cook peppers the show with an original descant that brings a fresh edge to songs such as “Over at the Frankenstein Place.” Her portrayal of Magenta is ominously cool and confident — a nice contrast paired to Kristopher Ray North’s flighty, flailing Riff Raff.
Jennifer Caventer is a spunky Columbia, and Rick Morrow’s dense Rocky is an audience favorite. Kelsie Moon is a perfectly na Øve Janet and pairs nicely with Johnny Minelli’s Brad. Minelli adds to the vocal success of the show, shining in “Once In A While.”
Joki not only directs and designs this production, but he also owns the role of Frank-N-Furter as well. His commitment to the character is obvious, turning “I’m Coming Home” into an unusually sentimental number. He is a powerful presence within the show.
Great music and clever costumes aside, “Rocky Horror” is engaging. The theater is decorated in gears and umbrellas, continuing with the steampunk theme. This creates an inclusive ambiance similar to that of a theme party. This production is especially engaging, due to the choice Joki makes in his staging. The show is performed in the round, so the audience sits on all four sides of the performance area. This set-up leaves no room for set pieces, but Joki compensates with clever pantomime. He and Debra Wilson choreograph the show so that no side is neglected, and every seat can enjoy “The Rocky Horror Show.”