OGDEN — This was my first time seeing The Rocky Horror Show on stage, though I watched the movie extensively as a high school theatre kid. I’ve wanted to attend a midnight showing with the famed audience callouts and prop bags for years, but somehow never made it happen. So, when I saw that the Ziegfeld Theater was putting on this cult classic rock musical, I knew I had to jump (to the left) and go see it.
Walking to my seat last night, it felt like I was in an old movie theatre with classic clips playing on the movie screen. Before the curtain rose, an usherette appeared on screen in a black-and-white instructional video explaining the props and rules. It was clever, nostalgic, and set the tone perfectly. Still, nothing could prepare me for the sheer energy of the audience once the show began. I found myself wondering if some people were planted in the audience because it is so different from anything I’ve ever experienced before. From shouted callbacks to glowsticks, the crowd became part of the performance.
For those unfamiliar, The Rocky Horror Picture Show began as The Rocky Horror Show, a stage musical with book, music, and lyrics written by Richard O’Brien and premiered in London in 1973. The 1975 film adaptation starring Tim Curry initially flopped but found a second life as a midnight movie phenomenon. Fans embraced its campy mix of science fiction, rock music, and gender-bending humor, turning it into the longest-running theatrical release in history and a symbol of unapologetic self-expression.
The story follows newly engaged Brad (Daylen Bills) and Janet (Carly Haberman), a sweet, naive couple whose car breaks down on a stormy night. Seeking help, they stumble upon a castle belonging to the flamboyant Dr. Frank N. Furter (Jake Larrabee), a “sweet transvestite from Transsexual, Transylvania,” who is unveiling his newest creation, a strapping specimen named Rocky (Stefan Kurzius). From there, the story proceeds in increasingly bizarre directions, belted out through infectious musical numbers and absurd humor.
Director Jennifer Westfall and her creative team brilliantly fused live theater with cinematic nostalgia. The show opened with a charming 1950s couple settling into their seats for a date night at a double-feature picture show. Becky Jeanne Knowles, as the Usherette, set the tone with powerful vocals on “Science Fiction/Double Feature,” while projection designer Troy Martell’s visuals brought the antiquated references to life through classic black-and-white movie clips projected on the opposite side of the proscenium.
Brad and Janet’s introduction was a visual delight. Against a projected black-and-white church and graveyard, Brad appeared in a royal blue suede suit and Janet in a 1950s pink floral skirt with flipped blonde hair. Their colorful innocence popped like living Technicolor amid the monochrome world around them. Bills and Haberman performed with sincerity and warmth, capturing the charm and cluelessness of their characters. Bills’ smooth baritone grounded his performance, while Haberman’s crystalline soprano shone throughout the evening. Their duet, “Over at the Frankenstein Place,” had lovely harmony. The audience swayed glowsticks in time with the music, creating a surprisingly tender and communal moment amid all the chaos.
The first explosion of pure joy came with “The Time Warp,” choreographed by Sunny Simkins. The number kept the familiar dance moves fans know and love, but added a fresh flair as well. The ensemble’s precision and energy were excellent throughout the production. Simkins’ choreography remained crisp, creative, and character-driven. Whether it was the stylized movement in the lab sequences or the outrageous “Floor Show” finale, every dance moment was executed with confidence and humor.
Jake Larrabee’s entrance as Frank N. Furter was everything it should be: slow, dramatic, and dripping with attitude. Arriving upstage, draped in a sweeping black cloak with a tall white collar, he descended the stairs before revealing the iconic corset, fishnets, and pearls. Larrabee’s voice was commanding, his comedic timing flawless, and his stage presence magnetic. From the first line of “Sweet Transvestite,” Larrabee fully embodied the role, tackling every vocal challenge while reveling in the character’s outrageous charm. He was unafraid to push boundaries, exploring the role’s vocal, sexual, and comedic extremes while also revealing a tenderness in “I’m Going Home.” In this swan song, he shed his corset and wig, making a startling transformation into a laid bare and vulnerable version of Frank, giving the audience a glimpse of what’s beneath all the spectacle.
Frank N. Furter’s creation, Rocky, was brought to life by Stefan Kurzius, whose tall and broad frame gleamed under the lights when he entered the stage in a gold singlet. While not the strongest vocalist in the show, he brought a likeable innocence and impressive athleticism to the role. I particularly enjoyed the “Charles Atlas Song,” where he executed lifts and stunts with ensemble members, using them like gym equipment with apparent ease.
Becky Jeanne Knowles, doubling as the Usherette and Eddie, was a standout vocal performer. Knowles’s explosive entrance amid pyrotechnic sparks and her powerhouse vocals in “Hot Patootie” had the audience roaring. Casting a woman in the traditionally male role added a twist, but still honored the rebellious energy of the original film.
Jared Morgan (Riff Raff) and Amanda Morgan (Magenta) captured the show’s alien eccentricity with magnetic chemistry. They have a special alien handshake (elbow sex!) that they do together which got huge laughs and the final transformation scene was both bizarre and hilarious. Riff Raff’s upper-range riffs occasionally stretched his voice, but his character work and commitment were spot-on. The two delivered bold, fearless performances that played beautifully off each other’s energy and the audience’s reactions.
David Storm (Dr. Scott) and Michael Reis (Narrator) each provided strong comedic moments. Reis started the show in a proper suit, maintaining a dry and unflappable delivery. Each time he returned, his costume became more extravagant, mirroring the rising absurdity of the story. His calm narration against the growing mayhem had the audience laughing throughout. The ensemble delivered sharp vocals and full-throttle energy, embracing the show’s offbeat humor with fearless commitment. As they appear in nearly every number, a strong ensemble is essential, and this group rose to the occasion with style and confidence.
Besides providing strong direction, Jennifer Westfall also co-designed costumes with Byron Batista. They filled the stage with a dazzling mix of fishnet stockings, corsets, leather, and lace. Each look felt both familiar and new, respecting the cult classic’s aesthetic while giving it its own twist. The shoes, in particular, were impressive in both aesthetic and functionality. I will always be impressed watching the actors’ sashay around the stage in rhinestone lavender six-inch heels.
Set designer Erica Choffel created a versatile and witty world, complete with staircases that transformed throughout the show. One particularly cheeky reveal showed painted legs forming an unexpected visual gag and earned laughter from the audience and proved how much thought went into every detail.
Kyle Esposito’s lighting design bathed scenes in moody purples and added dazzling flashes. The finale featured a breathtaking laser show reflected through heavy fog, creating an ethereal, otherworldly effect. While visually stunning, the fog was very intense and a bit of a struggle for me. There was a purpose and visual payoff for it all, but audience members with breathing issues like asthma or photosensitivity should be aware.
Anyone considering attending should see that the Ziegfeld Theater does disclose on their site before you buy your tickets that the show is “Rated R for strong language, adult themes, and sexual content. It also contains flashing lights, loud noises, and fog effects.” So consumer beware. However, for the right audience, this is a one-of-a-kind event and absolutely worth the ticket cost. I’ve seen a lot of theatre, but I’ve never seen or felt a show and audience energy quite like this. Watching the movie alone at home is one thing; seeing it live with a passionate audience is something else entirely. It’s chaotic, hilarious, and adds an ineffable element to the experience. For those ready to laugh, dance, and embrace the weird, The Rocky Horror Show at the Ziegfeld Theater is a high-voltage masterpiece.
