Arts & Entertainment
‘Rocky Horror’ remake is pale and pointless imitation
Despite strong Laverne Cox performance, too many commercials sap made-for-TV production
The cast of ‘Rocky Horror.’ (Photo courtesy Fox)
With its endless commercial breaks, the broadcast of Fox TV’s “The Rocky Horror Picture Show: Let’s Do the Time Warp Again” was doomed to failure. The televised film can never gain any momentum and lots of great material had to be cut or sanitized to cram the musical highlights into a two-hour prime time network television slot.
Actually, with perpetual pop-up ads for the soundtrack running during the movie (on sale today!), the commercials never really stopped.
Although the streaming experience may not be much more pleasant, there are some moments to enjoy. With an able assist from the Transylvanians, Ryan McCartan as Brad and Victoria Justice as Janet bring an earnest unforced innocence and good comic timing to “Dammit, Janet.” The choreography is light and inventive, and staging the number in a cemetery with a tombstone for Mary Shelley is a clever touch.
On the wild side, Laverne Cox (Dr. Frank-N-Furter) finally captures the mad scientist’s dangerous and delightful sense of menace during “Planet Schmanet Janet.” The movie briefly sparks to life as Cox strides through the mansion in her sexy new costume. Frank is suddenly in command, whipping the servants and humans into shape and releasing the powerful Medusa Transducer.
With powerful vocals and an elegant staging, Cox also delivers a fine rendition of the ballad “I’m Going Home.” The number pops when the camera pulls back from a close-up of Cox to reveal the wildly cheering onscreen audience. Although they’re separated by time and space, Cox basks in their applause. It’s a glimpse of magic.
But, aside from a few moments like these, Fox TV’s “The Rocky Horror Picture Show: Let’s Do the Time Warp Again” never captures the subversive magic or manic energy of the original stage musical or the unforgettable 1975 movie. It’s a remake without a cause, a pale imitation hampered by an awkward framing device, bad production choices and some terrible acting.
Director Kenny Ortega and Costume Designer William Ivey Long seem paralyzed by the material. In a botched attempt to capture the feel of a midnight screening, Ortega frames the movie with an onscreen audience, a poorly-conceived and unevenly executed idea. The choreography is sloppy and the bizarre design theme seems to be “anything but the original.”
Working with a director who could capitalize on her extraordinary talents and experiences, Laverne Cox could be a revelatory Frank. Here, her performance never recovers from the hideous headdress that literally masks her big entrance. The casting of veterans Tim Curry (the Criminologist) and Ben Vereen (Dr. Scott) never really works (although Jayne Eastwood is captivating as the Criminologist’s Butler) and most of the younger performers seem to fade away into the background. Reeve Carney’s Riff Raff is especially odd, a lifeless impersonation of Richard O’Brien (the man who wrote the show and played Riff Raff in the original stage and screen productions).
The original movie of “The Rocky Horror Picture Show” is both a camp classic and a cornerstone of modern queer culture. It’s offered generations of misfits a vision of a fabulous alternative space where they could find community and validation. Hopefully. “TRHPS:LDTTWA” won’t spoil that experience for future generations.
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
The Washington Blade hosted the inaugural WorldPride Boat Parade at The Wharf DC on Friday, June 6. NBC4’s Tommy McFly served as the emcee.
(Washington Blade photos by Michael Key)
The 2025 Capital Pride Honors awards ceremony and gala reception was held at the National Building Museum on Thursday, June 5. Honorees included Cathy Renna, Jerry St. Louis, Ernest Hopkins, Lamar Braithwaite, Rev. Dr. Donna Claycomb Sokol, Kriston Pumphrey, Gia Martinez, Kraig Williams and SMYAL. Presenters and speakers included U.S. Rep. Mark Takano (D-Calif.), Amber Ruffin, Raven-Symoné and Paul Wharton.
(Washington Blade photos by Michael Key)
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