I’m pleased to report that the “Horror” cast kept up the sensational standard set by the “Rocky” cast in The Rocky Horror Show experience at Riverwalk Theatre. 

Seeing it a second time gave me a chance to appreciate the Phantom chorus, finding ways to make even clearing trash and mopping the floor, sexy. They heat up the stage and charge up the energy in every performance, including 8pm AND midnight Fridays and Saturdays. (Erin Biel, Diego Collazo-Coca, Caila Conklin, Dinah DeWald, Taylor Haslett, Karrington Kelsey and Simon Rebeck.) 

And the hub of the wheel, Narrator, Matt Ottinger, is also doing the every-show marathon version — different every time, since he’s in the middle of the proverbial “fourth wall” between the stage and the audience — and the audience is, well… unpredictable. (Sitting near the center front this time, we experienced the full effect of the squirt guns. Refreshing.)

It’s sex, aliens and rock ’n’ roll — with more great voices: Robert Mueller as the spooky Riff Raff, Kayla Henry as Usherette and sideline cat-caller Trixie, and Travis Williams exploding in song as the illl-fated Eddiee. Keara Hayes was a menacing, growling Magenta, and Tricia Rogers was the lolly-popping fangirl Columbia. Luka Pawsek and Ron Meyer were “supersized” versions of the previous Frank n Furter and Rocky, who fit similar quantities of allure, charm and decadence into more compact delivery systems. Brad (Michael Palmer) and Janet (Elena Billard) were again adorably naive charmers, and Dr. Scott (Alan Greenberg) looked appropriately inappropriate in his fishnets. 

I wish I could say the plot all made sense the second time, but sense hardly seems a relevant standard to apply to this show. Perhaps directors Shannon Bowen and Erin Hoffman have it figured out. Their note explains: “… beneath its surface silliness, the show tells a tale about initiation into a dangerous world, about surviving lost innocence, about deviance and acceptance, about creation, forgiveness, death and regeneration."

Again kudos to Choreographer Amanda Tollstam who also served as intimacy coordinator and Nicole Martin and her jammin’ band: Lauren Spadafora, Yoshi Fukagawa, Charles Slocum, and Ty Schalter, 
 
There still may be a few tickets at http://RiverwalkTheatre.com— or call 517-482-5700 for reservations. Only four more shows, 8 & midnight Fri/Sat.

Sensational — in all senses of the word. That’s adjective for the Rocky Horror Show at Riverwalk Theatre. Not for the faint of heart or prudish of mind, it is a wonderfully ridiculous, campy fun-fest.

This tribute to the science fiction and horror B movies of the 1930s through to the early 1960s is a show that celebrates sleaze — but all the “bad taste” was tastefully done with a clever wink of humor. I'm told that choreographer Amanda Tollstam also served as "intimacy director" a role considered vital by directors, Shannon Bowen and Erin Hoffman. I encourage you to read their interesting directors’ note on the back of your “newspaper” program.

One of the many “added features” to this splashy production is double casting the named characters — while using the same ensemble “Phantoms” and Riverwalk’s favorite master of ceremonies, the delightful Matt Ottinger as “Narrator” in all performances. 

We enjoyed the “Rocky” cast featuring hospitably voluptuous Ny’Kieria Blocker as Usherette and Trixie. TJ Kelly and Sally Hecksel made the most of their oblivious, celebratory loss of innocence, Carmen Zavala-Kelly was a sassy Columbia and Megan Malusek was a powerful Magenta. David Micheal Cooper was a streamlined body beautiful as Frank n Furter’s creation. Connor and Quinn Kelly came full circle from Frog and Toad with Connor burning up the stage on “Hot Patootie” and Quinn flashing his wheelchair stockings and garters. Lewis C. Elson reveled in the role Transexual Transvestite Queen of the Castle Dr. Frank-N-Furter — and Brian Farnham led an all-good-singers cast with a sultry pout and a standout voice that raised the roof.

The “Horror” cast also looks likely to wow, with some Riverwalk favorites and a few new faces. Cast names are listed on the website box office if you want to choose which cast to see.

The set is clever and efficient (Ann Carlson Set Design and Dressing) and the costumes are a treat (Morgan Bowen assisted by Ashley Hampton and Samantha Hall-Loenhardt) Choreographer Amanda Tollstam taught them all to do the infamous Time Warp and more. Nicole Martin led a rockin’ little orchestra.
 
Audience participation is not my favorite thing; I feel like it takes me out of the “reality” created on the stage — but there is a long audience-participation tradition with this movie. “Prop Participation Bags” are for sale ($10) before the show. If you buy one, check it out in advance, fill your squirt gun with water (and follow Matt’s warning to shoot at the actors, NOT the lights overhead. Check out the props in advance, and watch the slides for cues to use them. Even without a props, all the various shout-backs to the actors are encouraged. 

Rocky is selling out fast, so make your reservations soon at http://RiverwalkTheatre.com— Remember, there are 8pm AND midnight shows Fridays and Saturdays and NO shows Sundays. 

Our first impression entering the Pasant for MSU Theatre’s Clue, was, “Wow, what a set!” (Scenic Design – Thalia Lara) as Wharton’s Pasant stage was elegantly packed with all the rooms from the classic board game. Dramatic lighting design by Madison Ramsey made it even more impressive. Costumes by Kessler Jones and sound design by Melina Rodriguez enhanced the style. As the play progressed, however, we experienced some sightline blocking from the necessary doors to the rooms. When buying tickets online, if you can’t sit in the center section, I’d recommend “cenr” (center right audience) over “cenl” where we were sitting. 

Bee Rose’s helpful dramaturg's note indicates that Clue was written by Sandy Rustin based on the screenplay of Jonathan Lynn’s campy 1985 film that has become a cult classic. Unlike Rocky Horror, (upcoming cult classic at http://riverwalktheatre.com) this film is not one I’ve seen, so I’m not sure if that would have helped me deal with this madcap, chaotic whodunit set in a McCarthy red-scare 1954 Washington DC. 

The show reminded me of the dear old musical spoof I’ve been in three times, Something’s Afoot — on speed. Delightfully stereotyped and stylized characters are tossed into a blender of blackmail and suspicion at a historic period where trust was under threat. And the plot twists pile up with the bodies in a contrived convoluted whirlwind.

Christopher Eastland as Wadsworth the Butler (or IS he?) serves as ringmaster of this circus and he and all actors deserve kudos for keeping up with the stylized hysteria. As director Ryan Welsh says in his note, “We invite you, this very evening, to sit back and watch ridiculous humans acting ridiculously, and perhaps to reflect on the ridiculous nature of our own ridiculous lives.”

Clue runs 1 hour 20 minutes with no intermission and continues through October 15.
https://www.whartoncenter.com/events/detail/clue
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Isaac’s Eye was commissioned and developed by the Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project  “an initiative designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge the existing stereotypes of scientists and engineers in the popular imagination.”

Playwright Lucas Hnath has fulfilled that assignment with a quirky portrait of a young, seemingly autistic version of Sir Isaac Newton,17th century English thinker who eventually became a key figure in the Scientific Revolution. Chet Brayton has a sort of deadpan charm in the title role, angling for scientist Robert Hooke to help him get into the Royal Society in order to advance his ideas and gain fame. 

Jonathan Riley plays Hooke as a skeptic and foil for Isaac’s ideas — particularly sticking a needle into his tear duct to move his eyeball and allegedly change his perception of color. Less famous than the gravity-demonstrating falling apple, perhaps it says something about scientific obsession — and some self-destructive obstruction to a balanced vision of life? 

Will Milstein plays Catherine, Isaac's would-be fiancée and ally with misguided hope. Camilla Trudell is an engaging character, as our narrator, noting the truths and untruths, and writing the former on the large chalkboards on the back of the set. Camilla not only engages directly with the audience, but also transforms into the “Dying Man Named Sam,” a sympathetic plague victim.

Technical aspects were refreshing in LCC’s intimate Black Box Stage: eerie music by Julian Hendrickson, Designer Ranae Selmeyer’s set
with its chalkboard/table and chairs over an impressive floor appliqué of what I assume are Isaac Newton’s handwritten notes. The costumes were fascinatingly weird patchwork concoctions that somehow seemed antique and futuristic at the same time, by Chelle Peterson.

This play was engaging and modern, despite its historic era, using logic and dark humor to try to get us into the minds of these noted thinkers. It raised some questions about balance between work and personal life. So I guess my existing stereotypes were challenged, as the commission instructed. Director Andy Callis notes point us to considering this play is about vision and the conflict between insightfulness and blindness.

You can access LCC’s Black Box Stage 1422 Gannon Building, at the marquee on Grand Avenue, however that door is now supposed to be locked. Assuming they will again have a door-person to let attendees in — but using the LCC parking ramp and walking through the Gannon Building to the Black Box (signs along the way, I hope?) may be advisable. 

Note that the Sunday Matinee October 8 will be interpreted — and also there will be pre-show talks Saturdays October 7 and 14 at 7:30 pm before the 8pm show with Physics professor Alex Azima and former Philosophy professor Paul Jerczak about Isaac Newton, Robert Hooke and the Physics of Light.

https://www.lcc.edu/services/community-campus-resources/performing-arts/events.html