Notes on the NSU Theatre presentation of

Richard O'Brien's
The Rocky Horror Show

Book, Music and Lyrics
by Richard O'Brien


The Rocky Horror Show takes place on a dark and stormy night in the 1950s, where super-square Brad Majors and his amazingly innocent fiancée Janet Weiss seek refuge in a mysterious castle- and thus their adventures begin. They try desperately to survive the diabolical Riff-Raff, his incestuously fashionable sister Magenta, her rock' n' rollin' best friend Columbia, her dangerous biker boyfriend Eddie, a lot of Transylvanians and the sweet transvestite Dr. Frank N. Furter- a man determined to change their lives (and their libidos) forever. When Brad and Janet learn of the doctor's wild experiments (Rocky) and his plans for them it takes the intervention of the strange wheelchair-bound Dr. Scott to save them from ultimate destruction!

About NSU Theatre's Production

The cast for NSU's production is as follows: Zered Felt will play Frank N. Furter, Shanon Patek is cast as the ingénue Janet Weiss, Kendall Schneider will play her intended, Brad Majors, Rory K. Behrens plays butler Riff Raff, while Robin Carlson plays Magenta, his sister. Adam Sahli will play the role of Rocky, Frank's creature; Steven Warzeha is cast as ex-delivery boy Eddie and scientist Dr. Scott, and Sara Pillatzki will appear as Columbia, Eddie's girlfriend. An ensemble featuring eight NSU students will appear as the Phantoms to complete the company for this musical; they are Tony Kollman, Andrew Iverson, Jamie Myers, Kellyanne Kirkland, Mariah Danielson, Kristine DeBilzan, Erin Guetter and Angela Nguyen.

NSU Director of Theatre, Daniel Yurgaitis, directs and choreographs the play and the scenic and lighting design will be by NSU Technical Director, Larry Wild. Music faculty members Robert Glaubitz and Alexander Fokkens will be Vocal and Music Directors respectively for The Rocky Horror Show. Graduate student Mandy Eilers from the University of Nebraska-Lincoln (and NSU graduate) will be designing the costumes; Kellyanne Kirkland will be Assistant Director, while the entire production will be stage managed by Heather Morris.

The Rocky Horror Show will be presented for three performances, October 21, 22 and 23, at 7:30 pm nightly in the Johnson Fine Arts Center on the campus of NSU. Tickets are $10.00 and $9.00 for students and seniors. There are group rates available for groups of 10 or more. All seats are reserved and tickets will be available in the NSU bookstore beginning on Tuesday, October 12, or by mail. Since The Rocky Horror Show contains mature language and themes, it is not recommended for children. Call the NSU Bookstore at 626- 2655 or the NSU Department of Theatre at 626-2563 for additional information.

About the Playwright
(from the Playbill Magazine biography for the 2000 Revival)

Richard O'Brien (book, music and lyrics) has had a long and varied career in the world of performing arts, which began with riding horse in the movies and continued with working in all aspects of live theatre, including operating carbon arc follow spots and shifting scenery and props in most of London's West End theatres. He worked as a jobbed actor, married and had a son named Linus, and while babysitting the youngster wrote the show that became The Rocky Horror Show. This small fringe theatre event was intended to run for five weeks at London's prestigious Royal Court Theatre. Years later it seems determined to grow old as disgracefully as its author. Richard O'Brien would go on to write a sequel to his famous musical, Shock Treatment, which began life as a film with O'Brien and some members of the original film cast reprising their roles chronicling the further adventures of Brad and Janet.

Richard O'Brien's work since has manifested itself in many shapes and forms: actor, author, game show host, and songwriter. He has appeared in movies as diverse as The Spice World (1997) and Ever After (1998) with Drew Barrymore to Dark City (1998) with Kiefer Sutherland and William Hurt. He has two more children by a second marriage and has recently released an album of songs entitled Absolute O'Brien on Oglio Records. Link to Richard O'Brien's filmography on the InterNet Movie DataBase.

About the Play
(Sources: Remove those lewd, lascivious lips mouthing the words "20th Century Fox!" by Lisa Kurtz Sutton,
Rocky Horror: From Concept to Cult by Scott Michaels and David Evans,
Creatures of the Night by Sal Piro,
the Associated Press and the New York Post)

The Beginnings: Inspiration

The reason Richard O'Brien gives when asked why he wrote The Rocky Horror Show was simple: unemployment. Early in 1972, he was let go from his role as King Herod in the original London production of Jesus Christ Superstar and found himself an out-of-work actor with a small son and lots of time on his hands. A chance conversation with a friend one evening led to a discussion of the "impoverished state of the West End theatre" and what they could do to improve it. Out of this chat came the idea that they could write a rock'n'roll show that "combined the unintentional humor of B movies with the portentous dialogue of schlock horror." But the friend's path took him in a different career direction, and O'Brien worked alone on his musical idea. As a youth in rural New Zealand, O'Brien spent many a Saturday afternoon watching the cheesy B-movie horror films from which he would draw his initial inspiration for the events in this new musical: the dark and stormy night, two innocent kids stranded, the strange house with its even stranger inhabitants and mad doctors cooking up crazy experiments. The opening number, "Science Fiction Double Feature," features a nostalgic tribute to many of those films with references to Doctor X (1932), The Invisible Man (1933), King Kong (1933), The Day the Earth Stood Still (1951) and Forbidden Planet (1956).

That Christmas, he was invited to do a 15 minute spot for the workers at the EMI film studios, to be held in the staff canteen. He decided to try our what would become the opening number of The Rocky Horror Show, "Science Fiction, Double Feature" and was surprised by the positive effect it had on the 50 or so in attendance. Encouraged by the warm response, he headed home and began work in earnest on his musical.

After the holiday and finding employment as a cast member of a Sam Shepard drama, The Unseen Hand, he made the acquaintance of the Australian who was directing it, Jim Sharman. Telling him about the work-in-progress, Sharman and another friend, Richard Hartley (who would be destined to become the show's first musical director) came to O'Brien's home to hear the songs. Jim Sharman would become the show's director. The show's original title was They Came From Denton High and the fledgling playwright manages to get the show produced in the attic of the Royal Court Theatre for a five week run, but not until he changes the title to The Rocky Horror Show. The director of the Royal Court Theatre called original producer Michael White saying that they were looking for a producer to put up £3,000 towards the cost of production in return for West End rights. With only 80 seats, the Theater Upstairs could not cover all the necessary production costs. White remembers: "After a couple of false starts, I went to Richard Hartley's flat (which was near the theater) around tea time, and he and Richard O'Brien were sitting in the living room with a guitar. O'Brien told me the outline of the play and played me two songs on the guitar (which he sang to Hartley's accompaniment). I immediately loved the material and knew I wanted to be involved in this production." White then returned to the Royal Court and signed on as producer.

Producer Michael White remembers the first night: "The theater was, you can imagine, quite tiny, and I sat in front of Vincent Price. He laughed throughout, and the audience gave the show a standing ovation. I knew then and there, I had a hit." The show soon becomes the hottest ticket in London- the theatre's 80 seats sell out quickly. The show is moved to a run-down movie theatre and begins a successful two year run during which time it is named "Best Musical of 1973" by the London Evening Standard. The original production continued to enjoy a charmed existence moving once again to an 800-seat venue in the West End (nearly 12 times the size of its first theatre). By closing night, The Rocky Horror Show played nearly 3,000 performances.

Arriving in London on a late transatlantic flight during the beginning of the show's run, a tired American producer Lou Adler is dragged to The Rocky Horror Show by his film actress wife Britt Eckland. He remembers his response to the show: "It cut like a knife. From the moment I entered the theater- cobwebs, flashlights, white-faced ushers, and the opening chord of 'Science Fiction'- I had the feeling when you see or hear something very special for the first time." Adler also learned, to his dismay that a number of theatrical producers were already after the world performance rights to the stage phenomenon. Undeterred, two days later Adler leaves White's office with the American performance rights to the show.

American Premiere: Los Angeles

In the short span of nine months, Adler opens his production of The Rocky Horror Show in his Roxy Theatre on Sunset Strip in Los Angeles on March 24, 1974. This new 500-seat club needed a proper send off and The Rocky Horror Show seemed to fit the bill. With British actor Tim Curry reprising his role as the transsexual Dr. Frank N. Furter, the show plays a packed nine-month run. It is interesting to note the name of the actors that tried out for roles, but were not hired, for the original L.A. show: John Travolta, Richard Gere, Chris Sarandon, Greg Evigan and Jeff Conaway.

Making the Movie

Due to the success of the LA production, 20th Century Fox quickly closed a deal to produce the film version of the play, which would begin production on October 21, 1974. Many members of the original London cast (Tim Curry, Richard O'Brien, Little Nell, Patricia Quinn, Jonathan Adams) and one member of the Roxy cast (Meatloaf), and with the addition of American actors Barry Bostwick and Susan Sarandon went to England and the Bray Studios to film the musical. The main location that would serve as the Frankenstein Place was a broken down Victorian mansion called Oakley Court. Art Director Terry Ackland Snow realized to his dismay that the entire second floor was very dangerous with dry rot so severe that one could see through the floors and walls. "Where you see Riff raff at the window, we had to put up boards there so he could walk up to it," remembers Snow. Filmed in the days before computer generated effects such architectural changes to the mansion, such as the geodesic dome that is seen from outside (and the site of the infamous lab) had to be built and hoisted to the top of Oakley Court. The unheated mansion made for many cold days of shooting, too. It is interesting to note that today the Oakley Court is no longer a dilapidated mansion, but a successful hotel across a field from the Bray Studios in Windsor.

The film had the very modest budget of $1 million, small even for a musical in those days. Much of the filming had to be improvised and the imagination of set designer Brian Thomson (who also designed the original stage production) was challenged.

American (and first time London visitor) Susan Sarandon remembers the experience of the shoot, "I felt like the odd one out because everyone else had been in the show… and Meatloaf, who was also American, he had a music background." On her approach to Janet she said, "Nobody ever found a way of making Janet funny. There were a lot of people that could sing it better, but no one could make her funny. I just did a parody of every ingénue I had ever played, so it ended up being funny." Barry Bostwick was also a first timer to England, and he recalls that he "was discovering Britain at the same time he was discovering these people, so in a way there was a parallel between my character coming into a foreign environment like Frank's castle and me, Barry, coming into London. It was daunting and exciting and anxious-making."

Many of those associated with the Roxy production would see their services needed for the film: stage director Jim Sharman would direct the film and collaborate on the screenplay with Richard O'Brien, stage music director Richard Hartley would repeat the same duties on the film. Sue Blane, whose costumes were so celebrated in the original London production as well as the Roxy production, would recreate her designs for the film. Finally, the film would be executive produced by Lou Adler with London producer Michael White serving as an associate producer on the film. The shoot would be completed in six weeks on Friday, December 13, 1974. The film would eventually be premiered in London on August 14, 1975.

Broadway Premiere

Planning to capitalize on the film's upcoming release, Lou Adler made arrangements to bring The Rocky Horror Show to Broadway. Taking over the 1000+ seat Belasco Theatre, all the chairs were removed to give the space a cabaret setting (done years before the Cabaret revival had the same idea in the old Henry Miller Theatre). What might have been gained in recreating the successful atmosphere of the Roxy production was lost ultimately in the considerably larger hall. The in-your-face intimacy of the smaller Roxy hall in L.A. was gone, and the show seemed a poor fit in its new environment. The show's Broadway opening was March 10, 1975. The critical response didn't help much either, with most of the critics turned off or tuned out. The Broadway run would come to an end after only 45 performances.

The Film Premiere

If the Broadway run turned out to be a disappointment, the events following the film's premiere were even more dismal. Calling the film "tasteless, plotless and pointless," Newsweek's review was pretty much indicative of the critical response to the film. The re-titled The Rocky Horror Picture Show played its first public engagement at the UA Westwood Theater in Westwood Village, a college town surrounding UCLA in Los Angeles on September 24, 1975. The sell-out crowds that greeted the film's premiere engagement in L.A. were not duplicated anywhere else in the country. With low attendance and diminishing box office returns, it looked like the film was on a short track to the vaults, never to be seen again. What seemed curious to theatre managers was the attendance of a small and dedicated audience that returned for viewing after viewing after viewing. Even though the movie was doing very well in L.A., its lack of success across the country was a matter of great concern to Lou Adler, 20th Century-Fox, and especially for Tim Deegan, the marketing director who was assigned to the film. Looking to turn these repeat viewers into something bigger, the two men decided that their approach to the marketing would need to be drastically rethought if the film was to have a life. An unorthodox midnight showing of the film in New York was the first step in turning The Rocky Horror Picture Show's future around.

The Cult

In order to give the film a more positive ending, it was re-edited and the songs "Super Heroes" and "Science Fiction Double Feature Reprise" were removed before it played its first midnight showing at the Waverly Theatre in Greenwich Village nearly six months after its original opening. Tim Deegan convinced Bill Quigley of the Walter Reade Organization (who ran the Waverly) to schedule weekend midnight performances of The Rocky Horror Picture Show. The theatre was already a destination for midnight movie audiences, and the theatre has enjoyed successful showings of El Topo and Night of the Living Dead. Theatre manager Denise Borden was so impressed with the film that she began a personal plan to promote the showings, adding a personal "This is not a film to be missed" to the theatre's recorded phone message. The initial attendance figures were encouraging with audiences growing steadily in a matter of weeks so that additional midnight showings were added to other theatres. Adler and Deegan's strategy included something never before tried in the marketing of a film- virtually no promotion, relying instead on audience word-of-mouth to sell the film. They felt that the audience for The Rocky Horror Picture Show would find the film and find each other. They had no idea how right they would be.

The two men also noticed another curious phenomenon: the relationship that the audience began to develop with the movie. What was observed during the film's premiere engagement in L.A. were people (who attended nightly) singing along with the film. It was also obvious that these audience members were familiar with the stage play's cast recording, since they would sing "2-4-6-8-10-12-14! Eat your heart out Ann Miller!"- a line from the stage version's "Time Warp" that didn't appear in the film at all. This same phenomenon was occurring in theatres across the country. It couldn't be called a highly organized relationship yet, but somewhere someone might hold up a teddy bear during "Eddie's Teddy," or somewhere else others would add their own sound effects to the creation scene using rattles and New Year's Eve noisemakers. Others were talking back to the screen, notably adding a "say it" to Tim Curry's wonderfully drawn out "antici…(say it)…pation." It was only a matter of time before audience members were using the Narrator's helpful on-screen dance charts to take the Time Warp out to the audience aisles. Authors J. Hoberman and Jonathan Rosenbaum believe that they have identified when the phenomenon of audience participation actually started- and who started it. In the chapter of their book Midnight Movies (1983) dedicated to The Rocky Horror Picture Show, they credit one Louis Farese Jr. who reacted to the scene where Susan Sarandon places a newspaper over her head during the storm scene by shouting at the screen, "Buy an umbrella, you cheap bitch!"

As the midnight shows gained in popularity (and notoriety) another phenomenon began to occur- costumes. Those attending the showing began to emulate the on-screen players with their own interpretations of the film's outrageous costumes and colors. Soon replicas of the show's characters complete with elaborate wardrobe and look- right down to the false eyelashes and high heels- were a staple of every midnight viewing in every city.

These growing legions of Rocky fans remained faithful to their individual movie palaces, too, returning week after week to interact with the on-screen characters. These groups were getting more social and more organized by the minute, and the first full-fledged dress-up group emerged at the Fox Venice Theatre in L.A. to present something they called The Rocky Horror Review, a staged, lip-synched act that appeared on stage between the film's two showings. These performance groups were popping up all over the country and gaining local popularity. Perhaps the most elaborate and engaging of these groups was the one that appeared at the Waverly Theatre in Greenwich Village. They parlayed their group into The Rocky Horror Picture Show fan club (, the official club with a membership of over 20,000 members at the club's height, according to the club's president Sal Piro, a NY actor and greeting card caption writer.

As these performance groups grew so did the size of the presentations. Soon these makeshift lip-synched shows evolved into gigantic multimedia events. Attending these events was a chance for audience members to truly "not dream it-be it." And they were getting media attention, too, with articles in such major magazines as Newsweek and Rolling Stone. It is any wonder that a sequel seemed such a good idea?

The Film Sequel

After repeated attempts to get Tim Curry to reprise his role as Dr. Frank N. Furter failed, Richard O'Brien opted instead to create a story that was more of a continuation than a sequel. The story of Shock Treatment finds Brad and Janet, now married but not necessarily happily, living in Denton USA, a town that seems typical at first but is actually doubling as a television studio. After a series of missteps, the unlucky Brad finds himself committed to the local asylum and put under the care of Cosmo and Nation McKinley. Meanwhile, Janet is being groomed to become the town's new TV star. Returning from the original film is Ralph Hapschatt and some new characters named Nurse Ansalong and Judge Oliver Wright. To insure that the legions of Rocky fans would turn out for this picture, original film stars Richard O'Brien, Patricia Quinn, Little Nell and Charles Gray returned to play new characters. Taking over the role of Brad was Cliff DeYoung, while Jessica Harper was the new Janet. The 20th Century Fox film was met with complete disinterest by public and Rocky fans alike and was soon relegated to the vaults, briefly seen on video and unavailable on DVD.

The 2000 Broadway Stage Revival

As the midnight showings continued in popularity throughout the 90s, the time seemed ripe to bring The Rocky Horror Show back to Broadway for a major revival. One of the producers, Jordan Roth felt that the film's 25-year run on college campuses and at midnight theaters would be instrumental in turning the show into a commercial hit. "When Rocky was on Broadway the first time, it was before the movie and it was before it was a phenomenon. We can now experience a kind of major live production on Broadway with 25 years of singing these songs and dressing up as these characters and shouting out lines, " said Roth. Budgeted at $3 million, the production would feature a new director, Christopher Ashley, and a far more elaborate design by David Rockwell. Taking advantage of the interactive nature of the film screenings, props bags were prepared for sale to those audience members that wanted to participate (complete with confetti and a light-up key chain) for $15.

Interviewed by the New York Post prior to the official opening on November 15, 2000, Richard O'Brien admitted that the show's enduring success is a complete mystery. "Everything about Rocky has been a surprise. The fact that someone wanted to do it in the first place still amuses me. I just took a bunch of standard plot devices, went into the kitchen and cooked up a show." He was quick to point out that he took a hands-off approach to the revival saying "it's rubbish to put your hands on every production. This is a pretty resilient show that allows for plenty of experimentation. It's almost indestructible."

The new production featured Tom Hewitt as Frank N. Furter, rocker Joan Jett as Columbia, Daphne Rubin-Vega, original star of Rent as Magenta, Broadway performers Alice Ripley and (South Dakotan) Jarrod Emick as Janet and Brad, Dick Cavett as the Narrator and Lea DeLaria as a cross-dressing Eddie and Dr. Scott. The show was well received critically and ran successfully for nearly a year. To keep audiences coming, the producers had a number of celebrities serve as guest narrators including Jerry Springer, Sally Jessy Raphael, Robin Leach and Penn and Teller. As another publicity gimmick, TV's Luke Perry took over the role of Brad for a short time in the summer of 2001. The show would go on to receive Drama Desk Award nominations for Best Revival of a Musical, Best Actor (Tom Hewitt), Best Director (Christopher Ashley), Best Choreography (Jerry Mitchell) and Best Set Design (Tom Rockwell) and Outer Critics' Circle Award nominations for Best Revival of a Musical and Best Director. The show would also receive Tony Award nominations for Best Revival of a Musical, Best Actor in a Musical, Best Costumes (David C. Woolard) and Best Direction of a Musical, but it was the year of The Producers so no awards were won.

Film Participation Postscript

After the various stage productions have come and gone, the midnight showings of the film and its participants have continued into the new century. The Associated Press had occasion to visit a midnight screening of the film around the time of the 2000 Broadway revival and noted how contemporary the responses to the film had become. For example, after Frank has dispatched Eddie with an ax, he removes his bloody gloves and hands them to Magenta. Except this time the crowd shouted, "Here, put these behind O.J.'s house." Moments later when asking Frank to explain his homicidal rage, the audience demanded "tell us what Dr. Kevorkian would say!" "It was a… mercy killing," comes Frank's reply.

Film Participation Props and Instructions

According to Sal Piro's website (, these are the basic props and instructions for their use when participating in screenings of The Rocky Horror Picture Show: While most of these could apply to the stage play, some will not. For example, there is no dinner scene in the stage play.

Rice: At the beginning of the film is the wedding of Ralph Hapschatt and Betty Monroe. As the newlyweds exit the church, rice is thrown as the on-screen guests do the same.

Newspapers: When Brad and Janet are caught in the storm, Janet covers her head with a copy of The Plain Dealer and audience members do the same.

Water Pistols: Used by the audience to simulate the rainstorm.

Candles, Flashlights, Lighters: At the point in the song "Over at the Frankenstein Place," when the lyrics "there's a light" are sung, lights are turned on, lighters flicked and candles lit.

Rubber Gloves: During and after the creation speech, Frank snaps his rubber gloves three times. Later, Magenta pulls the gloves off his hands. The audience snaps the gloves each time.

Noisemakers: At the end of the creation speech, the Transylvanians respond with applause and noisemakers and the audience does the same.

Confetti: At the end of "The Charles Atlas Song" reprise, the Transylvanians throw confetti as Rocky and Atlas head for the bedroom and the audience follows suit.

Toilet Paper: When Dr. Scott enters the lab, Brad cries out "Great, Scott!" and the audience hurls rolls of toilet paper into the air.

Toast: When Frank proposes a toast at dinner, the audience throws pieces of unbuttered toast into the air.

Party Hat: At the dinner table, as Frank puts on a party hat, so does the audience.

Bell: The audience rings a bell when Frank sings, "Did you hear a bell ring?" during "Planet Schmanet."

Cards: During the song, "I'm Going Home," Frank sings "cards for sorrow, cards for pain," and the audience throws playing cards in the air.

Other props seen at the midnight showings include: a heather boa, a feather duster, a hump, gold lamé bikini trunks, five-inch heels, garter belt, nerdy glasses and clean white undershorts.

In a follow-up section on etiquette, Piro lists a number of guidelines that should be followed to insure a great viewing experience for all involved, primary among them are:

  1. The throwing of objects is not meant to harm people, ruin someone's costume or cause damage to the theatre
  2. Respect the wishes of the theatre and its management

Critical Responses for the Original Broadway Production (1973)

"In today's sensation-addicted society there's probably an enthusiastic audience for The Rocky Horror Show, a garish, ear-assaulting musical put-on of pseudo-science and ambi-sex porno entertainment having been successful in London and Los Angeles… Although fogies like you-know-who won't like it, The Rocky Horror Show seems likely to prosper in the approval of a sizable public." Variety

"Bizarre, but surprisingly sweet-tempered musical valentine to camp… It is a natural for those with fond memories of '50s-style rock, double-feature science-fiction movies, camp movie queens, vintage comic strips and an Early-Glitter fashion in transvestism… Richard O'Brien's whimsical book (is) straight out of the Hammer Studio horror archives…" Marilyn Stasio, CUE Magazine

" The Rocky Horror Show is a mindless spoof of old horror movies performed to the accompaniment of a rock score in the style of the '50s… It is not easy to see why this campy trash was a long-running hit in London and a smash success in Los Angeles, except that transvestism has always fascinated the British and the L.A. scene is almost as kinky." T.E. Kalem, Time Magazine

Critical Responses for the Revival (2000)

"The show's opening numbers are still invigorating…Mr. O'Brien was a pioneer in pop pastiche, and his score moves gleefully from 1950s wistfulness to 1970s glam rock." Ben Brantley, The New York Times

"The kinky cult movie musical is back on stage, and the only shock is that it's such sweet fun. So bring a flashlight, confetti, some playing cards and fond memories of a more innocent time. Leave behind any sense of decorum. And enjoy some good, wholesome filth." Fintan O'Toole, New York Daily News

"Amazing. Broadway finally got a rock musical right. And- dammit, Janet- it is not just any musical, but The Rocky Horror Show, the mother ship for the supreme midnight movie and cross-dressing, cross-generational cult classic. Richard O'Brien's 1973 misfit celebration and monster mash, which kicked off the time warp again last night…is every bit as sweet as it was. It is also as raunchy" Linda Winer, Newsday

"Haul your lighters, toilet paper and libido to The Rocky Horror Show, where depravity and devilishness dominate. In its triumphant Broadway revival a quarter century after flopping there…one of the biggest cult hits of our time will exponentially grow its legion of fans." Leonard Jacobs, Backstage

"The carnival atmosphere of The Rocky Horror Show is so enveloping that it takes a while before you notice how clever the show itself is- a smart calibrated blend of salty, sweet and sarcastic, with it's pierced tongue lodged firmly in its cheek. " Amy Gamerman, The Wall Street Journal

"Let's not preach to the unconverted. These remarks are targeted for devotees of the late-night cult movie The Rocky Horror Picture Show. Its short-lived stage progenitor The Rocky Horror Show zapped back onto Broadway Thursday, and it's an outrageously enjoyable time. Hock your kids, rent out grandma, do what you must for the necessary coin, but grab your feather boa and go riot at this monstrously funny musical. Richard O'Brien's wild rock'n'roll spoof of sci-fi chillers is a fiendishly clever creation and good smutty fun besides…" Michael Sommers, The Newark Star-Ledger

"(The) revival of Richard O'Brien's garish, ear-assaulting musical put-on of pseudo-science and ambi-sex porno entertainment is still quite a lot of fun…" Charles Isherwood, Variety

"…this classic rock hybrid of schlock-horror-movie spoof and androgynous kitsch is a welcome blast from the past. It was always enjoyably silly." John Heilpern, The New York Observer

" …members of the audience…are likely to get swept up by the show's good time energy and Richard O'Brien's rollicking, tuneful score... Get yourself a feather boa, and see The Rocky Horror Show today." Adam Feldman. Show Business Weekly.Com

"The most fun I've had at the theater all season!" Robyn Carter, WCBS-TV

"Fabulous! It's rock'n'roll and we love it!" Pia Lindstrom, WNYW-TV


  • Original Cast Album (Roxy Theatre, LA)
  • Audio CD Release Date: May 12, 1989
  • Original Release Date: 1974
  • Number of Discs: 1
  • Label: Rhino Records
  • Original Cast Album (2000 Broadway Revival)
  • Audio CD Release Date: May 15, 2001
  • Number of Discs: 1
  • Label: RCA

Motion Pictures:
The Rocky Horror Picture Show (1975)
  • Starring: Tim Curry, Susan Sarandon
  • Director: Jim Sharman
  • Format: Color
  • Rated: (R) Not for sale to persons under age 18.
  • Studio: Fox Home Entertainmet
  • DVD Release Date: September 7, 2004
  • Video Release Date: October 3, 2000
  • Run Time: 100
Rocky Horror: From Concept to Cult by David Evans and Scott Michaels, Sanctuary Publishing Ltd., London, June 2002.

(Note: All of the above titles and formats are in print and available through and other on-line retailers)

Compiled by Daniel Yurgaitis
Posted: September 14, 2004.
Copyright © 2004 by Northern State University , Aberdeen, SD