The Rocky Horror Show
The Rocky Horror Show has a remarkable history from its first production in London, to hundreds of productions around the world. In 2004 Orlando's Theatre Downtown put on a different, but equally creative and entertaining production that was downright irresistible.
This was the production's website promoting their version of the Rocky Horror Show.
Content is from the site's 2004 archived pages.
The History of The Rocky Horror Show
Rocky Horror began its remarkable life not as a film, but rather as a small production in London that author Richard O'Brien wrote to keep himself busy on winter evenings when he was an out-of-work actor. Richard O'Brien was born in London in 1942, but he grew up in New Zealand where, during double features at the local cinema, he developed a lifelong passion for schlocky science fiction and B-grade horror movies, as well as classics like Dracula and Frankenstein, and Marvel Comics (especially Dr. Strange). O'Brien narrowly escaped a considerably less glamorous life as a cheese farmer in New Zealand by moving back to his native London to make a go at an acting career. After performing small roles in the films "Carry On Cowboy and Casino Royale, O'Brien landed a role in Hair and made one disastrous but fateful performance in Jesus Christ Superstar. Although he didn't cut it in the role of King Herod, O'Brien had the opportunity to present his 3-chord rock musical entitled They Came From Denton High to Superstar's director Jim Sharman, who was asked to do a play in the main house of the Royal Court Theater . Sharman remarked that he would like to do that, but wanted some time in the tiny upstairs theater with the play O'Brien had written.
There was one problem: the theater could not cover the costs of production alone, so a producer needed to be found. A tape of Richard O'Brien singing "Science Fiction/ Double Feature" (the opening song) made its way to the desk of Michael White who had produced a London version of "Oh! Calcutta !" White became fascinated with the tape and story concept, and agreed to sponsor the production. Dubbed "The Rocky Horror Show" the play was based on a combination of grade B Horror movies, Steve Reeves muscle flicks and fifties rock 'n' roll. It starred O'Brien as a maniacal handyman named Riff-Raff, and another Hair alumnus Tim Curry in the leading role as Dr. Frank-N-Furter, the kinky scientist who creates "Rocky Horror", his personal Adonis. Even though Curry originally came to read for the role of Rocky, his raucous performance of Little Richard's "Tutti Frutti" made it clear he was destined to play the lead role.
The play opened at the Royal Court 's experimental Theatre Upstairs as a six-week workshop project in June of 1973 to fantastic reviews and packed houses of 60 or so people a night. A good omen for Rocky Horror was that Vincent Price was amongst the opening night attendees. The show received such acclaim at this 60-seat theatre that it was quickly moved to larger quarters in a converted cinema in Chelsea . Following the movie theatre's demolition, the show found a permanent home at the 500-seat King's Road Theatre, where it is still playing to packed houses nightly. The play was named Best Musical of 1973 in the London Evening Standard's annual poll of drama critics. Approximately half the actors in this production would go on to reprise their roles in the film version.
Lou Adler, an American record producer/songwriter who had co-organized the Monterey Pop Festival, was brought to the show by Britt Ekland after being awake many straight hours on a delayed British Airways flight from LA to London . Adler was immediately impressed by the show and was coincidentally at a party a few nights later where he met Michael White. Within 36 hours, Adler had secured the American rights to the show and a Los Angeles production was to be mounted.
Adler invited executives from 20th Century Fox to the play and managed to secure a film deal. Filming of THE ROCKY HORROR PICTURE SHOW began in October, 1974, at Bray Studios, England's famous House of Horror,' and at a 19th century chateau which served once as the wartime refuge of General Charles DeGaulle.
After completing the six-week shoot, it was decided to open a run of the play on Broadway as a sort of pre-release hype, building anticipation for the film's scheduled release the following fall. The production was brought to the Belasco theater in Manhattan , a legitimate theatre which was converted to a cabaret style venue (like the Roxy) by adding tables to the floor. Unfortunately, the large size of the theater only served to destroy the intimacy which had existed at the show's previous productions. To further detriment, local critics implied that the play had no place in such a cosmopolitan area as New York . Forty five performances later, the show closed without a trace of ever having arrived.
Things didn't appear much brighter on September 24th, 1975 when The Rocky Horror Picture Show had its American theatrical debut. Although the film, touted as "A Different Set Of Jaws", opened to sell-out crowds at the UA theater in Westwood Village (a college town surrounding UCLA in Los Angeles ), the story was quite dismal almost everywhere else. The film bombed in most cities, and looked to be doomed to the vaults until a strange phenomenon was observed. Although theater owners were complaining of low attendance, it seemed that a small dedicated audience was returning for repeated viewings.
While the film was still running successfully in Los Angeles , Lou Adler and Tim Deegan (20th Century Fox's marketing director for Rocky Horror) began to discuss the situation at hand. Together they decided the film would need a special kind of marketing, geared toward helping the film find its own unique audience. Their first step was to try Rocky Horror as a midnight movie in New York City , a relatively new idea at the time. Word of mouth, they decided, would be the best form of promotion - let the audience find the film and vice-versa.
Six months after its initial release, Rocky Horror hit the midnight-movie circuit (with a re-edited ending - sans the down beat Super Heroes and Science Fiction Reprise) by opening at the Waverly Theater in Greenwich Village . Within weeks, The Rocky Horror Picture Show was also playing at several other theaters throughout the country at the witching hour. The audience continued to grow steadily and, in addition, began to develop a special relationship with the movie. The first evidence of the unique tie between The Rocky Horror Picture Show and its audience surfaced in its initial run at the UA Westwood. Many of the same people who attended multiple performances at the Roxy were attending the movie on a nightly basis. These people were actually singing along with the songs as early as opening week, and calling out "2-4-6-8-10-12-14-eat your heart out, Anne Miller" from the Roxy Soundtrack's Time Warp.
This phenomenon was not, however, exclusive to the Westwood audience. The barriers between audience and screen broke down almost simultaneously at Rocky Horror screenings throughout the country. At first it surfaced in small ways - someone might hold up a teddy bear during the "Eddie's Teddy" number or a group of viewers would bring noisemakers to rattle during the creation scene. Although no one knows for certain what the first audience comeback was, some people were already calling out "antici-'say it'-pation" before the movie hit the midnight scene. And doing the "Time Warp" in the aisles during the closing credits became an essential part of the Rocky Horror experience very early on. A ritual began to develop around attending a Rocky Horror screening. Its glittery, colorful palate inspired people to dress up in outrageous costumes, usually designed to mimic the movie's main characters. Groups of regulars developed loyalty to their Rocky Horror venue wherever it played.
In early 1977, the first full-fledged official "dress-up" group emerged at the Fox Venice theater in Los Angeles . "The Rocky Horror Revue" performed a staged, lip-synch Rocky Horror act on the Fox stage in between the evening's two screenings. Possibly the most noteworthy group emerged at the Waverly Theater. This industrious ensemble was one of the earliest and most enduring of all the performing groups, eventually becoming the founders of the Official Rocky Horror Picture Show Fan Club. At its peak, the New York based national fan club boasted over 20,000 active members worldwide, according to fan club president Sal Piro. In its earlier run, it was noticed that the film's attendance seemed to rise when one of these "live" groups were performing. The wackier the audience, the bigger the draw.
By the end of 1977, Rocky Horror had mutated into a multimedia event - a loud and boisterous come-as-you-are party where anything could - and often did - happen. "Don't Dream It, Be It" was Rocky's central message, and the ever-increasing audience took it to heart. Attending The Rocky Horror Picture Show was an experience that could be compared to no other. Where else could you go out at midnight , dressed in lingerie, and hang out with a couple hundred other free-spirits? Soon annual and semi-annual conventions were held in celebration of Rocky Horror, and a great many friendships were formed through its faithful cult. One couple even got married at a midnight screening at Hollywood 's Tiffany Theater .
By 1979, Rocky Horror was receiving a great deal of media attention worldwide. The New York group (now transplanted to the 8th Street Playhouse) was featured on The Tom Snyder Show. The Tiffany's group was featured on various news programs. Groups in all areas were finding themselves featured on local news broadcasts. Magazines from Newsweek to Rolling Stone ran features on the film and its massive following. At this point The Rocky Horror Picture Show was experiencing its greatest success ever. Aside from its usual midnight showings, many 2-AM shows were added to accommodate the sell out crowds. Media coverage included a feature on NBC's Real People and a Ronald Reagan spoof on ABC's Fridays called "The Ronnie Horror Show". In addition, the films Fame and Willie and Phil contained scenes depicting the Rocky Horror experience.
Because of the widespread interest in Rocky Horror, it was decided to stage a major revival of the play in The United States. Rocky Horror - the play, had run continuously in London , moving from the 60-seat Theatre Upstairs to the 400 seat Kings Road Theater in 1974 where it ran straight for 7 years. Had this success occurred after the internet arrived on the scene, the promotion would have included not only social media, but also would have pulled in the tech world of big data. Probably a consultant for data science would have been brought on board, and the audience size would have exploded exponentially, given the word of mouth popularity, acceptance of LGBQs, and the ability of the marketing magic that automation could bring to bear. Yet even without these tools, the show became a cult legend very quickly, and the growth was not slowing down. Touring companies had already performed in Germany , Norway , Australia , Japan, France , and New Zealand (where rocker Gary Glitter took the lead as Dr. Frank-N-Furter). The U.S. touring company surfaced in 1980, and played to sell-out crowds wherever it performed. This was the first opportunity for most of the hard-core fans to see Rocky Horror in its original form. Most notable of the performers who participated in the revival were Kim Milford from the original Roxy Cast reprising his role as Rocky and Wendy O. Williams (from the controversial punk band The Plasmatics) in the role of Magenta. Australia and New Zealand also experienced successful revivals of The Rocky Horror Show at this point in time.
In 2000, The Rocky Horror Show was revived on Broadway with much success. Guest Narrators included everyone from Dick Cavett to Sally-Jessy Raphael. The musical still continues to be produced across the U.S. and abroad. Last year it enjoyed a successful U.K. 30th Anniversary tour.
The Story of Transsexual Transylvania
On the planet Transsexual, in the distant galaxy of Transylvania , a great and mighty civilization once thrived. For countless millennia, the Transylvanians lived as gods. Their scientists conquered disease and postponed death, granting them near-immortality. They perfected the arts of cloning and biomechanical enhancement, and designed a caste of genetically engineered servants to cater to their every need. The ruling class lived ageless lives free of pain and want. Liberated from the struggle for survival, the Transylvanians reveled in luxury, devoting themselves to the pursuit of sensual pleasures.
Thousands of years of peace and prosperity inevitably gave way to stagnation and rot. Sex, divorced from procreation or emotion, became a form of causal recreation, arousing no more passion than a handshake. Politics, religion, and philosophy were all abandoned as primitive superstitions, and gender became nothing more than a garment to be changed with the dictates of fashion. Even the most ancient and sacred Transsexual ritual, an orgiastic mating dance known as the “Time Warp”, became a meaningless shadow of its former self and was nearly forgotten. A society that once represented the pinnacle of innovation and advancement became stagnant and dependent on their servants for basic necessities.
Eventually, the Transylvanians forgot the secrets of creation entirely. Their ability to reproduce naturally had long since been eliminated as a messy anachronism, and efforts at further genetic manipulation yielded only diminishing returns and inbred monstrosities. With their unnaturally prolonged life spans drawing to an end, and no hope of propagating the species, the elders of Transylvanians foresaw their extinction and trembled.
But at the last possible moment, a beacon of hope appeared in the dark infinity of space. A tiny blue planet, orbiting an insignificant sun in an unfashionable galaxy, began beaming signals into the void. The Transylvanians intercepted these signals, at first just sounds, then flickering images in black and white, and finally color.
One Transylvanian in particular, a self-styled scientist by the name of “Frank N. Furter”, became entranced by these images. They showed him war and strife, birth and death, passion and fear, gods and monsters. Most of all, he saw life, in endless variations. He saw a world that reminded him of Transsexual thousands of years ago before its decline. Maybe these creatures, who called themselves “humans,” still possessed the gift of creating new life that the Transylvanians had lost?
The Transylvanian elders, sensing the desperation of their situation, charged Frank with the task of visiting Earth and bringing back their salvation. They sent with him Riff Raff and Magenta, cloned twin siblings from the highest ranks of the servant class, to aid in his quest. Frank's mission was clear – to discover the human's method of procreation and return without arousing the locals' suspicions or interfering with their culture.
Frank chose as his base of operations Denton , an anonymous town in the heartland of the nation that was the source of the most vibrant and intriguing broadcasts. He parked his spacecraft, cleverly disguised as a decrepit castle, in an abandoned industrial area on the outskirts of the city. From this base of operations, Frank disguised himself and made expeditions into town. At night he trolled the town's hidden places for lost souls, people whose weaknesses and addictions made them easy prey for Frank's charms. He seduced these citizens as a spider ensnares a fly, bringing them back to his lair as raw materials for his experiments.
As the weeks went by, Frank became increasingly infatuated with this new world. As Riff Raff toiled in the laboratory to build the creature that was to be the salvation of their people, Frank dallied with the living toys he had enslaved. Forgetting the urgency of his mission, Frank began talking of conquering this planet and remaking it in his image. Despite the growing suspicions of local authorities, particularly UFO-expert Dr. Evrett Scott, Frank became increasingly careless in indulging his appetites.
Now, the final fateful night of the Transylvanian's mission has arrived. The creature, the last best hope of Transsexual, is nearly ready to be born. Frank seems more interested in his creation's recreational potential than its intended purpose. As Riff Raff contemplates the imminent desecration of his world's salvation, he spies something from the castle window. Two figures, lost in the rain and dark, who might serve his needs. Perhaps these two pawns might distract the master long enough for the servant to fulfill the destiny he has for so long been denied…
Director's Note: The Philosophy of The Rocky Horror Show
“Don't Dream It, Be It.” For 30 years, this lyric has defined the philosophy of Rocky Horror. Written at the peak of a social revolution, Dr. Frank N. Furter's refrain was embraced by fans who celebrated the liberation from traditional boundaries and the intoxicating empowerment of radical individualism.
A generation later, this mantra has been enshrined not just by a cultish fringe, but by our society at large. Today, what was once dangerous and exotic is mass-marketed to every living room. To be, rather than to dream, is now regarded as an inalienable right. But for every freedom gained, something must be lost. When we can be whatever we want, what becomes of our dreams?
However, Rocky Horror ends not with Frank's paean to self-actualization, but with a bitter and prophetic warning. Janet mourns a world where “Superheroes come to feast, to taste the flesh not yet deceased,” and the narrator reminds us that we are “insects called the human race, lost in time and space and meaning.” Is this not our world, where our celebrity gods descend to feed upon a willing body public, where we know everything and believe nothing?
Brad and Janet are our American Adam and Eve, expelled naked from paradise after tasting the forbidden fruit of knowledge. As in every hero's journey, the final step on the path from innocence to experience is the realization that one can never return to the home left behind. The Right, as personified by Riff Raff, and the Left, embodied by Frank N. Furter, collide against each other, casually crushing us to pulp between them.
The golden age of American innocence is lost to us forever, along with the spook shows and drive-ins. But for one night, perhaps we can take a time warp. It's just a jump to the left, back to the sights and sounds of that vanished world. And then, a step to the right into the brave new world crafted by the good doctor and his spiritual heirs. Join us in the dance, but beware that it doesn't drive you insane…
Todd Davis (Phantom “Verge”) New to theatre in Orlando is Todd making his debut at Theatre Downtown. He glistens with (insert adjective here) to show Orlando what he’s made of. His favorite past role is Jimmy in the production of A Prayer for My Daughter. He plans to attend UCF’s Bachelor of Fine Arts Theatre Performance program in the spring of 2005. This is one experience he isn’t dreaming about, he’s being it. Much thanks to all of the cast and especially Seth for pushing him until he was black and blue. Literally.
John DiDonna (Frank N Furter) received his bachelors from Syracuse University, and his MFA from UNCG. In this, his 6th production of Rocky Horror, John is celebrating his 20th anniversary playing the role, first essaying it in Syracuse, NY in 1984. A veteran of many theatrical productions as an actor/director/playwright, most recently John directed the critically acclaimed Long Day's Journey into Night for Theatre Downtown. Among his many directing credits he has helmed Who's Afraid of Virginia Woolf, Quills, 2004's Fringe Hit The Blue Room, Killer Joe, The House of Yes, The Iceman Cometh and The Tempest. As an actor DiDonna has been seen on stages in plays from Shepard to Shakespeare, including True West, Tony n Tina's Wedding, Romeo and Juliet, Chicago, The Crucible, Bloody Poetry, Extremities, Midsummer Night's Dream, Three Penny Opera and The Conduct of Life. His next work with Theatre Downtown includes the premier of his new play in the OSF's Playfest in January, and his production of Oedipus the King will premier in April 2005 in Downtown Orlando. John is an adjunct professor at SCC, VCC and Barry University.
Ward Ferguson (Eddie/Dr. Scott, Music) is thrilled to be making his debut at Theatre Downtown and in Rocky. His infatuation with the show began with the movie, the only film he's ever been frisked before seeing. He has also enjoyed his expanded role as vocal director and musical co-producer. It has been a hectic but rewarding challenge to help Seth put our own stamp on this show. Ward, who holds a BFA from Auburn University can be seen singing around town in various un-named theme parks and conventions, as well as at Slueth's Mystery Dinner Shows. Ward wants to thank the children for making this experience even that more rewarding. Remember the children.
Sarah French (Janet Weiss) Sarah is thrilled to be back at Theatre Downtown where she was last seen as Myra in The Long Goodbye. Big thanks to Seth for allowing me to be a part this "wild and untamed thing", to the cast and crew for making this a wonderful experience, to Fran and Frank for the good work they do, to Lauren, Yvonne and everyone at Art's Sake Studios for supporting me, to Jeff Lindberg for being my best friend, to Missy for being my biggest fan, and especially to my mom for not bringing my grandmother to see this.
Stephen French (Riff Raff) - Stephen is thrilled to wallow in his deviant nature and become Riff Raff for a second time since Theatre Downtown's hit production of Rocky in 2000. He has been performing for over 20 yrs. and has worked on stages throughout Central Florida as both actor and director. Stephen can be seen regularly at Sleuth's Mystery Dinner shows in 26 different roles, Capone's dinner and show, and at a theatre near you. "Thanks and innappropriate gropes to Seth and a stellar cast & crew for a truly titilating experience."
Josh Geoghagan (Phantom “Victor”) is very excited to make his debut at Theatre Downtown in The Rocky Horror Show. That's a polite way of saying he's peeing himself right now. Favorite past credits include: Eddie McCuen in The Musical Comedy Murders of 1940, Garry / Roger in Noises Off, and oddly enough, a Phantom two years ago in The Rocky Horror Show. To the cast and crew he would like to say thank you very much.
April Goins (Phantom “Chloe”) is happy to be making her stage debut at Theatre Downtown. She has previously been seen (mostly naked) with the Boys Scouts and AntiBabe. Special thanks to Elton, Jodi, Seth, and Ward for teaching me everything I needed to know.
Tammy Goode (Phantom “Iris”) is very excited to be performing in her first show at Theatre Downtown. She has previously portrayed Janet and Magenta with the Rich Weirdoes, and Buffy Summers in Once More With Feeling in Tampa and San Francisco.
Katrina Johnson (Columbia) - Katrina is very excited to be doing yet again another production of Rocky Horror, this time playing a girl, having played Eddie and Dr. Scott in Moonlight players production of Rocky in 2001. Katrina has been performing since she was 5 yrs. old and hopes to continue performing til she's dead. Some of Kat's favorite roles have been Rizzo in Grease and The Narrator in Joseph. To Seth, thanks for a wonderful experience and I hope I get to work with you again someday. To a fantabulous cast and crew lets give these people a show they'll never forget. And to my mom, I hope you don't have a heart attack from seeing this show, Love you.
Seth Kubersky (Director/Designer) is proud to be directing his first production at Theatre Downtown, where he has previously worked on Long Day’s Journey Into Night, Ride Down Mt. Morgan, and Streetcar Named Desire, among others. He was production manager for SoulFire on shows such as Tony & Tina’s Wedding, Lonesome West, and Killer Joe, and has designed and produced for The Vine Theatre and Orlando Fringe Festival. He produces The Rich Weirdoes in The Rocky Horror Picture Show for Universal Studios, where he has worked as an entertainment supervisor. His travel and theatre review have been published by Jim Hill Media and Intrepid Traveler. Special thanks and much love to my family, Frank and Fran, John, Jodi, and the most fearless and talented cast and crew I’ve ever worked with.
Natalie Kuritzky (Magenta) When not keeping brother Riff amused or assisting him in the lab, Magenta can be found masquerading as human actress Natalie Kuritzky, and in this guise has been seen portraying Eva Peron in Evita at the Helen Stairs Theatre (for which she won a Golden Lyre), Gussie in Merrily We Roll Along at IceHouse, Fanny Brice in Funny Girl at the Mark Two , Audrey in Little Shop of Horrors at Osceola, all eight female roles in Jeffrey at The Acting Studio, and Frauline Kost in Cabaret for the Center, to name just a few. She is very grateful to her favorite earthling Eric, who tries so hard to put up with all of these females, human and otherwise.
Jeff L. Lindberg (Simon Lock, The Narrator) A native of Hampton Roads, Va, Jeff went to school in North Carolina, where he studied both Television Performance and Theatrical Performance. Jeff was most recently seen in Valencia Character Company's How I Learned To Drive, the 2004 Orlando Fringe Festival in Whipping Wally Wonker (Wally Wonker) and the Orlando premiere of Bat Boy: The Musical as Dr. Thomas Parker. Currently he is preparing to direct Walton Jones' THE 1940's RADIO HOUR this holiday season for the historic Bay Street Players in Eustis, FL. Jeff is currently an Entertainment Manager at Disney's Animal Kingdom Theme Park. This show is dedicated to his friend Amanda…though she is more than a 'time warp' away, still guides his life today with her friendship, laughter, love and support.
Elton Litzner (Phantom “Turbo”) is an actor, anarchist, circus freak, dilettante romantic, and wandering mystic. After traveling through Europe, and a brief stint in New York, he found himself here in Orlando. Sharing the stage with this multi-talented cast and crew, who in many ways have become his surrogate family. Special thanks to Seth for his vision, to Jodi and the AintiBabes, and most of all to April (my coffee girl) for being the best partner I could hope for. My love and my life are one.
Kimberly Luffman (Assistant Director) - Kimberly is thrilled to be working with Theatre Downtown again, having last appeared as Cathleen in Long Day's Journey Into Night and Christmas Past in last year's A Christmas Carol. A BFA graduate from the University of Central Florida, she has also performed with the Orlando Shakespeare Festival, Invictus T.C., Rivertown Players, and Storybook Theatre. She also models for Fantastical Photography. Many thanks to Seth for this incredible opportunity, and love to the magnificent cast and crew for their talent, hard work, and friendship. Rock on.
MaeLi Creations (Frank N. Furter Designs) is Amy Andrew Loo and Shelly Henriott. Together they have been designing and costuming for over 10 years in the Central Florida area for parties, festivals, weddings, formal events, and shows such as Born Yesterday, Rocky Horror Show and The Rocky Horror Picture Show.
Dana Robins (Stage Manager/Master Carpenter)
Steve Schneider (The Guitarist) has been a musician for 27 years -- which will come as quite the surprise to his neighbors, who were under the impression he operated a belt sander. You may know Steve from the higher-profile job he holds in our community: demonstrating tasers for the Orange County Sheriff's Department. Steve would like to thank all of the friends, well-wishers and hangers-on who have helped him ascend to the glittering middle rung of non-Equity theater. Remember Paul M. Wegman 1945-2004
Amanda Stacy (Phantom “Kandi”)
Matthew Trahan (Brad Majors) makes is Orlando debut with RHS after appearing last season at the Cocoa Village Playhouse in Children of Enden and Annie Get Your Gun. His ten-year performing career has taken him all over the country, from concert appearances in Pennsylvania to a two-year stint with the Colorado Springs Repertory Theatre Company, where his favorite credits included Annie Get Your Gun, West Side Story, and Chicago. He would like to thank Mom, Dad, Denise, Karen Laura, and Tommy for their constant love and support, as well as everyone else who has ever believed in him as he turns his sights north to NYC (eventually!).
Jenn Wood (Phantom “Lili”) attended Boston College on the Walt Disney Foundation and Dr. Phillips Visual and Performing Arts scholarships and was thrilled to study with the Abbey Theatre in Dublin. She was the Artistic Director of the Children’s Theatre in Boston and continues to teach and direct children’s productions in Orlando. She thanks Rus for courage, David for patience, and her boys, Kai and Simon, for their unconditional love. (I promise we will catch up on our bedtime stories, little guys.)
The Rocky Horror Show
Book, music and lyrics
by Richard O'Brien
Photo by Shani Lucas 2004
Directed and Designed by Seth Kubersky
Stage Manager/Master Carpenter Dana Robbins
Assistant Director Kimberly Luffman
Choreography Jodi Thomas
Set Design Seth Kubersky & Douglas E. Huston
Technical Director/Master Carpenter Aaron Babcock
Conceptual Artist Tommy Mangieri
Original Production Design Brian Thompson
Frank N. Furter Designs MaeLi Creations
Phantoms & Additional Costume Designs Fran Hilgenberg
Costume Assistants Susan Bucciero, Peni Lotoza
Original Costume Designs Sue Blane
Lighting Design Mike Rau
Props Marilee Kilsheimer, Douglas E. Huston
Dr. Scott's Wheelchair provided by Colonial Medical Supplies
New Orchestrations and Music Production Seth Kubersky
Music Co-Producer and Vocal Director Ward Ferguson
Voice Coach and Backing Vocals Doug Sinning
Studio Drummer Mike Thomas
Scenic Crew Michael Bell, Patrick Bell, Merrilee Kilsheimer, Dana Robbins, Evie Vanderveer
Recording Engineer Randy Ketterman, Troy Kelly
Original Orchestrations Richard Hartley
Makeup/Hair/Prop Consultants Keely Eyal, Ofir Eyal
Dresser Taylor Ward
Multimedia Design Seth Kubersky
Photographer Shani Lucas
Sound Design/Sound Operator Matthew Varas
Light Board Operator Philip Richard
Assistant Stage Managers Stacey Mackin, Benjamin Warren
Rehearsal Facilities provided by Heliocol
Poster Design Kevin Bee
Program Carol Norwood
Website Production Shani Lucas