Like some Pied Piper who uses an entrancing script instead of a lilting flute, Bobby has convinced a sterling list of entertainment luminaries to be transfixed by his "tune" and join the cast. Calvin Millado, Bituin Escalante, Anna Fegi, Jett Pangan, Michael de Mesa, Aiza Seguerra, Cathy Azanza, Noel Rayos, Jay Españo and Mylene Dizon – the list goes on – and they’ve all come together for an ensemble piece that shows the tight control Bobby can muster, not to mention the willingness on the cast’s part to place utter trust in Bobby’s vision.
An instant cult classic since its inception in 1997, The Rocky Horror Show is extreme interactive theater at its funniest and craziest. If you’ve never seen or experienced it, be thankful that despite more than 25 years, it hasn’t lost its edge for being campy and foolish in the best possible way. And if you’ve already done the Rocky thing, don’t fret; going back is still something to relish.
There are those who ask what Rocky Horror is all about; what’s the story, what’s the music like and so on. For me, the only true answer to that is "Who cares!" The story is as bare as a bold star’s wardrobe; think B-moves sci-fi of the late ’50s and your’re ready to follow the plot of Rocky Horror. As for the music, other than the TimeWarp song/dance, everything else is serviceable but far from memorable. Echoing the doo-wop music of the early ’60s, it’s Grease gone berserk.
The key to the success of Rocky has always been the "experience". Sexual innuendoes fly in your face, stereotypes and clichés are mined for absurd fun, stock situations from departure points for outrageous send-ups, and it helps to have the Rocky mind-frame when you enter the theater. The RCBC theater is thankfully not some cavernous venue, so a particular intimacy is maintained and one can be seduced into feeling we’re all part of one party; the classical delineation between proscenium and audience blurring.
If there were some Philippine version of the Tony’s Calvin Millado would be a shoo-in for a Best Actor nomination. In fact, he might quality for Best Actress as well (on second thought, maybe "Best It" would be a better description of the role). He may have caught the original Tim Curry interpretation but Calvin goes all-out in developing his own version and I’m sorely tempted to ask who were the local inspiration for the way he tackles the role of Frank N’Furter. To his credit, it masterfully favors misunderstood diva over screaming faggot (which could have been the easier way to go).
Anna Fegi as Magenta, Bituin Escalante as Columbia and Jett Pangan as Riffraff are all given turns to show off their singing prowess. But it’s their acting and their spoken parts that also impress. Anna delivers all her lines with Bobby’s intruction of "in an orgasmic manner"; while Bituin puts on an East End/Cockney accent that’s hilarious. And Jetts’ "faithful lackey with something up his sleeve" is suitably underplayed.
Cathy Azanza (Janet) and Noel Rayos (Brad) are appropriately nerdy and geeky. Jay Españo as Rocky makes a perfect Christmas gift for some people I know (perhaps the same people Calvin used as inspirations for his role?). And be ready to be very surprised by Aiza’s dual roles. While you can’t seem to completely take out of your mind the image of the Aiza we’ve come to know, you have to give her credit for doing her homework for this turn on stage. Kudos as well to celebrities like Mylene Dizon who, at the drop of a hat, said yes to Bobby just to experience the world of theater, even if only as a member of the chorus. Michael de Mesa essays the role of the narrator and is his usual "cool" self, helping set the mood for all the fun that ensues.
Miss Saigon is, say, gone, and if you didn’t "catch" Cats in Hong Kong or Singapore, Rocky Horror is the needed "shot in the arm" for the local theater scene. It’s fun and it’s rightfully offensive – and Calvin has to be seen to be believed.