Things have turned seasonally wild again at the Gettysburg Community Theatre. In what looks like an annual GCT tradition, Richard O’Brien’s “The Rocky Horror Show LIVE” — the stage musical that inspired a famous film adaptation 50 years ago (and waves of cult followers since) — opened this week on York Street.
In tribute to science fiction and horror “B” movies spanning the 1930s to the early sixties, the live musical premiered at the Royal Court Theatre in London in 1973, winning the Evening Standard Theatre Award for Best Musical. A US debut in Los Angeles preceded its NYC Broadway opening in 1975, the same year “The Rocky Horror Picture Show” (starring Tim Curry and Susan Sarandon) began the longest-running release in film history.
Since its theatrical debut in London decades ago, “The Rocky Horror Show LIVE” has been staged in 20 languages, seen by an estimated 30 million viewers worldwide and earned dozens of awards and nominations.
Just last month, a documentary by O’Brien’s son, Linus, entitled “Strange Journey: The Story of Rocky Horror” was released as the musical continues to be performed internationally and is scheduled for a 2026 Broadway revival.
Directed and skillfully choreographed at GCT by Artistic Director Chad-Alan Carr (who also leads onstage in a killer performance as Dr. Frank-N-Furter) with excellent music direction by Carrie Conklin, “Rocky Horror” lands as fresh and vibrant as ever in GCT’s intimate space.
The tech and sound design (by Michael Connelly) and lighting design (Jonathan Carbaugh) complement upstage scene projections in the theater’s black interior with gossamer set dressing that rivals any spooky Halloween attraction.
And the burlesque costumes and campy makeup worn by a glam cast — ranging from red usherette uniforms and ordinary street clothes to an eye candy buffet of black fishnets, mesh shirts, camisoles, garters and amazing high-heeled footwear (not to mention the showing of a lot of skin) — are visually seductive.
Some of the actors’ own tattoos as well as the buff physique of Ryan Chalfant (as Frank’s creation Rocky) stand out, and the scenography oozes an underlying theme of sexual liberation.
The lights rise on musicians Carrie Conklin (piano/conductor), Cole Boudreau (drums), Chris Barnabei (bass), Matt Grimmer (guitar) and Dave Bowman (bass/guitar) who accompany live; their performance is a treat in itself. And the Usherettes (Sara Myers and April Diaz) enter from the aisles to introduce the musical’s movie framing device in a powerful vocal performance of “Science Fiction/Double Feature.”
The story of young lovebirds Brad and Janet — played by real-life husband and wife Eric and Randi Walker — who are lost in a haunted castle claims the spotlight. Their opening number, “Dammit Janet!” is a strong beginning (both vocally and plot wise) to a tale whose silly story, like many horror “B” movies, plays second to its audacity.
The provocative dance moves in “Over at the Frankenstein Place” promise an evening of exuberant music as a prelude to the flamboyant first appearance of Dr. Frank-N-Furter (aka Frank). Carr’s clear, commanding vocals in Frank’s famous “Sweet Transvestite” number foretell an evening of enjoyable vocal performances by his entire cast.
A dozen more exciting musical theater numbers — including famous songs such as the ensemble’s “The Time Warp” and Marc Faubel’s “Eddie’s Teddy” (in the role Meat Loaf played onstage and in film) — will propel the audience on an electric journey driven by space aliens and kinky sex.
Last year’s returning cast — Samuel Eisenhuth as Dr. Scott/Narrator, Eric and Randi Walker as Brad and Janet, Andrew Metcalf as Riff Raff, Diaz as Magenta, Lexi Connelly as Columbia, Carr as Frank, Chalfant as Rocky, Faubel as Eddie; and Kyle Meisner, Myers and Mo Okotie Uro as the Phantoms — capture every moment.
Eisenhuth as Dr. Scott delivers wonderful, rambunctious energy; the Walkers are captivating (their incredulous facial expressions during the first “Time Warp” priceless); and Metcalf, Diaz, Connelly, Carr, Chalfant and Faubel all claim well-deserved standout moments. As do the Phantoms and Metcalf as Riff Raff, whose portrayal of inanimate objects (a car and a fireplace) are both daring and hilarious.
The choreography is almost always crisp and the vocals almost always clear.
“The Rocky Horror Show” never stops pulsing as the straight, strait-laced lovebirds become entangled in Frank’s freaky experiments (creating Rocky) and in his indiscriminate seductions.
Legs waving during (not-too-explicit) sex scenes and (not too) bawdy comments from the wings escalate to “Rose Tint My World” — a playful number where Janet and a hilarious stumbling Brad in heels dance in scarlet lingerie under Frank’s influence.
Near journey’s end, Dr. Scott (Eisenhurth), Riff Raff (Metcalf) and Magenta (Diaz) commandeer the stage in a twist that turns the tables on “sweet transvestite” Frank and steers the story to a surprising conclusion that leaves Janet and Brad contemplating their escapades.
As the movie the audience is supposed to be watching (and the show) ends too soon, Myers and Diaz return as the Usherettes in another evocative performance of “Science Fiction/Double Feature (Reprise).”
Some enthralled audience members wore costumes on Opening Night, but most honored the theater’s request not to throw props (another cult custom). The show is rated R for adult and some (but not too much) earthy content. Known for selling out to mature audiences, it has previously captivated audiences at Gettysburg Community Theatre in 2015–2019, 2022 and 2024. This is GCT’s eighth production of “Rocky Horror Show LIVE.”
“The Rocky Horror Show LIVE” continues playing to mature audiences Thursdays–Saturdays through Oct. 18. Tickets are $25. Audience participation is encouraged. The bar opens at 6 p.m. prior to the show starting at 7 p.m. See gettysburgcommunitytheatre.org.
Other credits: Carr’s direction is assisted by Alexa Connelly and Kyle Meisner and the stage is managed by Drew Derreth.
“The Rocky Horror Show” is presented by special arrangement with Concord Theatricals.
Photo courtesy of Marc Faubel.
