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COLUMN

Live Active Cultures

Seth renews his vows with cult pop culture

This participatory interpretation of the 1980 film is obviously inspired by Rocky Horror, with a goodie bag of props to play with and a script of shoutouts for each celebrity cameo. Best were the in-theater effects puppeteered by the Ibex crew, including Gonzo borne overhead by balloons. The production was reportedly a hit with the sold-out crowd at the family-focused early showing, and the late screening’s smaller, older crowd (aka the lovers, the dreamers and me) left feeling a little more connected to that rainbow.

Something blue (that blew)

I missed last summer’s staging of Danny Feedback’s Crack Rock Opera at Theatre Downtown, but went to see its current Parliament House production because OW’s Bao Le-Huu called it “a DIY Rocky Horror with better music.” I’ll concur with the DIY part, but amend “better music” to “louder music, loathsome characters and an incomprehensible plot.”

The evening started strong with Tony Clifton-esque lounge lizard Sal Minnelli and a warm-up set by gimp-mask-clad Room Full of Strangers, and the real-life Fox news clip warning about “jenkem,” a human feces-derived hallucinogen (hence the titular “crack”) is hilarious. But it’s all downhill from the first line of narration, delivered alternately in bad British falsetto and racist Engrish. The slender and profane story is staged without any apparent acting ability; the cast delivers dialogue as though improvising while drunk. They are talented musicians – some songs show flashes of Floydian drugged-out genius – but all I could understand of the painfully over-amplified lyrics were the frequent “fucks.” Like Scientology, this is one cult I won’t be joining.

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