author: Leonard Taube
If I were to say to you, “I can make you a man”, or “Touch a Touch-a-Touch me”, or maybe ask you coyly if you’d do the “Time Warp” with me, would you look at me as if I was batty or respond with some clever retorts such as “Only if you take me to a science fiction double feature”? If the latter, you are a Rocky Horror fan and if the former well, you should become a fan. Tis the season and, keeping up with tradition, Iron Crow (Baltimore, Maryland) Theatre is once again producing their yearly rendition of the classic Rocky Horror Show in their new home located in the Remington area of Baltimore City. Iron Crow devotees might be familiar with the old space and have fond memories of walking along the back streets of Baltimore and climbing that outdoor staircase to the theatre. Well, Iron Crow has now found it’s “forever home” located in a historic building in the Remington area of Baltimore City. Artistic Director Sean Elias and Managing Director Natka Bianchini whimsically rhapsodized their joy at finding the new space (which they just moved into) during their pre-curtain speech. Rocky Horror is their first production in the new space and to say they are both pleased is an understatement.
As they should be. The new space differs in both size and layout from the former space that most people know. It is a much smaller and intimate venue and gives up the proscenium style for theatre in-the-round. It all adds up to an immersive experience that will be sure to delight audiences in all future productions. Those of us of a certain age will remember the film version starring the legendary late Tim Curry, Susan Sarandon, Barry Bostwick, Richard O’Brien and Meatloaf to name but a few. They may also remember the midnight screenings of the film with a shadow cast complete with yelling out and throwing things at the screen. Such fun memories. Some places still show the film and add other goodies to make the experience fun and inclusive for audiences, but others do the stage musical as Iron Crow has done and the music, songs, choreography and antics will shock, delight and just plain tickle you. And yes, there is audience participation. Quite a lot.
Director Sean Elias and Associate Director Allison Bradbury have put together a stellar talented cast of triple threats and use the aforementioned in-the-round space to its best advantage. There are also staircases which lead to a balcony that sits above the pit and two long side balconies on either side of the house, and they put those spaces to good use as well. It all adds up to an action-packed show chock full of singing, dancing, acting and just plain fun.
Music Director Stacey Antoine has coaxed the best out of this gang. The melodies sing and the harmonies glide effortlessly out of the actor’s mouths and if you have a favorite song from this show let’s just say you will not be disappointed. Song lyrics are clear and understandable and never overshadowed by the live pit.
Yes, there is a live pit. This group of musicians sound glorious and add a certain “je ne sais quoi” that canned music cannot match. Live pits are so often overlooked but deserve every bit of recognition as the actors themselves. These are talented musicians that show up to every performance and play their instruments professionally and with emotion to back up the singers and the show would just not go on without them. They should be applauded. Loudly.
Choreographer Unissa Cruise gets the cast moving. I had the privilege (and pleasure) of discovering the lovely Ms. Cruise sitting next to me during this performance. She is a veteran performer herself with some impressive credits to her name, but it was evident she was very proud of her Rocky performers. They danced…and well. Cruise’s fresh take on the traditional choreography (especially the famed “Time Warp” number) was a delight to watch, and you would think that this was a team of professional dancers strutting their stuff up there. The staging of the numbers blended beautifully with the choreography, and it all evolves into a syncopated rhythm that glides, sways and twirls you into the world of transexual Transylvania.
Intimacy Director/Safer Spaces Trainer Shawna Potter has a big job to do for this show and should be commended because, while to the naked eye it might be apparent, but there is some serious intimacy direction/training needed for this show. Too many potential spoilers here, but let’s just say that quite a bit of the scenes and staging call for, well, people to get “close” and engage in certain “acts”. Nuff said. Shawna, my hat is off off to you for getting these actors comfortable with the touch-a-touch-a-touch me nature of the show that is expected by audiences and just would not be the same without.
Scenic Designer/Technical Director Bruce Kapplin and Lighting Designer Thomas P. Gardner designed an impressive spooky setting for Frank’s castle, making use of the ceiling and outer perimeter of the stage resplendent with chandeliers and other castle type things, and lighting was kept subdued and dark for the show. This is, after all, a castle but don’t worry. The actors can be seen all right. But the lighting effects for entrances, exits and the transportation scene at the end were phantasmagoric.
Costume Designer Xorlali Plange and Assistant Costumer Designer Brianna Nguyen kept the costumes tight when called for, leather when needed and flamboyantly flowing in keeping with the situation. The phantoms were appropriately attired in dark colors and and the principals were dressed in character type clothing that matched their on-stage personas.
Rounding out the rest of the creative team are the usual props designer/master, hair/makeup designer, sound designer, scenic designer and of course a Fight Director/Dance Captain and all weave their magic to make this show superb. That said, I must give due to the clever use of whatever it is that was used to (depending on where you sit) make it rain in the audience and shower you from above with various things throughout increasing the immersive nature of the show and bringing the audience into the action. Very clever and highly effective!
The cast of this production is charged with bringing the creative team’s vision to life, and they do so by bringing their all. All their talent. All their energy. All their stamina.
Brett Klock (Brad Majors) is a well-groomed (that hair!), suited, glasses wearing geeky sort of guy the way Brad Majors should be. Klock is hysterical in his portrayal of the just engaged man in love with Janet Weiss and shows off his vocal ability with such songs as “Damn It Janet” and “Once In a While”. But it’s later in the show where he gets into it with Frank N Furter that his true comedic abilities and timing really shine, aided by some costumer “accessories”.   And I’m talking about rolling on the floor laughter. Not just a giggle or guffaw.
Jay’Na Johnson (Janet Weiss) is the other half of the just engaged duo and will wow you with her rendition of “Touch-a-Touch-a Touch me”. She also falls under Frank N Furter’s spell and is no less fun to watch than Klock. Johnson’s naïve and shy Janet will draw you in and take you on her journey of self-discovery enabled by some questionable characters on an unexpected night.
Benjamin Eisenhour (Riff Raff) is a tall dude decked out for elbow sex (see the show) from the start, and it’s him who leads the “Time Warp” and gets the audience toe tapping in their seat. Eisenhour plays the character sly, smarmy, and manically greasy throughout and his interactions with Magenta are classic Rocky Horror at its finest. Whether belting out his songs with conviction or circling Magenta with elbows ready, it’s delightfully wicked comedy and great fun to watch.
Christin Wright (Magenta) is just as up for some elbow fun as her colleague, and channels a sort of evil, two-faced persona into pretty and seemingly charming woman. As with all characters in Rocky, it’s all about what’s underneath the surface and Wright knows how to play the subtext with fine dexterity.
Geradan Ward (Eddie/Dr. Scott) is just too funny. Whether he’s up there singing his rocker heart out in “Hot Patottie” (eat your heart out Meatloaf) or rolling himself in a wheelchair and spouting an accent as a distinguished scientist, Ward’s versatility as an actor is undeniably and unashamedly awesome. Watch him in “Eddie’s Teddy” and his sudden transformation toward the end. Yes, everyone has their alter-ego as the good folks of transexual Transylvania are only too helpful to bring out. Too funny.
Meghan Gosee (Columbia) dances her heart out and gives her heart out too as Frank N Furter’s former lover who also had a thing for Eddie who, unfortunately, went to pieces (see the show). Gosee also channels her character’s inner turmoil into some powerful drama and delivers her lines throughout (especially at the end) with conviction and fortitude. One almost feels sorry for her by the end of the show, and the ability to draw such emotion out of an audience is the mark of a true artist.
David Forrer (Narrator) takes us on the journey with appearances throughout giving some exposition and causing some wonder as to what is around the corner. Forrer is an apt narrator who commands the stage with his presence and his voice, as well as helping the audience understand the plot at times.
So now it’s time to come up to the lab and see what’s on the slab. I’ll save you the time and tell you what’s on the slab. It’s Frank’s creation. His masterpiece. His triumph. Rocky (as in “Rocky Horror”), a Frankenstein sort of built creation but oh-so-pleasing to look at. Played by Kobe Morrison (who I had the pleasure of meeting briefly before the show when the cast mingles with the crowd in the lobby), his Rocky is a black booted, shorts wearing muscled young man who runs all over the place after his “unveiling” while singing “The Sword of Damocles”. Morrison struts, dances and flexes his way through the role as any Rocky should while his creator promises to make him a man. Rocky is not an especially intelligent creation, but his interaction with Janet in “Touch-a-touch-a-touch me” is so much fun to watch and, well, that’s all you really need to do. Watch. Morrison is flexing eye candy who also grows and evolves in thought and desire, although not in the way his creator would have preferred.
And speaking of the creator, Nicholes Miles (Frank N Furter) is picture perfect as the scientist who brings Rocky to life and takes Brad and Janet on their erotic road to self-awareness. Miles is no stranger to Iron Crow, and I have had the pleasure of seeing him in prior shows, but he takes the stage and commands it in the role of Frank. From his dramatic entrance to his dramatic (and long) end, he will draw you in from “Sweet Transvestite” through “I’m Going Home” (one of my favorite songs from the show). It’s difficult to discuss which of Miles’ antics, one-liners, facial expressions, interaction with the audience (anyone have a band aid?) are my favorites without giving away too much of the plot for those Rocky virgins amongst us, but suffice it to say that this Equity actor can belt his heart out (“I Can Make You A Man” and “I’m Going Home”), and making you laugh. Miles truly embodies the character, and it is sheer joy to watch him perform. If for no other reason, you should go to see his performance.
The cast is rounded out by so called “Phantoms” Isabella Briggs, Michael Christopher, Neva Keuroglian Sullvan and Astaris Michael Yates. These dancers and singers float around the set and the house and provide much needed vocal back up and dancing and are very crucial to the show itself. They are all talented artists and work very well together, especially when using the theatre’s space to their advantage and making eye contact and interacting with the audience seated around the stage’s perimeter.
So, before they are sold out, get your tickets and time warp down to Baltimore to see this stellar production. It’s easy to get to as well. It’s just a jump to the left and then a step to the right.
Running Time: Approximately 2 hours and 15 minutes with one intermission
The Rocky Horror Show is showing through November 7th 2026 with Iron Crow Theatre in their brand new home— 2600 N. Howard Street Suite 200, in Baltimore, MD. Tickets are available by calling the box office at 443-637-2769 or purchasing them in advance online.
