I’m writing this after a glass or two of Prosecco, sitting on the balcony, looking at the sun set behind the Faro. Yep, me and the girls arrived in Trieste yesterday for the Easter holidays.
We went to see the Rocky Horror Show this afternoon! I tell you, The Rocky Horror Show on a Sunday afternoon in Trieste is something else. The audience was to die for. If they’d have been English, they’d be called The Blue Rinse Brigade – but here it’s more like The Silver Highlights troupe. I don’t know what they were thinking, but they certainly didn’t get the innuendos. Exactly, there weren’t any. Still, they were probably also pondering what my six year old could have made of the graphic exhibitions of fellatio (in varying gender configurations) albeit shadow versions behind a screen. In fact she was mostly distracted by the amazing ceiling of the fabulous Teatro Rosetti – more like the planetarium in Rebel Without A Cause – midnight blue with clouds and sparkling lights:
rebel without a cause planetarium scene
So you know the story – or at least the gist – of The Rocky Horror Show. Staid American couple Janet and Brad (or ‘Branet’ as my six year old insists: “it rhymes with Janet and planet, dammit”) get caught in a storm on their way to visit a professor friend. And they have a flat tyre. They go for help at the nearest castle (as you would) even when the door is opened by the freakiest looking butler you ever saw, and the lightning flashes, and thunder crashes (lots of references to midnight movies). They have happened upon a Transylvanian transsexual convention (or somesuch) headed up (in all ways) by Dr Frank ‘n’ Furter’. This Furter (Rob Morton Fowler apparently: a fowl and furtive Frankenstein) is in every physical way perfect – a God; sooo tall, broad, muscular..and he looks great in high heels – his voice is pretty spot on too – but he is just lacking the downright drooling menace alongside overwhelming magnetism that Tim Curry must have brought to the role. And also, he just wasn’t camp enough for me. Give me Eddie Izzard or Julian Clarey any day – that knowing glance at the audience you get from a good stand-up.
Anyway, after some flirting, strutting and chemical concocting (and lots of great visual and audio effects), Furter produces his own version of the monster – a buddy for himself ; the eponymous Rocky – whose pecs, ladies or gents, were pretty spectacular (and highlighted with eyebrow pencil from what I could tell). Furter managed to seduce both Brad and Janet (though not at the same time) and the corrupted pair are left pondering the state of their relationship, the universe and everything. Which they need to, because it turns out Magenta and her brother Riff Raff are aliens from planet Transylvania (p-lease) – and so is Frank! Except Raff wants to do a runner without his master so shoots him dead with a laser – and takes out Rocky and another minion along the way (have you lost it yet?). The show ends with Brad and Janet singing to the castle as it takes off into the distance…
My favourites of this production were Brad (whose struggle to resist the inevitable slide from all-American clean nobody to experimenting, avant-gard some body was perfectly portrayed). His voice in the ballad solos was especially moving and pure. Magenta, too, was gorgeous. Fab body, fab costumes, great voice, great part. Janet was good enough – though I wish she hadn’t had to spend 2/3 of the show in that unflattering combination of Madonna’s bra and Bridget Jones’s knickers. Much better in the Alexander McQueen style leather corset.
The audience hated the Italian narrator (here played by Erik Arno, intriguingly described by the Italian press as ‘a local actor who has become famous in German-speaking countries’). One woman shouted out ‘Stai a casa!’ – (you should have stayed at home!) – which may well have been in the Rocky Horror spirit of audience banter (although it was notably the only intervention in the entire show)- but I at least agreed. He just seemed out of place. As though it were insulting to have these pitiful threads of Italian when we’d managed to sit through all the songs in English. His manner, we felt, was condescending. He seemed to be trying too hard to get in on the act. I can’t see Christopher Biggins giving that impression, or Michael bloody Aspel for that matter.
So this show certainly wouldn’t have lived up to its first incarnation in the 63-seater Theatre Upstairs at the Royal Court in 1973. Or, after its immediate critical and commercial success, its second outing on the King’s Road before transferring to the West End. It wasn’t as good as the film version, or very probably the Broadway version, and any others that followed. But it was still a great way to spend a rainy afternoon in Trieste. And made me feel happy and relieved to be here. I like these kind of productions after all. Slightly displaced, like this city, but leaving you with room to breathe.