By Lynn Venhaus

Madness takes its toll, yes siree, so who needs fantasy to free you? If you are yearning for a time slip, step back into another dimension and do the Time Warp again!

After all, in 2025, many of us are craving an escape, especially after a very long dreary winter and escalating chaos in the world. What better way than to join like-minded theatregoers and be entertained in a feel-good another-world way? (At least, if you can’t afford a tropical vacation).

The enduring much-revered fan-favorite musical “The Rocky Horror Show” is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago.

But it’s not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie “The Rocky Horror Picture Show,” and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it).

Fifty-two years ago, Richard O’Brien created “The Rocky Horror Show” as a satire for what was happening with the post-60s sexual revolution – that ye olde ‘sex, drugs, and rock ‘n roll’ era and repurposing the Frankenstein legend.

Katie Orr as Magenta. Photo by Jill Ritter Lindberg.

He wrote the music, lyrics and book. O’Brien’s snarky cocktail of tongue-in-cheek, wink-wink behavior, a pre-punk glitter rock concert, and plenty of sexual innuendo were mixed with a homage to old horror and sci-fi B-movies (Think Ed Wood meets The New York Dolls). It caught fire as a London stage production in 1973.

The musical’s book is keen on comedy, so the suggestive one-liners are abundant and so are the flying freak flags in Transexual Transylvania. After all, it was always meant to be tawdry and tacky.

New Line’s production attempts to re-ignite the fervor for sassy and saucy iconic characters who proudly live their life out loud (but in a spooky setting that erupts into dance parties at will).

For the uninitiated, the story follows the transgressive space explorer Dr. Frank N. Furter, his fellow aliens, his Creature, and a few hapless humans.

Todd Schaefer as Frank. Photo by Jill Ritter Lindberg.

Todd Schaefer, who played Brad Majors in New Line’s 2002 endeavor, returns as the wickedly naughty, sexually ambiguous, mad scientist Dr. Frank N. Furter. He leans into the kitschy, campy vibe, confidently strutting in risqué leather and asserting that he is the master of his domain in “Sweet Transvestite.”

Schaefer, who has appeared in 14 shows with the company, grabs hold of the spotlight and delivers his audacious come-ons and comebacks with charming zest and perfect timing. In the second act, he brings the house down with the power ballad “I’m Going Home” after lamenting in “Don’t Dream It, Be It.”

Also standing out were Brittany Kohl and Rafael DaCosta, who earnestly play the lost, scared and confused newly engaged couple Janet Weiss and Brad Majors, a nubile ingenue and her nerdy preppy who are mocked for their naivete and later are energized by their sexual awakening (mostly in the dark, as told in narration).

Their strong voices blend beautifully, especially in “Super Heroes,” and while projecting their characters’ cluelessness in “Damn It, Janet” and “Over at the Frankenstein Place,” they display a sweet innocence together.

Many times, you see people over-exaggerating these roles, but Kohl and DaCosta offer endearing sincere portrayals. And then sure have fun in the second act. Brittany spryly handles “Touch-a Touch-a Touch Me” while Rafael offers a poignant “Once in a While” (cut from the movie).

Another actor having a blast from the past is Christopher Strawhun as doomed biker-greaser Eddie in his raucous solo “Whatever Happened to Saturday Night?” and in a dual role, playing serious expert Dr. Scott, who sings the peppy “Eddie’s Teddy.”

A blonde Zachary Thompson is a bold and brave boy-toy using his physicality as the freshly minted lab Creature, wearing only a skimpy gold lame G-string, and running all over the stage. He delivers a brisk “The Sword of Damocles.” In the second act, I was worried about his very hard fall landing, for he was giving 100% in his characterization.

Brittany Kohl and Rafael Da Costa as Janet and Brad. Photo by Jill Ritter Lindberg.

Katie Orr as Magenta and Tori Shea Cole as Columbia go full glam rock. Orr sets the mysterious mood with the opening “Science Fiction/Double Feature.” She joins her brother Riff-Raff and Columbia on the frisky “The Time Warp.”

I’ve seen the stage show where they have added ensemble characters, called “The Phantoms,” to provide more singers and dancers for the group numbers. But co-directors Scott Miller and Chris Moore have kept the original 9-person ensemble intact.

The butler/handyman Riff-Raff, who is loyal to but also resentful of Frank, usually has a sinister quality. Sporting an androgynous look, Bee Mercer’s interpretation varies from the typical characterization, and while sometimes menacing, acts less creepy and more bizarre.

In another departure, she didn’t develop a strange alien-like voice but uses one like the strange butler Lurch in “The Addams Family.” But everyone presents their own interpretation, as actors tend to do, and not be carbon copies of past performers.

The narrator is crisply played, in authoritative, somber fashion, by Chelsie Johnston, a multi-hyphenate who also choreographed and assisted directing the show.

Christopher Strawhun and Tori Shea Cole as Eddie and Columbia. Photo by Jill Ritter Lindbergh

Making sure the musical numbers keep a lively beat is music director Randon Lane. He superbly conducted a robust 5-man band – John Gerdes on bass, Adam Rugo on guitar, Brandon Thompson on saxophone, Clancy Newell on drums and Jason Eschhofen on second keyboard, while he is pounding away with the driving verve of Jerry Lee Lewis. I enjoyed the sax addition.

It helps that the sound design by Ryan Day is flawless, and use of the hand-held microphones stationed on stands lining the runway was a terrific idea. A new lighting designer, Jack Kalan, had to deal with a multitude of cues, blacking out the room on several occasions, and only highlighting specific people at times using the broader expanse of the Marcelle for entrances and exits.

“The Rocky Horror Show,” and by extension, the movie version, has always been a pop culture rite of passage, enticing with its spicy blend of Halloween Party, drag show, and midnight movie madness.

Those of us old enough to be part of the Varsity Theatre’s midnight screenings in the Delmar Loop during its 1977 and 1978 glory days can wax nostalgic on the experience. The former movie house, now Vintage Vinyl, was one of the first 30 theatres in the U.S. to show “The Rocky Horror Picture Show.”

The movie began showing as a regular feature in March 1976, then a midnight movie on occasional weekends for the rest of that year and through 1977. By May of 1978, it became the regular weekend midnight movie and played until the theatre closed in 1988.

People fondly recall those packed houses and how shenanigans ensued. It’s a touchstone akin to the Mississippi River Festival and the old Busch Stadium II nostalgia that Boomers love to wallow in (including me).

For a time, the Tivoli Theatre programmed the picture, especially during the Halloween season, and usually featured a shadow cast to mimic the action on the big screen. One could purchase a bag of the props, so you didn’t have to bring them from home.

Now, “Rocky Horror” has reached four generations! Its message of acceptance and acknowledging personal freedom continues to resonate.

It doesn’t matter if you are a first-timer or a super-fan, you’ll be able to ease into the festive party atmosphere because the audience always has as much fun as the performers on stage (although it varies from the midnight movie phenomenon’s interactive encouragement).

Photo by Jill Ritter Lindberg.

A warning – this version is non-participatory, so no singing along, shouting out or tossing objects, so leave your toast, rice, toilet paper, noisemakers, and other props at home.

Signs placed around The Marcelle remind everyone to enjoy watching the two acts, which last about 1 hour, 45 minutes, and if opening night is an indication, with a spirited crowd. You can, however, dress in costume.

For New Line Theatre’s 99th show in 33 years, scenic designer Rob Lippert has created a modest set for maximum movement, with a runway allowing ample flexibility for the characters to cavort, and scaffolding acting like floors of the castle. An old-timey Coca-Cola cooler becomes a de facto lab.

Costume designer Erin Goodenough has outfitted everyone in what would be considered eccentric standard looks for Rocky Horror, including many pairs of fishnet stockings. A surprising number of sequins went into sparkly attire for character transformations in the finale.

These days, a rebel yell is good for the soul, as more conservative views sweep the land, wishing life were a ‘50s sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at “The Rocky Horror Show.” Just saying.

New Line Theatre presents “The Rocky Horror Show” from Feb. 27 to March 22, on Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, three blocks east of Grand. The show has adult themes and is for mature audiences only. For more information: www.newlinetheatre.com.

Photo by Jill Ritter Lindbergh.


Cinema St. Louis (CSL) is pleased to announce that the Centerpiece Event of the 30th Annual Whitaker St. Louis International Film Festival (SLIFF) — held Nov. 4-21, 2021 — is “American Underdog,” a Kingdom Story Company production distributed by global content leader Lionsgate (LGF.A, LGF.B) and opening in theaters December 25. Kurt and Brenda Warner, who served as executive producers on the film, will attend and participate in a post-screening Q&A.

“American Underdog” tells the inspirational true story of Kurt Warner (played by Zachary Levi), who went from a stock boy at a grocery store to a two-time NFL MVP, Super Bowl champion, and Hall of Fame quarterback.

The screening will be held at 8 p.m. Monday, Nov. 8, at the Tivoli Theatre, 6350 Delmar Blvd. Tickets are $50 and go on sale at 9 AM for CSL members and 1 PM for the general public on Friday, Oct. 22, through the CSL website, www.cinemastlouis.org.

St. Louisans need no reminders about Warner’s storied career, which started here with the Rams when he went from essentially unknown backup to starter in 1999 after Trent Green suffered a torn ACL in the preseason. The Rams, of course, won the Super Bowl that season, and Warner and the “Greatest Show on Turf” went on an historic three-year offensive spree that produced a second
Super Bowl appearance.

Later, Warner did it again, taking the perennially woebegone Arizona Cardinals — another franchise familiar to locals — to their first Super Bowl.

Kurt Warner as St Louis Rams Quarterback

The film centers on Warner’s unique story and the years of challenges and setbacks that could have derailed his aspirations to become an NFL player. It is only with the support of his wife, Brenda (played by Anna Paquin), and the encouragement of his family, coaches, and teammates that Warner perseveres and finds the strength to show the world the champion that he already is. “American
Underdog” is an uplifting story that demonstrates that anything is possible when you have faith, family, and determination.

Also starring Dennis Quaid, the film is directed by the Erwin brothers from a screenplay by Jon Erwin & David Aaron Cohen and Jon Gunn, based on the book “All Things Possible” by Kurt Warner and Michael Silver. The producers are Kevin Downes, Jon Erwin, Andrew Erwin, Mar Ciardi, and Daryl Lefever.

To protect the safety and health of patrons, SLIFF will require masks and proof of vaccination at this and all in-person screenings. No concessions will be available. Full details on Covid-19 safety measures are on the Cinema St. Louis website: cinemastlouis.org.

Cinema St. Louis is delighted to again offer in-person screenings during the 30th Annual Whitaker St. Louis International Film Festival (SLIFF), held Nov. 4-21, 2021.

Because the effects of the pandemic continue, this year’s fest will be a hybrid — with a significant number of virtual screenings also available — but in-person screenings will be held on all three screens of the Tivoli Theatre from Nov. 4-14 and Nov. 18-21. 

Other in-person screenings will take place at Washington University’s Brown Hall Auditorium (on the weekends of Nov. 5-6, 12-14, and 19-21) and Webster University’s Winifred Moore Auditorium (on the evenings of Nov. 5-14). 

In addition, the St. Louis Public Library’s Central Library Auditorium will serve as the in-person venue for six Golden Anniversaries screenings of films from 1971. Those screenings will be held on the afternoons of Nov. 6-7, 13-14, and 20-21. 

Finally, the Contemporary Art Museum St. Louis will partner with SLIFF on two in-person screenings on the evenings of Nov. 4 and 11.

For those who prefer to view from home, many (though not all) of the films that receive in-person screenings will be available virtually through our partner Eventive from Nov. 4-21. SLIFF will also feature a substantial number of films, shorts programs, and livestreams that can only be accessed virtually. 

To protect the safety and health of patrons, SLIFF will require masks and proof of vaccination at in-person screenings. No concessions will be available at any of the venues, including the Tivoli, to ensure audience members remain masked throughout films. Full information on the festival’s Covid-19 policies appear below.

Program Overview

The 30th Annual Whitaker St. Louis International Film Festival, a presentation of the nonprofit Cinema St. Louis (CSL), continues to provide the opportunity for St. Louis filmgoers to view the finest in world cinema — international films, documentaries, American indies, and shorts that can only be seen at the festival.

 This year, after an all-virtual festival in 2020, SLIFF is pleased to offer a large selection of in-person events, including at all three screens of the Tivoli Theatre, which has been shuttered since the onset of the pandemic. For those who prefer to watch at home, we’ll still provide plenty of options, with nearly 100 virtual programs and livestreams.

Robert Greene

            SLIFF begins on Nov. 4 with a powerful new Missouri-based documentary, “Procession,” which is directed by Robert Greene, the filmmaker-in-chief at the Murray Center for Documentary Journalism at the University of Missouri. In the film, six men from Kansas City, Mo. — all survivors of childhood sexual assault at the hands of Catholic priests and clergy — come together to direct a drama-therapy-inspired experiment designed to collectively work through their trauma. Greene, who will receive SLIFF’s Contemporary Cinema Award, and many of the film’s subjects will attend the screening to participate in a compelling post-film Q&A.

            On the festival’s final day, SLIFF offers a Tribute to Mary Strauss, which includes a screening of Mary’s favorite film, “Sunset Boulevard.” Mary has played an absolutely essential role in Cinema St. Louis’ evolution, and we’re delighted to honor her with a Lifetime Achievement Award during our 30th edition.

            We’ll also honor two other filmmakers: Documentarian and native St. Louis Nina Gilden Seavey, who will present a free special-event program called “My Fugitive” at the fest, will receive the Charles Guggenheim Cinema St. Louis Award; and documentarian Deborah Riley Draper, whose film “Twenty Pearls: The Story of Alpha Kappa Alpha Sorority” screens at SLIFF, will receive the Women in Film Award.

The festival will screen more than 400 shorts and features, and the 2021 SLIFF offers an especially impressive array of the year’s most heralded films, including selections from such destination fests as Sundance, Berlin, SXSW, Hot Docs, Tribeca, Cannes, Venice, Telluride, Toronto, and New York. 

            Among the most enticing English-language studio films are Kenneth Branagh’s “Belfast” (winner of the People’s Choice Award at Toronto), Mike Mills’ “C’mon C’mon” (with Joaquin Phoenix), Michael Pearce’s “Encounter” (with Riz Ahmed and Octavia Spencer), Stephen Karam’s “The Humans” (with Richard Jenkins, Beanie Feldstein, Stephen Yeun, and Amy Schumer), Clint Bentley’s “Jockey” (with Clifton Collins and Molly Parker), Reinaldo Marcus Green’s “King Richard” (with Will Smith), and Eva Husson’s “Mothering Sunday” (with Colin Firth and Olivia Colman). 

“Belfast”

Major international titles include “A Chiara” from Jonas Carpignano, “Ahed’s Knee” from Nadav Lapid, “France” from Bruno Dumont (“Slack Bay”), “A Hero” from Asghar Farhadi (“A Separation”), “Hit the Road” from Panah Panahi, “Memoria” from Apichatpong Weerasethakul (“Tropical Malady”), “One Second” from Zhang Yimou (“House of Flying Daggers”), “Paris, 13th District” from Jacques Audiard (“A Prophet”), “Petite Maman” from Céline Sciamma (“Portrait of a Lady on Fire”), “Wheel of Fortune and Fantasy” from Ryūsuke Hamaguchi (“Happy Hour”), and “The Worst Person in the World” from Joachim Trier (“Oslo, August 31st”). SLIFF also offers a pair of films from Radu Jude (“Bad Luck Banging or Loony Porn” and “Uppercase Print”) and a trio of works by Hong Sangsoo (“In Front of Your Face,” “Introduction,” and “The Woman Who Ran”).

Significant documentaries include Joshua Altman & Bing Liu’s “All These Sons,” John Maggio’s “A Choice of Weapons: Inspired by Gordon Parks,” Rex Miller & Sam Pollard’s “Citizen Ashe,” Andrea Arnold’s “Cow,” Mobolaji Olambiwonnu’s “Ferguson Rises,” Brandon Kramer’s “The First Step,” Matthew Heineman’s “The First Wave,” Jonas Poher Rasmussen’s “Flee,” Julie Cohen and Betty West’s “Julia,” Peggy Callahan & Louie Psihoyos’ “Mission: Joy,” Max Lowe’s “Torn,” Debbie Lum’s “Try Harder!,” and Emily and Sarah Kunstler’s “Who We Are: A Chronicle of Racism in America.”

And that’s just scratching the surface of the 2021 lineup, which includes nearly 20 American indies, 29 shorts programs, and eight free archival selections. Below are some of the other highlights of this year’s SLIFF:

The Divided City 

SLIFF’s The Divided City program focuses on the racial divide in St. Louis and other U.S. cities. The films are supported by The Divided City: An Urban Humanities Initiative, a program of Washington U.’s Center for the Humanities that addresses one of the most persistent and vexing issues in urban studies: segregation. 

Sponsored by the Center for the Humanities at Washington University

“The First Wave” documentary

Free and Discounted Programs

SLIFF continues our tradition of offering a large selection of free and discounted events to maximize the fest’s outreach into the community and to make the event affordable to all. In addition, for the 18th year, we present the Georgia Frontiere Cinema for Students Program, which provides free screenings to St. Louis-area schools. This year features 31 free in-person programs, including all screenings at the Contemporary Art Museum, St. Louis Public Library, and Washington University. We’re also offering a pair of free screenings at the Tivoli, a free in-person master class, and six free livestreams. And the fest features 31 virtual programs at the special price of $5. 

Georgia Frontiere Cinema for Students Program

SLIFF offers free daytime screenings for children and teens from participating St. Louis-area schools. This year’s selections include shorts, documentary features, narrative features, and shorts programs. See the Cinema for Students section of the SLIFF website for full information.

Sponsored by Chip Rosenbloom and Lucia Rosenbloom (in honor of Georgia Frontiere) and the Hawkins Foundation, with support from the Jane M. & Bruce P. Robert Charitable Foundation 

Human Rights Spotlight

This selection of documentaries focuses on human-rights issues in the U.S. and the world. 

Sponsored by Sigma Iota Rho Honor Society for International and Area Studies at Washington University and the Whitney R. Harris World Law Institute

Master Classes and Seminars

SLIFF provides four free master classes — one in-person event and three livestreams — and a seminar. See the Special Events section of the SLIFF website for full information.

Sponsored by the Chellappa-Vedavalli Foundation

New Filmmakers Forum

The New Filmmakers Forum (NFF), a juried competition of works by first-time feature filmmakers, is an annual highlight of SLIFF. The featured films this year are “Delicate State,” “Papaw Land,” “Shellfish,” “Walk with Me,” and “We Burn Like This,” and the filmmakers will participate in a free roundtable discussion. The screenings and roundtable are hosted by the Missouri Film Office’s Andrea Sporcic Klund. The NFF Emerging Filmmaker Award — nicknamed the Bobbie in honor of the late Bobbie Lautenschlager, NFF’s longtime curator — is presented at SLIFF’s Closing-Night Awards Presentation. 

Sponsored by Barry & Jackie Albrecht and Pat Scallet

Race in America: The Black Experience

Because the events in Ferguson continue to resonate in St. Louis and the country, SLIFF again offers a large number of programs organized under the title Race in America: The Black Experience.  To maximize accessibility and promote dialogue, 12 of the 26 programs in Race in America are free. 

Sponsored by William A. Kerr Foundation 

Show-Me Cinema

Films made in St. Louis and Missouri or by current and former St. Louisans and Missourians are an annual focus of SLIFF. This year’s lineup of Show-Me Cinema is typically strong, featuring 18 feature films, three shorts programs, and four special events.

Sponsored by the Missouri Division of Tourism and Missouri Film Office

SLIFF/Kids Family Films                                                         

Cinema St. Louis presents a selection of eight family programs, including two documentaries and two free collections of shorts. Because patrons younger than 12 are not able to attend in-person screenings this year, all SLIFF/Kids programs are offered virtually.

Tivoli Theatre in University City

COVID-19 POLICIES FOR SLIFF IN-PERSON ATTENDANCE

The safety of our patrons, filmmakers, and volunteers is Cinema St. Louis’ top priority. To ensure everyone is protected, SLIFF has instituted a number of policies for the duration of the festival. 

These policies will be strictly enforced for the protection of everyone. 

Guests must follow the instructions of SLIFF staff members and volunteers. SLIFF reserves the right to deny admission or dismiss any customer for noncompliance. 

The following policies will apply during SLIFF:

  • Proof of full vaccination (at least two weeks after the final dose) of any FDA-approved vaccine is required for all staff members, volunteers, audience members, and filmmakers at each in-person screening and event.
  • Methods of confirming proof of full vaccination are:
    • CDC Vaccine Card and valid photo ID.
    • A photo of a CDC Vaccine Card and valid photo ID.
  • Guests should arrive no earlier than 30 minutes before the scheduled screening time. Any guests arriving earlier will be asked to wait outside in line until the theaters are prepared for seating.
  • Only guests age 12 or older will be permitted to attend.
  • Masks are required for everyone at all times in indoor spaces, and the face coverings must be consistent with the current CDC guidelines.
    • Paper masks, scarves, neck gaiters, shirts pulled up, masks with holes/filters/breathing valves, and makeshift masks are not acceptable.
    • New disposable surgical masks are available to all audience members.
    • Masks must completely cover the mouth and nose and must be replaced if wet or soiled.
    • PPE may be inspected for compliance or issued as needed.
  • No concessions will be available at any venue, and no eating or drinking will be permitted in the theaters. Outside food or drink will also not be permitted.
  • Guests should stay home if not feeling well or exhibiting symptoms of Covid-19 in the past 10 days.
  • Guests who have tested positive for Covid-19 within the past 10 days must stay home.
  • Guests are asked to wash hands as often as possible, use hand-sanitizing stations, and cover nose and mouth when sneezing or coughing.

Gloria Swanson and William Holden in “Sunset Boulevard”

TICKET AND PASS INFORMATION

TICKET PRICES

Individual tickets, for either in-person or virtual screenings, are $15 for general admission, $11 for Cinema St. Louis members and students with valid and current photo IDs. Prices are all-inclusive; no additional fees will be added.

The Tribute to Mary Strauss (held on Nov. 21) is $25 and includes a screening of “Sunset Boulevard,” which follows the event.

SLIFF also offers 31 free in-person screenings, six free livestreams, and 31 virtual programs for a special $5 price. Complete information can be found in the Free Events and Discounted Events sections of the festival website.

Free in-person screenings do not require a ticket.

PASS PRICES

Passes can be used for either in-person or virtual screenings and can be used to purchase multiple tickets for an in-person event. Three forms of passes are available:

Sponsors

Title Sponsor: Whitaker Foundation

Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Hawkins Foundation, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, National Endowment for the Arts, Regional Arts Commission, Chip Rosenbloom & Lucia Rosenbloom, Mary Strauss, Trio Foundation of St. Louis, TV5Monde, William A. Kerr Foundation

Presenting Partners: Center for the Humanities at Washington University, Contemporary Art Museum St. Louis, The Divided City, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Simple DCP, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series

For more information, the public should visit cinemastlouis.org