Green Valley Theatre Company (2021) - Sacramento, CA

Green Valley Theatre has produced “The Rocky Horror Show” in every non-pandemic year since 2009, and this year’s opening night reminded me why theirs is my favorite production out of the bunch, year after year. There’s so much I can say about the overall “Rocky” culture within the company that I would probably need one or two additional posts to flesh it all out. So, I’ll do my best to stay focused on this particular year and save the generalities for another time.

Green Valley currently lacks a permanent venue, and this year’s “Rocky” marks the fourth time in as many years that the company has produced it in a different space. This year they were housed by Campus Brewing in West Sacramento, whose warehouse infrastructure made staging a unique challenge. The acting space consists of a catwalk-type thrust stage with some upstage proscenium area, the floor just beyond the catwalk, and extends back to the bar (seamlessly incorporated into some scenes).

It is an irritating truth that with a thrust stage space, any given seat will at some point be the worst seat in the house. This was definitely the case for me back in the “standing-room” section (i.e. “in the back row”!), which occasionally had me directly facing the backs of speaking actors. The best overall view is likely had from seats facing the stage at an angle (IF you can get a seat – more on that later).

Each “Rocky” production carries a different theme around which the company “circles the drain,” to quote director Christopher Cook. This year, Cook reimagined the story as a dark woodland fairytale. The original whisperings back in late summer pegged it as a “David Bowie’s Labyrinth” type of setting, but the final execution struck me as a warped “Midsummer Night’s Dream” – entirely appropriate, given the parallels of regular “Earthlings” stepping into the otherworldly and having everything they know turned upside-down.

Corey Winfield brings serious “YAS QUEEN” energy, charisma and sass to the iconic Frank N. Furter. He also carries a larger frame than the typical Frank, bringing a dash of body-positivity to the character that I never knew I needed until I got it.

Rocky himself is given his own distinct flavor by Clinton Akki: a fresh-faced and bright-eyed creation with genuine warmth for those close to him… punctuated by some truly sick dance moves.

Bethany Wheat’s Janet shows early hints of a strong, assertive personality, a fresh contrast with the usual, more submissive and flowery portrayal. Meanwhile, Wesley Samms pulls off the fine line that I like seeing in Brad Majors – a confident portrayal of a character who’s never in control and always getting “acted upon.” (I’ve seen a Brad or two whose character was “trying too hard” to wear the proverbial pants, and he actually does come off as an a**hole.)

Magenta and (post-Time Warp) Riff Raff are some of the tougher characters to keep relevant throughout the show, usually lurking on the sidelines until they take over the castle. Leah Frazier-O’Shea and Louis Pannell (respectively) tear that problem to shreds with their hilarious antics that contribute to the castle’s already-chaotic environment. Frazier-O’Shea, for example, gives actual motivation for Frank’s exasperated “Oh, Magenta…” line instead of it being a throwaway, while Riff gets… involved in the Frank/Brad scene.

Columbia is brought to life as a flower sprite and portrayed by tapping machine Sammy Caiola. Caiola’s short stature and limitless stage energy make her rage over Eddie’s demise particularly entertaining for the character. Her most spectacular moment came in “Hot Patootie” when – in a “Rocky” first – Eddie (Christian Forste) joined her in a full-on tap duet! Their partner-dance break, along with Forste’s soaring tenor vocals, made for one of the hottest “Patooties” in recent memory.

Ryan Gerberding’s Dr. Scott is a creative spin, partly out of the necessity of there only being steps up on stage, and no ramp. The solution was to have Dr. Scott still handicapped, but with a wooden walker instead of a wheelchair. Gerberding’s stage skill and lanky figure made for solid physical comedy when Dr. Scott had to eventually climb the steps.

Kevin Fitzgerald is a “repeat offender” as Green Valley’s Narrator, having also taken the role during their Rocky Horror Pirate Show of 2018. This time out, he plays it as a Scottish highlander spinning his tale for all in the pub (brewery) to hear, growing steadily more belligerent (drunker?) in the second half. Fitzgerald’s real shining moment was his brief but complete plotline with the Phantoms during “Superheroes,” a song typically limited to only Brad, Janet and Narrator on stage.

Finally, the Phantoms are incredible both in performance as well as presentation. The program has no officially-credited “Phantoms,” instead bestowing a unique title to each of the ensemble: Mushroom Fairy (Lydia DeNocochea), Forest Gnome (Alia Dimos), Green Elf (Elizabeth Wilson), Pinecone Pixie (Noah Fitzgerald), Tinker Sprite (Maya Jiminez), and Tree Nymph (Stephanie Jackson). Rather than always acting in unison, they often break into duos or trios with brief vignettes that display individual Phantoms’ perspectives. You could pick any single Phantom and follow them for the entire show, and get a full performance.

Normally, my intent in writing these reviews is to help companies promote their shows. However, Green Valley scarcely needs the help, given that they sold out their entire run before their opening show. They do take a wait list at the door, and honestly, it would not be the worst use of time to try and get in that way, even if you whiff. At the very least, you can look forward to next year – who knows what Green Valley will do with “Rocky” then!

For info about Rocky Horror, plus shows that you might actually get to buy tickets for, visit www.greenvalleytheatre.com