leopards & memes

Charls Marquand, a third year Drama TA undertook the role of Community Director in the winter of the previous year with one directive: save the group. In this he saw an opportunity. One that the students of UA will come to discuss for years. His first decision: postponing the annual performance for twelve months. Though devastating to the students within the community, it would prove crucial to the success of what could potentially be their last ever performance. His second, and most shocking decision: open casting. Never before had the troupe opened auditions for their end of year performance university wide. It was a clear message. Something large was in the works. They would not go down without a fight.

Which brings us to Charls’ real first decision, the one he had formed all those years ago as a lowly undergrad; and the one I am meant to be discussing with you today. His decision? To direct a production of Richard O’Brien’s cult classic, The Rocky Horror Picture Show. If you are unaware of what the musical entails, I’ll be brief. It is not for those with pearls to clutch at. Scandalous, scintillating, and sexually stimulating, the show is both a bold and controversial choice. Especially when considering that its cast range from fresh faced eighteen year olds to the slightly more seasoned mid-twenty-somethings. The original production, both stage and film, bears a certain sociological significance which has managed to transcend the test of time, finding a home in the hearts of generation after generation. It is revered by many for its underlying messages of embracing uniqueness, sexual experimentation and liberation, whilst parading around as a weird, perverse rock musical that satirises the horror and sci-fi films that preceded it.

Rocky Horror is a tough act for any artist, yet alone your local drama club. But somehow the Artes Creative Community manage to deliver and leave the audience wanting more. Charls and his merry band of talented misfits premiered their production of Rocky Horror on Tuesday night to a mildly enthusiastic crowd, and implored them to give over to absolute pleasure. The staged debauchery, offering hints of both nostalgia and unanticipated newness, rounded out to thunderous applause and a selling out of the next nights show. It offered the audience what they already knew and loved about the cult classic, but garnished it with the modernity of our changing society.

The roles of Brad and Janet were performed with aplomb by the Artes Creative Community A-Team, Laurent Leroy and Vannes Bellamy. However, Leroy played our simpering Janet with Bellamy opposite him as steadfast Brad. Whether they were making a statement about our need to embrace Trans characters in an already LGBT friendly arena, or simply suggesting that Laurent could hit the higher notes required of the female lead is unknown. Whatever the reason, it worked. Especially where chemistry between Janet and Rocky is concerned.

Played by new-comer, Damen Soukas, Rocky is depicted on stage exactly as he was in film. A chunk of walking muscle. Of all the warnings the show gave, they neglected to warn us about Damen. If you’re familiar with the UA sporting world, then you’ve heard this name before. Normally found strutting around a football field, you can now find him strutting around a stage. Shirtless. In golden booty shorts. Shirtless. And whilst I can’t say much on the topic of his acting ability (again, shirtless, in booty shorts, aiming muscular guns left right and centre), he is wonderfully paired with Laurent. The chemistry between the two is palpable. It felt voyeuristic watching them flirt and connect on stage, sitting engrossed on our seats as they kissed and “made love”. It was disturbingly beautiful to feel it.

However, the chemistry between Damen and Laurent could not compete with the shows leading man. Mr Frank ‘N’ Furter himself, played spectacularly by the unknown Jordan ‘Jord’ Hardy. If you are looking for any more reasons to see this production, it is Jord, an amateur actor who has somehow managed to take such a well-known character and breathe new life into him. Still played with that delicious cocky arrogance that we love in Frank ‘N’ Furter, Jord strutting and striding across the stage like he was born for it; there is an undercurrent of vulnerability that strikes at the very essence of the man himself. Though commanding and at times precocious, there is an insecurity that marks each movement Jord makes as Frank, a testament to the inner battles that he is facing, and later reveals in the final act. This in-depth analysis and portrayal will leave you with a greater sympathy than you’ve ever felt for this self-indulgent and cantankerous character. I am still in awe of such a break-through performance, and I sincerely hope that he continues with the ACC and goes on to find a fruitful career in the theatre.