After a disastrous run at the Belasco Theatre in 1975, which closed after just 45 performances, it would be over twenty-five years before The Rocky Horror Show returned to Broadway. The 688-seat Circle in the Square Theatre mounted this revival, with previews beginning October 19th, 2000 and an official opening on November 15th, 2000. Reactions from both audiences and critics were decidedly better this time around, though the show did go on hiatus for a bit over a month in the wake of the September 11th attacks. A return ten-week engagement was arranged from October 30th, 2001 through January 6th, 2002, before the show closed for good after 437 performances.
This cast album was recorded on March 12th, 2001 with all of the original cast members except one: rock musician Joan Jett as Columbia and the Usherette. There are various stories about how this happened. Producer Jordan Roth stated simply that "We couldn't make a deal with her". Joan Jett's representative had a different story, which was that "Terms were made and terms were changed". According to Kenny Laguna, "Before we went back for the first callback [during the audition process], we tried to get this straight. And they said, 'Sure,' and everything was fine - and then it changed". Apparently the recording was originally supposed to be done by Q Records. "We had a deal", Laguna said, "and then at the end they changed to RCA". The main issue seemed to be one of control - Joan Jett wanted a good amount of control over the recording to make sure the tracks would meet her standards, and with the album on RCA-Victor she would not have received that level of control. As a result, Kristen Lee Kelly (her understudy) was recorded as Columbia instead.
On May 15th, 2001 the album was released and on May 17th a release party was arranged at the Virgin Megastore in Times Square. I was lucky enough to attend this, as I serendipitously already had plans to travel to NYC that week and just had to move up my departure date by one day. Richard O'Brien was a special guest, and photographer Mick Rock was spotted in the audience. Some pictures are available of the event that I took (http://www.austinrocky.org/photos/May2001-NYC/) as well as some taken by Ruth Fink-Winter (http://www.austinrocky.org/photos/May2001-NYC-Ruth/).
As of this writing in 2009, the CD has been in print continuously since its release and is easily available from CDUniverse, Amazon, or similar. It is also available digitally in MP3 form from Amazon MP3 Downloads.
USA ©2001 BMG Entertainment (09026-63801-2)
Released by RCA-Victor
Japan ©2001 BMG Entertainment (BVCF-31089)
Released by BMG International
Total running time: 56:55
Missing songs: NONE!
|Over At The Frankenstein Place [reprise] (2001-11-18, featuring Sebastian Bach as Riff Raff) by 2001 Broadway Cast - 1 minute 7 seconds (352x260, 30 fps, 7.4 MB). Bootleg audience tape from the Broadway Cast of The Rocky Horror Show on November 18th, 2001. As is usual for such tapes, the quality is pretty terrible and there are people in the way periodically. Sebastian Bach (from Skid Row) joined the production as Riff Raff when it re-opened around Halloween 2001. They added this brief reprise of Over At The Frankenstein Place to the beginning of the second Act, just for him.|
|Sweet Transvestite (2001-09-09, featuring Terrence Mann as Dr. Frank-N-Furter) by 2001 Broadway Cast - 4 minutes 7 seconds (540x404, 30 fps, 27.5 MB). Bootleg audience tape from the Broadway Cast of The Rocky Horror Show on September 9th, 2001 (just two days before certain other events in New York City). As is usual for such tapes, the quality is pretty terrible and there are people in the way periodically. Terrence Mann replaced Tom Hewitt as Dr. Frank-N-Furter from August 30th, 2001 through the end of the production. Other performers include Mark Price as Riff Raff, Daphne Rubin-Vega as Magenta, Aiko Nakasone as Columbia, Kristen Lee Kelly as Janet, and Jarrod Emick as Brad.|
|Time Warp (2001-04-20, featuring Joan Jett as Columbia) by 2001 Broadway Cast - 5 minutes 23 seconds (540x400, 30 fps, 36.1 MB). Bootleg audience tape from the Broadway Cast of The Rocky Horror Show on April 20th, 2001. As is usual for such tapes, the quality is terrible and there are people in the way periodically. But it's likely the only way most of us will be able to see or hear any of Joan Jett's performance as Columbia, as she was unfortunately not part of the cast album. The usual Columbia tap dance here is replaced by a Joan Jett guitar solo. Other performers include Raúl Esparza as Riff Raff, Daphne Rubin-Vega as Magenta, Kristen Lee Kelly as Janet, Jarrod Emick as Brad, and Dick Cavett as the Narrator.|
|Time Warp (2001-11-18, featuring Sebastian Bach as Riff Raff) by 2001 Broadway Cast - 5 minutes 21 seconds (352x260, 30 fps, 35.8 MB). Bootleg audience tape from the Broadway Cast of The Rocky Horror Show on November 18th, 2001. As is usual for such tapes, the quality is pretty terrible. Sebastian Bach (from Skid Row) joined the production as Riff Raff when it re-opened around Halloween 2001. Other performers here include Daphne Rubin-Vega as Magenta, Liz Larsen as Columbia, Kristen Lee Kelly as Janet, Jarrod Emick as Brad, and Gilbert Gottfried as the Narrator.|
|Time Warp (Live at 55th Annual Tony Awards) by 2001 Broadway Cast - 2 minutes 16 seconds (320x240, 30 fps, 5.4 MB). The 2001 Broadway Cast of The Rocky Horror Show appear live at the 55th Annual Tony Awards, representing their nomination for 'Best Revival of a Musical' (they were beat out by 42nd Street). Cast members performing The Time Warp are Dick Cavett, Tom Hewitt, Alice Ripley, Jarrod Emick, Mark Price, Kristen Lee Kelly, Daphne Rubin-Vega, Lea DeLaria, Sebastian LaCause, and The Company. They even get Gwyneth Paltrow out of her seat and dancing with them... lovely! Originally aired on June 3rd, 2001.|
Rocky Horror Cover Songs - Live Performances
CD Front Cover
745x750 JPEG, 503 KB
CD Back Cover
750x589 JPEG, 293 KB
749x750 JPEG, 272 KB
CD Inside Back Cover
750x704 JPEG, 468 KB
CD Liner Notes
750x366 JPEG, 102 KB
CD Liner Notes
750x368 JPEG, 205 KB
CD Liner Notes
750x370 JPEG, 262 KB
CD Liner Notes
750x369 JPEG, 209 KB
CD Liner Notes
750x370 JPEG, 216 KB
CD Liner Notes
750x369 JPEG, 208 KB
CD Liner Notes
750x367 JPEG, 239 KB
CD Liner Notes Back
750x742 JPEG, 414 KB
750x488 JPEG, 354 KB
750x490 JPEG, 249 KB
750x490 JPEG, 294 KB
750x490 JPEG, 331 KB
750x490 JPEG, 321 KB
750x490 JPEG, 275 KB
750x492 JPEG, 271 KB
750x528 JPEG, 162 KB
504x378 JPEG, 178 KB
750x586 JPEG, 318 KB
707x750 JPEG, 244 KB
666x750 JPEG, 332 KB
664x750 JPEG, 316 KB
638x750 JPEG, 234 KB
583x750 JPEG, 229 KB
563x750 JPEG, 282 KB
563x750 JPEG, 236 KB
562x750 JPEG, 329 KB
530x750 JPEG, 184 KB
492x750 JPEG, 253 KB
DICK CAVETT (Narrator) has, since 1968, been the host of highly acclaimed - and often controversial - talk shows on network, cable and public television. Along the way, he has earned three Emmy Awards and interviewed a roster of guests that amounts to an international Who's Who in the arts, letters and public life. He began his career in television in 1960 writing for "The Tonight Show" starring Jack Paar. While writing for Johnny Carson and with the encouragement of Woody Allen, he began performing as a stand-up comic in 1964. In 1968 he debuted on ABC-TV with "The Dick Cavett Show," which ran until 1975 on ABC and from 1977 until 1982 on PBS. "The Dick Cavett Show" also appeared for six seasons on CNBC. In 1986 he hosted the first of two seasons of "Faces of Japan," a 13-part series for PBS. Mr. Cavett made his Broadway debut in 1977 playing the leading role in Simon Gray's Otherwise Engaged and returned to Broadway 11 years later in Stephen Sondheim's Into the Woods. Other acting credits include the Yale Dramat, Williamstown Summer Theatre, the Oregon and Stratford, CT, Shakespeare festivals, the movie Beetlejuice and the hard-to-find Robert Altman cult film, Health. He has, in collaboration with Christopher Porterfield, written two books: Cavett and Eye on Cavett. He is sorry so few people recall his being a Nebraska State Champion in gymnastics.
LEA DELARIA (Eddie/Dr. Scott) received a 1998 Obie Award, Theatre World Award, Drama Desk nomination, and was a Drama League honoree for her portrayal of Hildy in the Public Theatre production of On the Town. Ms. DeLaria's other theatre credits include The Most Fabulous Story Ever Told (Jane), Li'l Abner (Marryin' Sam, City Center Encores!), Chicago (Mama Morton, national tour), Boys From Syracuse (Luce, Reprise Series) and As You Like It (Audrey, Williamstown Theatre Festival). Film: Edge of Seventeen, The First Wives Club, Further Tales of the City (Showtime) TV: "Friends," "The Rosie O'Donnell Show," "The Drew Carey Show," "Politically Incorrect," "The Oblongs." Concerts: "Tribute to Judy Garland," "Broadway Favorites: The Leading Ladies," "Sondheim Jazz" (at Carnegie Hall), "End of the Millennium Concert" (at the Hollywood Bowl). Lea's first CD, "Play It Cool," is now available on the Warner Brothers Jazz Records label.
JARROD EMICK (Brad Majors). Broadway: Damn Yankees (Joe Hardy), 1994 Tony Award, Drama Desk and Theatre World Award Winner; Miss Saigon (Chris). Nat'l tours: Les Miserables (Enjolras), Miss Saigon (Chris). Television: "It's True!" (CBS), "LA. Firefighters" (FOX), "Andersonville" (TNT), "Pacific Palisades" (FOX). Regional theatre: Cat on a Hot Tin Roof (Brick), South Pacific (Cable), Bus Stop (Bo), Death of a Salesman (Biff), All My Sons (Chris), Grease! (Danny). Proud and honored to be back on the boards.
JOAN JETT (Columbia), the actress, is making her Broadway debut in The Rocky Horror Show, although Joan Jett, the musician, sold out an extended engagement at Broadway's Lunt-Fontanne Theatre several years ago. While still in her early teens, Joan, often called "the girl Elvis," founded the seminal all-girl rock group, the Runaways, whose hits such as "Cherry Bomb" made them an international sensation. Her next group, Joan Jett and the Blackhearts, sold millions of albums, has been a staple in the Top 10 charts and claims the #28 song of all time, "I Love Rock n' Roll," which was number 1 on the Billboard charts for eight weeks. Her songs are like the background music of our lives and can be heard not only on radio, but also in scores of movies and television as well. Joan's film credits include starring in Paul Schrader's Light of Day with Michael J. Fox, Jason Miller, Gena Rowlands and Michael McKean, and Boogie Boy, an independent film by Pulp Fiction alums Craig Hamann and Roger Avary. Her "bad guy" credits include playing an evil immortal in the "Highlander" television series ana a contract killer. She reached a pinnacle in action film when she got to fight a martial-arts battle to the death with the legendary Chuck Norris. Joan's many innovative music videos are a staple of MTV and VH-1. Aside from being one of the most durable live concert attractions, Joan Jett is the first female rock recording artist to own her own record label, Blackheart Records.
SEBASTIAN LACAUSE (Rocky). Broadway: Chicago, Minnelli on Minnelli, Once Upon a Mattress, Kiss of the Spider Woman (1st national), Chita & All That Jazz (national tour). Created the title role of the Latin playboy in Rubirosa. Television: "As the World Turns," "Tracy Takes On" (HBO), "Fame LA," "Mrs. Santa Claus," live performances with Madonna, Prince, Tina Turner and Toni Braxton, the 68th and 70th Academy Awards broadcast. Films: Scream II, Showgirls, Eraser and Boogie Nights. Training extends from Tisch School of the Arts at NYU to the Michael Howard Studios to Shakespeare at Stella Adler. Website address: www.sebastianlacause.com
MARK PRICE (Riff Raff). Broadway: You're a Good Man, Charlie Brown (Snoopy), Chicago, Paul Simon's Capeman, Encores! Tenderloin. 1st national tour of Chicago. T.V.: "Law & Order." Regional: Unidentified Human Remains, Lost in Yonkers, Our David, (N.Y. premiere), Sweeney Todd, Buddy Movie (N.Y. Fringe Fest). Mucn love to my fantastic "freaky" friends who enable me to do this!
ALICE RIPLEY (Janet Weiss). Original Broadway Cast: James Joyce's The Dead (Molly Ivors), Side Show (Violet Hilton - Tony and Drama Desk nominations, Best Actress in a Musical), Sunset Boulevard (Betty Schaefer), The Who's Tommy (Mrs. Walker/ensemble). Other Broadway: Les Miserables (Fantine). Concerts: Li'l Abner (Daisy-Mae - Encores!), Babes in Arms (Billie - Ovation!). Most notable recordings: Duets, Unsuspecting Hearts. Alice has appeared in concert with symphony orchestras across the country. She is an accomplished songwriter and is about to release a debut album of her own music on the Sh-K-Boom label. Please visit AliceRipley.net for more information. I love you Shannon Ford.
DAPHNE RUBIN-VEGA (Magenta) lit up Broadway with her debut as Mimi in the original cast of Rent. It earned her a Theatre World Award, a Tony nomination as Best Actress and a nomination for the Drama Desk Award. Film roles include the straight-laced cop in Wild Things opposite Kevin Bacon and Matt Dillon (for which she won a Blockbuster Movie Award) and she slept with Robert DeNiro in Flawless. Off-B'Way: Gum at the Women's Project and Two Sisters and a Piano at the Public Theatre. Daphne loves to be back on Broadway while working on new music and getting her CD (under the now-defunct Mercury label) out into the world. Thanks to the Great Spirit and to Tommy for love, inspiration and clarity.
TOM HEWITT (Frank 'N' Furter). Broadway: The Lion King (Scar), Art (standby), The School for Scandal (N.A.T.), The Sisters Rosensweig (Lincoln Center on Broadway). Off-Broadway: Paul Rudnick's Jeffrey (Chris Ashley, dir.). Beau Jest (Outer Critics nom.), Richard III and Othello (NYSF). Tom has worked with regional theatres throughout the United States and has performed throughout Japan, Europe and the U.S. with the Suzuki Company of Toga, Japan. T.V. and film: "Third Watch," "Frasier," numerous soaps and Julie Taymor's Fool's Fire. Training: University of Delaware's PTTP. Tom is a native of Montana.
KEVIN CAHOON (Phantom, u/s Frank 'N' Furter, Narrator). Broadway: Original Ed - The Lion King, The Who's Tommy. Off-Broadway: Hedwig - Hedwig & the Angry Inch (also Boston), Phil - MTC's The Wild Party, Peter - Encore's Babes In Arms. Regional: Gus - Babes In Arms (Guthrie). TV: Kermit Jones - AMC's "The Royale" (series regular), Film: Sudden Manhattan and Woody Allen's upcoming The Curse of the Jade Scorpion. BFA: NYU.
ROSA CURRY (Phantom, u/s Magenta) is happy to be a part of The Rocky Horror Show cast. Broadway credits include Chicago, Steel Pier, Jelly's Last Jam. Other credits include first national tour of Jelly's Last Jam, also A Christmas Carol, Guys and Dolls, commercials and commercial print modeling.
KRISTEN LEE KELLY (u/s Janet, Columbia/Swing). Broadway: Rent (original company) Off-Broadway: Hedwig and the Angry Inch, American Passenger, After the Rain, Loved Less, Sugar Mountain. Regional: Rooms, Oleanna, Heidi Chronicles, Anne Frank. TV/film: "Law & Order SVU," "Under Hellgate Bridge," "Kennedy's of Massachusetts," "Growing Up Brady." Kristen thanks the Rocky cast/crew, Jonathan Larson, Abrams Artists, Via Theatre, her friends, mofos and family.
JOHN JEFFREY MARTIN (u/s Rocky, Brad, Riff Raff/Swing). He makes his Broadway debut with this unbelievably talented cast. He just graduated from college in May 2000 with a BFA in musical theatre from Syracuse University. Proudly fighting the good fight. He sends a heartfelt thanks to all family and friends, and especially Bob and my love, Mom.
AIKO NAKASONE (Phantom, u/s Janet, Magenta, Columbia). Broadway: Rent and How To Succeed in Business Without Really Trying. National tours: The Who's Tommy and Starlight Express. Other theatre: Stop Kiss (GeVa Theatre), Pericles (Expanded Arts), A Midsummer Night's Dream (Rude Mechanicals Co.) and Making Tracks (2G, Taipei Theatre). Film: Meet the Parents. Love and thanks to Troy, my family and friends.
JIM OSORNO (Swing). Broadway debut! Pre-Broadway: The Rhythm Club. Lincoln Center: Wonderful Town, Annie Get Your Gun. Radio City's Christmas and Easter Shows; The Who's Tommy (Germany). Film: Intern, The Last Days of Disco, I'll Do Anything. TV: "Drew Carey," "Rosie O'Donnell," "Guiding Light," "Family Ties," "Letterman." Thank you to Mom and Dad, mi familia, M, G, BB, HB, PB, JM, the U and the GC.
JONATHAN SHARP (Phantom, u/s Rocky, Brad). Broadway: Created Ivan Boleslavsky in Jules Styne's The Red Shoes. Originated the Fairground Boy in Carousel (Lincoln Center). Other NY performances include: the Butterfly Catcher in Anyone Can Whistle at Carnegie Hall and the Husband/Tax Collector in the City Center Encores! series production of Ziegfield Follies of 1936. TV: Sergei Radzinski on "Another World," "Law & Order: SVU," "Jack & Jill" and "The Cosby Mysteries."
JAMES STOVALL (Phantom, u/s Frank 'N' Furter, Eddie/Dr. Scott, Narrator). Thanks Bob Fosse for his first Broadway roles in Big Deal and Big Daddy in Sweet Charity; has been Coalhouse Walker in Ragtime (opposite La Chanze on Broadway and Stephanie Mills in the Chicago cast) and appeared as Fleetwood and Memphis in The Life and Jake in Sideshow (workshop). Other credits: Joseph... Dreamcoat, The Eugene O'Neill Centennial, Once on This Island. As a producer/director: Nativity, which won five AUDELCO Awards in 1991. Currently producing The Princess and the Black-Eyed Pea. Credit to the Creator.
JASON WOOTEN (Phantom, u/s Riff Raff, Eddie/Dr. Scott). Broadway: Jesus Christ Superstar (Simon Zealotes), Footloose (Bickle/Ren), Off-Broadway & Regional: Starmites 2001 (Dismo), Sight (Noah), Bright Lights Big City (NYTW), Dance of the Vampires (Herbert). Jason writes music and screenplays and enjoys long walks on the beach. Thank you to my wonderful family, friends, fans, manager, agents, and especially Laura. www.jason-wooten.com
RICHARD O'BRIEN (Book, Music, Lyrics). Richard O'Brien's career in the world of performing arts has been a long and varied one, which began with riding horses in movies and continued with working in all aspects of live theatre, including operating carbon arcs and follow spots known as limes (hence the term limelight) and shifting scenery and props in most of London's West End theatres. He worked as a jobbing actor, married, had a son called Linus, and while babysitting the young chap, wrote a show entitled They Came From Denton High, which all of the world now knows as The Rocky Horror Show. This small Fringe Theatre event was intended to run for five weeks at London's prestigious Royal Court Theatre. Twenty-seven years later it seems determined to grow old as disgracefully as its author. Richard's work over the past 25 years or so has manifested itself in many shapes and forms: actor, author, game-show host, singer, songwriter. Victim of arrested development, he refuses to join the grown-ups as he's looked at them and doesn't much care for what he sees. He has appeared in movies as diverse as The Spice Girls saga to Ever After with Drew Barrymore to Dark City with Kiefer Sutherland and William Hurt. There are two movies still to be released which he has graced with his rebarbative beauty (in his case not a contradiction of terms). One is Dungeons and Dragons, the other Mumbo Jumbo, both titles reflecting the subject matter. Richard remains the oldest teenager known to man. He has two more children by a second marriage, a boy, Joshua, and a girl, Amelia, and has in his decadent dotage recently released an album of new songs entitled Absolute O'Brien (Oglio Records, cat. no. OGL89111-2, www.oglio.com)
CHRISTOPHER ASHLEY (Director) most recently directed Voices in the Dark at the Longacre Theatre; What You Get and What You Expect at New York Theatre Workshop; The Country Club and As Thousands Cheer for the Drama Department; Paul Rudnick's The Most Fabulous Story Ever Told at the Minetta Lane Theatre; Alan Ayckbourn's Communicating Doors; and Li'l Abner for City Center's Encore! series. Additional credits include Paul Rudnick's Jeffrey, Mr. Charles, Currently of Palm Beach, The Naked Eye, The White Rose, Bella Belle of Byelorussia, The Night Hank Williams Died, and Buzzsaw Berkeley at the WPA; Bunny Bunny at the Lucille Lortel, Claudia Shear's Blown Sideways Through Life at the Cherry Lane Theatre and Anna Deveare Smith's Fires in the Mirror at the New York Shakespeare Festival/Public Theater. He received the Obie Award and the Lucille Lortel Award for Outstanding Direction for both Fires in the Mirror and Jeffrey. Mr. Ashley also directed the feature film of Jeffrey and the American Playhouse production of "Blown Sideways Through Life" for PBS.
JERRY MITCHELL (Choreographer) began his choreographic career as Associate Choreographer to Michael Bennett on Scandal and Jerome Robbins on Jerome Robbins' Broadway. Since that time he has established himself as a top working choreographer, acting as the staff choreographer for "The Rosie O'Donnell Show" and choreographing ABC's "Geppetto" starring Drew Carey. Emmy nominated for choreographing "The Drew Carey Show," his memorable film work includes In and Out, Drop Dead Gorgeous, and Scent of a Woman. In addition to The Rocky Horror Show, Mr. Mitchell is currently choreographing Broadway's The Full Monty. He also choreographed the Broadway revival of You're a Good Man, Charlie Brown; Hedwig and the Angry Inch; the national tour of Jekyll & Hyde; and Paper Mill Playhouse's critically acclaimed Follies featuring Ann Miller. He conceives, directs and choreographs Broadway Bares, a comedy burlesque performed annually for the charity Broadway Cares.
DAVID ROCKWELL (Set Design) is the founder of Rockwell Group with a staff of 140 and a reputation for creating dramatic environments. Recent projects include the W New York Hotel; the Cirque du Soleil Theatre in Orlando, Florida; the dining concourse at Grand Central Terminal; and the restaurants Nobu, Next Door Nobu, Money Bar and Ruby Foo's. Large-scale projects in the works include a new theatre for the Academy of Motion Picture Arts and Sciences; the Carl Sagan Discovery Center at the Children's Hospital at Montefiore; and Chambers, a boutique hotel in midtown. David is the Chairman of the Board of Trustees of the Design Industry Foundation Fighting AIDS (DIFFA). Interiors magazine named David 1998 Designer of the Year. David's work has consistently been influenced by his love of theatre, and he is thrilled at long last to be working on Broadway. He is deeply indebted to two people who also loved the theatre, his mother Joanne and older brother Rick. His work would not be possible without his love for his wife Marcia and son Sammy.
DAVID C. WOOLARD (Costume Design). Broadway credits: Voices in the Dark with Judith Ivey, Marlene, The Who's Tommy (Tony and Olivier Award nominations), Wait Until Dark with Quentin Tarantino and Marisa Tomei, Horton Foote's Pulitzer Prize-winning play The Young Man From Atlanta, Damn Yankees and A Few Good Men. Selected Off-Broadway credits include The Donkey Show (currently) and Boys Don't Wear Lipstick, The Bomb-itty of Errors, the Obie-award winning Jeffrey, Nick Silver's The Eros Trilogy, Defying Gravity, Bunny Bunny, Mrs. Klein (with Uta Hagen), Breaking Legs, Frankie and Johnny in the Claire de Lune, Godspell and the Encores! production of One Touch of Venus, as well as designs at the Shakespeare Festival/ Public Theatre, Manhattan Theatre Club and Playwrights Horizons among others. He has designed for several opera companies including Aida for Minnesota Opera and Venus und Adonis at the Santa Fe Opera as well as numerous regional theatres. Recently Woolard designed Time Square 2000, the millennium celebration, and the Barry Manilow musical Copacabana.
PAUL GALLO (Lighting Designer). His designs for Broadway musicals include The Civil War, Titanic, Smokey Joe's Cafe, The Sound of Music, On the Town, Triumph of Love, Forum..., Big, Crazy for You, Guys and Dolls, City of Angels, Anything Goes, Smile, Drood and Tintypes. Plays on Broadway include The Man Who Came to Dinner, Epic Proportions, Skylight, The Tempest, Six Degrees of Separation, Lend Me a Tenor, Spoils of War, I Hate Hamlet, The House of Blue Leaves, The Front Page, Beyond Therapy, Heartbreak House, Kingdoms, Passions, Grown Ups and The Little Foxes. Off-Broadway credits include The Mystery of Irma Vep, Assassins, Terra Nova, The Marriage of Bette and Boo, The Garden of Earthly Delights and The Foreigner. Mr. Gallo has five Tony Award nominations, six Drama Desk nominations (winning one), five Outer Critics Circle Awards and two Obie Awards and was the recipient of the 1986 Obie for Sustained Excellence on Lighting Design.
T. RICHARD FITZGERALD (Sound Design). Chief Executive Officer of Sound Associates, Inc., is the recipient of the 1980 Tony Award for his innovative design that introduced to Broadway theatres the Infrared Listening System to aid hearing-impaired patrons. 1993/94 Drama Desk Award nominations: Outstanding Sound Design for Beauty and the Beast. 1996 Theatre L.A. Ovation Awards nomination: Best Sound Design (Larger Theatre) for An Inspector Calls. Broadway sound design credits: Annie, 42nd Street, Zorba, The King and I, An Inspector Calls, Translations, Dancing at Lughnasa, Someone Who'll Watch Over Me, Having Our Say, Swinging on a Star, Beauty and the Beast, Peter Pan, Singin' in the Rain, Show Boat, Brigadoon, Tremonisha, On the Town, Coco, Broken Glass, Wonderful Tennessee, Tango Argentina, Mass Appeal, The Dresser, Marilyn, Cat on a Hot Tin Roof, Voices in the Dark, The Gin Game, The Sunshine Boys, Freak, Electra, Broadway on Broadway. The Royal Shakespeare Company productions: Pygmalion, All's Well That Ends Well, Cyrano, Nicholas Nickleby.
DOMONIC SACK (Sound Design) designs and consults on Broadway musicals, opera and concert reinforcement. Recent credits include Life Game, Broadway on Broadway, Vagina Monologues, Ancestral Voices, Weil Style, Street of Dreams, If Love Were All and Minnelli on Minnelli. Other credits include the New Jersey Symphony Orchestra and the premiere of Godzilla at Madison Square Garden. Domonic received his Masters in opera from the Hartt School of Music and has been Lyric Tenor with the Metropolitan Opera since 1989. The Executive Vice President of Sound Associates Inc., Domonic resides in Stamford with his wife Louanne.
BATWIN + ROBIN PRODUCTIONS, INC. (Video and Projections) is Linda Batwin and Robin Silvestri. Broadway: The Who's Tommy (also national and international productions); Bring in 'da Noise, Bring in 'da Funk (also national tour); Twilight: Los Angeles 1992; Swinging on a Star; How to Succeed in Business (also national tour); Gate of Heaven; God's Heart (Lincoln Center); Parade; House Arrest; and The Best Man, as well as the Radio City Christmas Spectacular and "Passport to the Universe," Hayden Planetarium. Their multimedia design work has been featured in international exhibitions, museums and special events.
HENRY ARONSON (Musical Director) has conducted the Broadway productions of Saturday Night Fever, Parade, Rent, Tommy, Starmites, Mail and Prince of Central Park as well as the Radio City Christmas Spectacular. His Off-Broadway and regional music direction credits include 3 Guys Naked From the Waist Down (Minetta Lane), Abyssinia (Helen Hayes Theatre, Nyack), Falsettos (Hartford Stage), LaChiusa One Acts (Playwrights Horizons), Fanny Hackabout-Jones (Long Wharf), Hearts Desire (Cleveland Playhouse), A...My Name Is Still Alice (Old Globe), Animal Fair (Denver Center), Mail (Pasadena Playhouse) and A Fine and Private Place (Goodspeed). He was the arranger/orchestrator of the full-length G&S ballet Pirates! for the Queensland Ballet (Australia) as well as for several seasons of Baryshnikov & Co., and has written arrangements for Nickelodeon TV, the Family Channel and for State Farm and Oldsmobile industrial shows. He has provided dance arrangements for numerous choreographers, including: Jerry Mitchell, Danya Krupska, Lynne Taylor-Corbett, Daryl Gray, Grover Dale, Michele Assaf, Liza Gennaro ana Michael Lichtefeld. He studied piano with Edith Oppens at the Mannes College of Music and is a graduate of Columbia University.
DOUG KATSAROS (New Orchestrations). Footloose? Conducted and vocal-arranged it. The Life? Dance and vocal-arranged it. Hair? Starred in it. A...My Name Is Alice? Orchestrated and co-wrote it. Moby Dick? Composed it. Records? Sinatra; Sinead; Denver; Minnelli; Estefan; Frampton; Rundgren; Kiss; Cher; Live; Aerosmith; Bon Jovi; Don Osmond; B.B. King; Diane Schuur; Peter, Paul and Mary; Judy Collins; etc. TV Themes? "Jim Henson Hour," "Mancuso FBI," "The Tick," others. Oprah? Guest. Movie Scores? Six. Awards? A few. Did he write "By Mennen" and 5,000 other jingles? Yes indeedy-bob. Still married to Elise Morris and raising a bunch of cute kids? Oh my goodness, yes. Happy to be on Rocky Horror? You Betcha!
JOHN MILLER (Music Coordinator). Broadway: Seussical, Music Man, Swing!, Fosse, Footloose, Kat and the Kings, Scarlet, Smokey Joe's, Beauty and the Beast, Jekyll, Civil War, Sound of Music, Parade, Titanic, King & I, The Life, Victor/Victoria, How to Succeed..., Mattress, Tommy, Jelly's Last Jam, Will Rogers, Secret Garden, City of Angels. Studio musician (bass): Michael Jackson, Madonna, Carly Simon, Eric Clapton, B.B. King, Sinatra, Celine Dion, Smashing Pumpkins, Pete Seeger, NY Philharmonic.
BERNARD TELSEY CASTING, C.S.A. (Casting). Bernie, Will, David, Heidi, Lori, Beth, Victoria and Craig thank: E. Albee, C. Ashley, D. Baker, P. Baldinu, M. Barber, G. Barre, J. Berlinger, J.M. Besset, L. Blessing, S. Block, W. Bobbie, T. Bridgen, M. Brokaw, A. Deveare Smith, S. Ellis, R. Falls, S. Fenichell, A. Giardina, K. Glover, D. Goldfarb, M. Greif, D. Greig, D. Grimm, J. Hatcher, D. Hughes, D. James, E. John, N. Keller, A. Knee, M. Lamos, J. Larson, G. Leaming, A. Lippa, B. Luhrmann, A. MacLachlan, B. Mann, D. Margulies, M. Mason, M. Mileaf, A. Miller, T.B. Nelson, M. Norman, P. Noyce, R. O'Brien, J. Pasquin, L. Peterson, A. Phillips, D. Rabe, B. Rausch, T. Rice, J. Rivera, M. Rucker, M. Sexton, R.W. Sherwood, W. Shook, T. Stoppard, D. Sullivan, J. Sutton, S.M. Taylor, D. Tresnjak, G. Van Sant, D. Warren, R. Wilbur, L. Wilson, M. Wilson, M. Wing-Davey, D. Wright, DD, HSC, LJP, LWT, McCT, MCC, NYTW, for trusting us.
PETER FULBRIGHT TECH PRODUCTION SERVICES INC. (Technical Supervisor). Broadway: Swing!, Amadeus, The Real Thing, Civil War, Sound of Music, Scarlet Pimpernel, Triumph, Mattress, Forum, Smokev Joe's, Moon Over Buffalo, Crazy for You, Guys and Dolls, Joseph..., Secret Garden, Aspect, Black and Blue, Starlight Express, Drood, Singing' in the Rain, Fox Fire. Tours: Blast!, Fiddler, Noise/Funk, Smokey Joe's, Joseph..., Crazy for You, Guys and Dolls, Secret Garden.
BRIAN MEISTER (Production Stage Manager) has worked on over three dozen plays and musicals on Broadway, Off-Broadway, at Lincoln Center and on tour, including: Birdy, The Weir, Smokey Joe's Cafe, Noel and Gertie, Once Upon a Mattress, Crazy for You, Bring in the Morning, Program for Murder, City of Angels, Metamorphosis, You Never Can Tell, Ain't Misbehavin', Forbidden Broadway, Noises Off, Private Lives, Good, The Little Foxes, West Side Story, Modigliani, Shirley Bassey On Broadway, Wings, Seven Brides for Seven Brothers, Hello Dolly!, Lily Tomlin Appearing Nitely, The Merchant, La Boheme and Play Strindberg.
BRENDAN SMITH (Stage Manager). The Man Who Came to Dinner, The Lion King, Side Man, The Phantom of the Opera, Golden Child, Proposals, and Seven Guitars. He has toured America and Europe with My Fair Lady, Sisters Rosensweig, 42nd Street, Lost in Yonkers and Hello Dolly. He has also worked at the Gate and Gaiety Theatres in Dublin, Ireland.
MARISHA PLOSKI (Stage Manager). Broadway: The Wild Party (NYSF) Associate Choreographer; Smokey Joe's Cafe Stage Manager/Dance Captain; The Life Dance Supervisor. In her native Australia, Marisha was the Resident Choreographer for Crazy for Your, Smokey Joe's Cafe; Hello, Dolly!; Grease; and served as Principal of the Performing Arts School Dynamite Dance Studio, Sydney.
JULES OCHOA (Assistant Director) has also worked with Chris Ashley on Communicating Doors and Bunny Bunny, John Tillinger on Neil Simon's Hotel Suite, The Exact Center of the Universe and A Suite in Two Keys, Gene Saks on Tennessee Williams Remembered; Chris Renshaw and Des McAnuff on High Society; and as assistant resident director on The Lion King. Directing credits: world premiere of Craig Lucas' If Columbus Does Not Figure in Your Travel Plans, Daniel Reitz's Where I Come From and Lanford Wilson's The Great Nebula in Orion.
ANGIE L. SCHWORER (Assistant Choreographer) is thrilled to be making her debut as assistant to Jerry Mitchell. Other Broadway credits include: The Will Rogers Follies, Crazy for You, Sunset Boulevard, Chicago, Annie Get Your Gun, Encores! Tenderloin.
RICHARD FRANKEL PRODUCTIONS (General Manager). Richard Frankel and Marc Routh have been associated since 1985. Their credits as producer and/or general manager include the new Mel Brooks musical The Producers, Swing!, Smokey Joe's Cafe, The Sound of Music, Stomp, The Weir, Kat and the Kings, If Memory Serves, Driving Miss Daisy, Jeffrey, Tap Dogs, Marvin's Room, Penn & Teller, Love Letters, A Funny Thing Happened on the Way to the Forum, Angels in America, The Mystery of Irma Vep, The Irish... and How They Got That Way, Forever Tango, Tne Most Fabulous Story Ever Told and many others. With partners Tom Viertel and Steve Baruch, they are tne operators of The Arts Theatre in London's West End.
JORDAN ROTH (Producer) is currently producing The Donkey Show, the disco club event in its second year Off-Broadway at Club El Flamingo and now in London at the Hanover Grand. He was graduated summa cum laude from Princeton University, where he received degrees in philosophy and theatre. Jordan serves on the Board of Trustees of the Horace Mann School and was honored to be included in this year's Out 100. For my mother, Daryl, and my father, Steven - each in their own way, my inspiration, my guide, my friend. U + M.
THE ROCKY HORROR COMPANY LTD. (Licensor) was formed in 1990 by U.K. producer Christopher Malcolm and Howard Panter together with the author Richard O'Brien. The principal aim was to produce and license first-class stage productions throughout the world. Since its formation ten years ago, Rocky Horror Company has overseen productions in Norway, Belgium, Denmark, Iceland, Spain, Hungary, Poland, Israel and Greece as well as five years of continental touring with Ballet Classic of Hannover throughout mainland Europe. Co-productions of the show have taken place in Japan, Hong Kong, Singapore, Australia, South Africa (Best Musical 1992), Argentina and Zimbabwe. In the U.K. Christopher Malcolm and Howard Panter have produced five national tours as well as the successful West End production in 1990. Since its first performance in 1973, The Rocky Horror Show has been presented in over 30 countries, performed in 15 different languages and been seen by more than 20 million Rocky virgins. It is our greatest pleasure to see Rocky finally make its most important step back into the neon lights of Broadway.
THE CIRCLE IN THE SQUARE THEATRE SCHOOL provides a comprehensive training program using all of the facilities of the Circle in the Square complex. The professional workshops in acting and musical theatre are intensive, fully accredited two-year programs providing individual attention in small classes with a teaching staff of the theatre's leading actors and directors. The summer workshops in acting and musical theatre run for seven weeks in July and August and provide an intensive introduction to advanced training and to the professional theatre. Admission to all programs is by audition. Another facet of the school is educational outreach programming consisting of arts in education training with at-risk K-3 students and a broad range of performances for New York City K-12 students. For information on any programs, call (212)307-0388.
It begins in London, and it's the dawn of the 1970s.
A new feeling of liberation, free love, and boundless creativity are in the air, and everything seems infused with endless possibility. Everything, that is, except the stodgy state of musical theater. Enter Richard O'Brien, a young chorus boy who's just been fired from a West End musical. O'Brien has little money, a wife and baby to support, and loads of free time on his hands. What does he do? Well, he decides to write his very own musical - book, music, and lyrics. His musical, of course, will be the anti-musical, an antidote to the big-scale blandness permeating the London theater scene. If there wasn't already a gender-bending, glam rock, B-movie science fiction, musical fantasia, O'Brien was determined to fill the void.
A year later, Rocky Horror was born, and the world as we know it would never be the same. Rocky grew bigger, multiplied, traveled the world, morphed onto celluloid, and gave birth to a legion of fans unmatched in quantity, loyalty and sheer innovation by perhaps any other popular entertainment of the 20th century. Now, this new production of The Rocky Horror Show catapults the cult phenomenon into the new millennium, where it seems poised to wreak havoc for years to come. Whether it's your first time with Rocky or your sixty-ninth, you're all virgins to us.
IT WAS GREAT WHEN IT ALL BEGAN - June 16, 1973, in the attic of the Royal Court Theatre. It was a small production. O'Brien cast himself as Riff Raff and Tim Curry as Frank 'N' Furter, roles both would eventually repeat in America and ultimately preserve on film. Legend has it that on this night - Rocky Horror's very first public display of affection - the skies opened, black clouds rumbled, and torrents of rain fell on an unsuspecting audience shuffling into the tiny theater. Perhaps it was some kind of divine intervention, a sign that the least likely to succeed of musicals would soon emerge, triumphantly, as belle of the ball, fishnets and all.
Rocky Horror may have been the enfant terrible of musical theater, but the show led a charmed life from day one. When press performances began, The Rocky Horror Show found itself that rarest of breeds - insanely entertaining, totally fresh, and adored in equal measure by audiences and critics alike. The show's popularity soon outgrew its space, and Rocky moved to a dilapidated movie house in Chelsea. As a strangely prophetic review in Variety noted, "Rocky may be destined to a peripatetic as well as a hit existence." So very true - the show was such a smash, in fact, that it kept bursting at the seams and moving to larger houses. By the end of a run that spanned nearly 3,000 performances, Rocky had worked its way to an 800-seat venue in the West End, nearly twelve times the size of its birthplace.
Rocky went through a tumultuous adolescence. While continuing its run in the United Kingdom, it seemed time to branch out and multiply. In 1974, the show moved across the Atlantic and was properly feted in Los Angeles, where it was embraced by cheering audiences. Later, the show opened on Broadway, and a funny thing happened - it flopped. In the meantime, 20th Century Fox had bought the film rights, and fingers were crossed for a successful celluloid version. The film took a mere six weeks to shoot; it took even less time to disappear from cinemas, where it was a resounding box office dud.
BUT THERE'S A LIGHT. In the Spring of 1976, marketing executives made the inspired choice to resuscitate the film as a midnight movie in a few major cities. Within months, the Rocky Horror phenomenon took hold, its epicenter decisively located in New York City. Audiences - no longer content to sit as passive viewers - started talking back to the screen, throwing rice and water and toilet paper in the air, dressing up to imitate and simultaneously perform with their favorite characters. Sexual anarchy and creative expression reigned; Rocky Horror became more than just a show - it became a whirling and wild beast, a totally unpredictable interactive experience.
On stage and screen, Rocky Horror brought the fourth wall crumbling down. The audience has become as integral to the show as the actors on stage and has blurred the lines between performance, party, audience and fashion show. The actions on stage and scripted dialogue have become a mere roadmap for the events that would unravel each night. Rocky Horror has become a coming-of-age experience for thousands of people around the world; many who felt lost, misunderstood or found themselves living on the periphery of "normal" suddenly discovered a community where acceptance and freedom - creative, libidinal, psychological - were the order of the day. It has become a spontaneous, ever-changing carnival of emancipation, allowing audiences to become part of the creative process.
TIME WARP. When producer Jordan Roth secured the rights to bring Rocky Horror back to the stage, he knew he had been entrusted with a pop-cultural zeitgeist. "Rocky Horror has been an important, life-expanding right-of-passage for a lot of people; I took it as a great responsibility that we were given this opportunity to take it to the next level and create the ultimate production. Rocky didn't start as a big Broadway musical that became smaller," he adds. "It began as a small underground event that had a life of its own and grew larger. I wanted to give our audience a Rocky they had never seen before, and theater like they've never experienced, an event that is powered by the audience's energy."
A dynamic creative team was assembled to execute this vision. Christopher Ashley was an inspired choice to direct the production; a die-hard Rocky groupie since his teens, the show has been permanently embedded in his psyche since the age of fourteen: "Rocky was such a formative experience to me," Ashley says. "The idea that you can be whatever you want and let your imagination run wild is incredibly exciting." Ashley and his creative team aimed to put this concept - Don't Dream It, Be It - at the center of the production: "The notion that you can change and reinvent your life was very important to me when I was growing up. We all have options to explore, whether it's whom we sleep with or how we dress. It's all up to us."
TOUCH-A-TOUCH-A-TOUCH-ME. Superstar architect David Rockwell - best known for delivering high drama to his projects - was commissioned to design the sets. "David is an expert in building fantasy worlds that people can actually inhabit, whether it's restaurants, casinos, or hotels," Jordan Roth says. When Rockwell was given the chance to inject his distinctive theatrical flair into Rocky Horror, the lines between theater, audience, stage, and architecture became gloriously twisted. "I've always felt that live theater has a special ability to connect with people emotionally in a way that no other art form does," Rockwell says.
The designer wanted the audience to feel like guests crashing a "really great party." The drama begins, therefore, as soon as the front door opens. "I wanted to take the audience on an incredible journey. Even before the audience enters the actual theater space, we set up an environment in which performers, audience, and set intermingle." Rockwell designed the actual set so that it quite literally engulfs the theater, simulating a virtual surround-sound of red fabrics and contorted bodies. His creative team drew upon B-movies, fashion shows, art installations and even the board game Mousetrap for inspiration. "Designing Rocky was truly one of the most thrilling experiences I've ever had," he says. "The simple fact is that I had no idea what the rules were, and that made it all the easier to break them."
In fact, neither Ashley nor Rockwell wanted the audience to come to the theater and sit respectfully in their seats: "We wanted them to enter the theater like they would a club or even a basketball game - ready to party and get loose," says Ashley. "We'd rather have them do the wave than respectful golf clapping. Rocky Horror has developed this amazing culture of audience participation. Setting up lines, throwing things in the air, it's just amazing." The director likens the celebrity and traditions that Rocky has amassed to riding a wave: "You can't fight it, and a wave is never the same twice." Thus, we have a Rocky that's a full-throttle interactive experience, morphing into a different creature with every passing performance.
Ashley set the first moment of this production in a 1950s movie theater in which the audience watches a film about Brad and Janet. "But moments later," Ashley adds, "the show bursts into theatricality. It becomes a very live, wild experience." Ashley and his creative team tried to reimagine the show from several different angles. But every time something was re-thought, Ashley and company were careful to quote from the original: "When Frank 'N' Furter first appears, he's in a bustier and fishnets, which quotes the original. But after that initial introduction, we feel free to take Frank 'N' Furter wherever we want to go with him."
IT'S ASTOUNDING. We have all been fascinated by the cult of the movie and the utterly unique rituals and iconography it has inspired. Producer Roth speculates that all of the dressing up and talking back to the film has been an audience's attempt to jump onto and through the screen. "But what is consistently frustrating," he says, "is that the screen never changes. You can shout all you want, but they're not stopping for you, and they can't say anything back to you." For Roth, the sheer joy of this Rocky is that it is a live, unpredictable and wholly communal experience; if you say something to our humble narrator, it's quite possible that he'll turn around and throw an unscripted zinger, or perhaps even a roll of toilet paper, your way. Thus, we have a truly post-modern Rocky Horror - one that pays homage to its remarkable 25-year history through ingenious visual, verbal and sonic sampling - while assuredly catapulting the show into the new millennium.
Rocky Horror has become the mother of all cult phenomena. It's given birth to a pastime that has become a global movement - from Tokyo to Brazil, thousands of foreign fans have embraced English as their second language by doing the Time Warp. This current production is the culmination of such a phenomenon, a celebration that builds upon its history and explodes into new theatrical life. This is a revival less in the Broadway sense and more in the secular - welcome to the Church of Rocky.
"It's a rock show." This was on my mind every day of working on Rocky Horror. This was my version of "It's the economy, stupid." Two square, 1950s, blonde innocents get stranded in the middle of a contemporary sexed-up rock concert. With this in mind, we cast Alice Ripley and Jarrod Emick as Brad and Janet, two immensely appealing actors with Broadway credits aplenty, and warm, sumptuous voices. Around them we cast the rockingest (Tom Hewitt), least expected (Dick Cavett), most Joplinesque (Raúl Esparza), most pumped-up (Sebastian LaCause), gravelly-voiced (Daphne Rubin-Vega), gender-confused (Lea DeLaria), Dirty-Diva-To-Be (Kristen Lee Kelly), pop-culture, downtown crowd we could find.
Some orchestrations and arrangements are new, by Doug Katsaros and Henry Aronson. We aimed to reinvent this score as a contemporary rock vein, with a fifties feel, with the seventies washed right out of its hair.
Book, Music & Lyrics: Richard O'Brien
Choreographer: Jerry Mitchell
Director: Christopher Ashley
Usherette: Daphne Rubin-Vega
Usherette: Kristen Lee Kelly
Janet Weiss: Alice Ripley
Brad Majors: Jarrod Emick
Narrator: Dick Cavett
Riff Raff: Raúl Esparza
Magenta: Daphne Rubin-Vega
Columbia: Kristen Lee Kelly
Frank 'N' Furter: Tom Hewitt
Rocky: Sebastian LaCause
Eddie: Lea DeLaria
Dr. Scott: Lea DeLaria
Phantoms: Kevin Cahoon (*does not appear on this recording), Deidre Goodwin, John Jeffrey Martin, Aiko Nakasone, Mark Price, Jonathan Sharp, James Stovall
Conductor/Keyboard/Synthesizer Programmer: Henry Aronson
Associate Conductor/Synthesizer: John Korba
Drums: Clint de Ganon
Electric Bass: Irio O'Farrill, Jr.
Guitar: John Benthal
Saxophone: Lou Marini (*additional musician for the purpose of this recording)
Music Contractor: John Miller
Scenic Design: David Rockwell
Costume Design: David C. Woolard
Lighting Design: Paul Gallo
Sound Design: T. Richard Fitzgerald/Domonic Sack
Video Design: Batwin + Robin Productions
Musical Direction & Vocal Arrangements: Henry Aronson
New Orchestrations: Doug Katsaros
Music Coordinator: John Miller
Original Orchestrations: Richard Hartley
Original Costume Design: Sue Blane
Casting: Bernard Telsey Casting
Production Manager: Peter Fulbright
Sets and Effects: Showmotion Inc.
Production Stage Manager: Brian Meister
Company Manager: Penelope Daulton
Press Representative: The Jacksina Company
General Management: Richard Frankel Productions/Marc Routh, David W. Caldwell/Joe Watson
Produced for Records by Jeffrey Lesser
Recording Engineer: Ed Rak
Assistant Recording Engineers: Keith Shortreed, Peter Scriba
ProTools Engineer: Iain Fraser
Recorded on March 12th, 2001, at Clinton Recording Studio A, NYC
Edited and Mixed by Jeffrey Lesser at RPM Sound Studios, NYC
Additional Mixing Engineer: Nic Hard
Assistant Mixing Engineer: Ariel Borujow
Mastered by Greg Calbi at Sterling Sound, NYC
Associate Mastering Engineer: Steve Fallone
Sound Effects created by: T. Richard Fitzgerald
A&R Direction: Bill Rosenfield
A&R Administration: Mark Tavern
Editorial Supervision: Margaret McAleese
Album Production Intern: Adam Lekach
Production Photography: Carol Rosegg
Cover Photography: Richard Mitchell
Cover Design by Serino Coyne, Inc.
General Manager: Joe Watson
Company Managers: Penelope Daulton/Eric Muratalla
Production Stage Manager: Brian Meister
Assistant Company Manager: Joseph Reid
Management Assistant: Doug Gaeta
Lea DeLaria appeals courtesy of Warner Bros. Records.
The Rocky Horror Show opened on November 15, 2000, at Circle in the Square, NYC.
Liner Notes by Eric Schnall
Copyright © 1997 - 2018 Shawn McHorse. Send comments to firstname.lastname@example.org.