There is something magic in every production of The Rocky Horror Show. Richard O’Brien’s legendary exploration of queer identity through the lens of intergalactic hedonistic party animals is an ode to B-movies, rock and roll, and LGBTQ2s+ culture. It was unprecedented for its era and has stood the test of time half a century later. In a glorious return after closure after closure, Halifax’s Neptune Theatre has presented a spellbinding production of the classic. And with one foot on the throttle, one hand on its heart, and the rest under the covers, Neptune Theatre’s Rocky Horror is going to give you some terrible thrills.

Directed by Neptune’s artistic director Jeremy Webb, what is evident from the get-go is that this is a production of The Rocky Horror Show, not a carbon copy of The Rocky Horror Picture Show. Perhaps a slight distinction, but a pitfall that so many companies leap into. Webb instead has harnessed the energy that makes the material so impactful and has had his creative team run with it. There is evidence of great care for the emotional underpinnings of the story in Neptune Theatre’s Rocky Horror, and a recognition that as hilarious and titillating as the content is, there is also a profound sense of loneliness beneath the makeup.

Photo by Stoo Metz; courtesy of Neptune Theatre.

Visually the production is captivating in so many simple but surprising ways. This is often the result of set designer Andrew Cull and lighting designer Leigh Ann Vardy having their work intertwine gloriously. From the use of a disco ball and spotlights during “Once In A While” to the stunning look of a tinsel curtain falling as light catches it, the synergy of elements always appeals. And Helena Marriott’s costumes traverse the space these elements create beautifully—a winning combo of the iconic styles from early productions of the show as well as unique takes on aspects of the aforementioned styles, such as Columbia in a gloriously golden garment ringing of her iconic tuxedo jacket.

Photo by Stoo Metz; courtesy of Neptune Theatre.

Avery Jean Brennan’s musical direction shows a precise and focused hand while still exhibiting the freedom of flourish from individual performers in their songs. Within such a renowned musical context, it can be all the more difficult to not step into the overwrought territory of recreating the phrasing and tone of the film’s soundtrack, but Brennan shows their experience and confidence through their choices. The music of the production is amplified by its neighbouring sound design by Aaron Collier, who also leads the projection design of the production which lends an immediate sense of science fiction to the stage.

What would Rocky Horror be without its deliciously depraved motley crew though? It goes without saying that a production of this much heart has selected a fantastically talented group to deliver the show. Breton Lalama is a tickling oddity of energy and skulking as Riff Raff; Kaleigh Gorka’s Columbia is adamant, expressive, and a rollercoaster of emotion; Zach Faye holds a depth of feeling that bubbles up from underneath the stoic veneer that is Brad Majors. But, to speak personally, Allister MacDonald’s Frank N. Furter is the greatest live performance I’ve seen of the iconic character. The chaotic impulse of his mind, the scientific fascination of his endeavours, the insatiable drive to share in pleasure, and, above all, the pure sadness that is pushed down deep into Frank’s soul—all aspects that make a great Frank are here in abundance, and will have you seeing blue skies through the tears in your eyes.

Photo by Stoo Metz; courtesy of Neptune Theatre.

Neptune Theatre’s Rocky Horror is as strong a returning production as any company could wish for. An energetic and passionate dive into legendary waters, there is a great amount of love evident in this staging. From the stellar performances of the cast to the inspired choices of the production team, Neptune has accomplished more than just doing the Time Warp again—they have tapped into what I have always seen as the true core of Rocky Horror:

“Rose tint my world. Keep me safe from my trouble and pain.”

With each passing year, the cultural boundaries that used to separate different camps of interests become thinner and thinner. Through the all-encompassing nature of social media, everything is under the same roof, and its inevitable that once divergent topics end up sharing space together. This can be seen in an equally curious and comedic light in the presence of Beeple on The Tonight Show.

2020 by Beeple; courtesy of Beeple-Crap.

Mike Winkelmann, better known as Beeple, is a digital artist known for his irreverent mix of fantasy, pop culture, and the grotesque. A disquieting thread runs through his work that is very evidently fuelled by an anti-establishment political ethos, treading a jarring line of humorous and horrifying in a dystopian future. From Disney to Trump, Nintendo to the pandemic, nothing seems off-limits for the bizarre and detailed depictions of Beeple. This is not to say that his work doesn’t also hold beauty—especially in earlier years, Beeple has shown a knack for creating transportive landscapes of sci-fi and cyberpunk natures, as well as deeply satisfying textural and geometric experiences.

Endgame by Beeple; courtesy of Beeple-Crap.

But to know that an artist such as Beeple, whose style is so intrinsically tied to internet culture, would be a featured guest on Jimmy Fallon’s talk show would have been shocking to hear of one or two decades ago. There is a very clear difference between the aesthetics of Beeple and that of The Tonight Show, and you can see the artist is clearly tickled by the fact in his recurrent laughs to himself throughout the course of the night.

Beeple was celebrating the fifteenth anniversary of his project Everydays, a daily practice of digital creation he has been churning out for the last decade and a half. To mark the occasion, Beeple chose to create that day’s piece during the show. Taking inspiration from both Fallon and the audience, the artist made his way backstage to put together something encompassing such themes as the moon, spring, cherry blossoms, and people falling asleep to The Tonight Show.

What ensued was not in the least bit surprising given Beeple’s own repertoire, but was certainly a sight to be seen for the average late-night show. A massive depiction of Fallon’s head rested on a grassy plain, the moon framed behind it, and a small gaggle of corpse-like sleepers laying all around. The piece has a deeply surreal energy to it and rings of early 00s digital grotesques one might find themselves in a rabbit hole of. It’s a detailed depiction of Fallon, which tends to be what gives Beeple’s work its disquieting essence amongst these artificial settings. The artist was clearly giddily aware of the oddity that he created but the host took it in stride and was appreciative of this incredibly unique televised event.

Having just sold a collage of his daily project in the form of Everydays: the First 5000 Days last year for the sum of $69,400,000, Beeple has clearly stepped in as a major player in the NFT market. His style certainly is in accordance with the current trends of the sector, so it is no surprise that he has found success within it. And with a large player in the NFT field now being a choice for mainstream late-night TV, are we finally seeing the digital phenomenon making its way into the everyday?