Ronny Sianturi
When director Sam Pinkleton embarked on reimagining the iconic The Rocky Horror Show for a Broadway stage, he meticulously outlined the essential qualities for his Dr. Frank-N-Furter. "He had to be a truly tremendous actor. He had to be a real comedian, like a clown. He had to have a killer voice. He had to be terrifying, and also tender," Pinkleton stated. "We had to be scared of him, and we also had to want to fuck him. I also really felt strongly that it needed to be somebody who carried some kind of queerness with them, whatever that means." The search for an individual who could embody these multifaceted characteristics, offering a fresh perspective on the role indelibly marked by Tim Curry’s performance, proved to be a significant undertaking. It was only after meeting Luke Evans, a formidable onscreen presence with a robust background in musical theater, that Pinkleton discovered an actor capable of embracing such inherent contradictions.
Evans, standing an imposing 6 feet 8 inches in heels, commands the stage, eclipsing cast members such as Stephanie Hsu, Juliette Lewis, and Harvey Guillén. He embodies the mad scientist and architect of a peculiar household that, during a tempestuous rainstorm, unexpectedly welcomes two bewildered strangers. His portrayal has earned him a Tony nomination for his Broadway debut, a role that sees him don platform heels, a corset, a wig, and a jockstrap to bring the pleasure-seeking icon to life. "You don’t take on a role like Frank, and expect to be covered up," Evans quipped, highlighting the character’s uninhibited nature.
The actor has embraced the spectacle of Broadway, relishing the attention it brings, including a recent public encounter where a fan inquired if he was still wearing a corset. However, playing Dr. Frank-N-Furter was not a long-held ambition for Evans. "I didn’t even think I possibly could pull it off, to be honest, but I did get excited about the fact that, I love a challenge," he admitted.
This sentiment might seem surprising given Evans’s extensive training in musical theater during college, which led to leading roles in West End productions like Miss Saigon and Rent. His career trajectory then shifted towards Hollywood, with significant roles in films such as Clash of the Titans, the Fast and the Furious franchise, Immortals, Dracula Untold, and The Hobbit. Despite early theatrical successes, the financial instability of the performing arts led him to a point of near departure from the industry. "I was ready to give it up and find a new career and do something else, which I was happily going to do. I’m sure I would have been very sad not to be performing, because that’s the only thing I ever wanted to do. But there wasn’t stability, there wasn’t a financial security, there wasn’t a guarantee of a next job," he recalled.
A pivotal turning point arrived with his 2008 performance in Small Change, a play staged at London’s Donmar Warehouse. This role, secured after Evans proactively wrote to the director detailing his Welsh upbringing and requesting an audition, marked the beginning of a significant shift. It led to him signing with an agent and subsequently relocating to Los Angeles, where he navigated a series of auditions and meetings with industry professionals.
From Stage to Screen: A Hollywood Ascent
Evans’s early film career often saw him cast in roles as fathers, strong masculine figures, or masculine-presenting men. "I started playing dads and strong masculine roles and/or masculine-presenting men. And there seemed to be a place for me, and so it just worked out, and it was crazy," he reflected. "I would say, at least, for six years, I felt like I was either on a plane or on a film set, and there was nothing else between them." This period of intense professional activity, marked by a lack of formal film training, contributed to a persistent sense of imposter syndrome. "I definitely felt like they’re going to find out in a minute, and they’re going to be like, ‘I’m sorry, we’ve made a huge mistake. Can you leave?’ But it never happened, and the jobs kept coming in," he shared.
Amidst his burgeoning film career, questions surrounding Evans’s sexuality surfaced. While he had not concealed his identity as a gay man, he publicly addressed it for the first time in a 2014 interview when asked about setting a precedent for other gay action heroes. This public declaration, while potentially impacting some career opportunities, did not deter his continued pursuit of film roles. In 2023, he made a notable return to the stage in London.
A Family’s Support and Embracing the Unconventional
The prospect of portraying Dr. Frank-N-Furter prompted one of Evans’s first calls to his parents. Raised as a Jehovah’s Witness, he has since distanced himself from the faith, though his parents remain active within the community. Their close relationship and consistent support for his career choices were evident. "I think they saw the fire in my eyes when I was talking about the show," Evans remarked, underscoring their encouragement.
Despite his critical acclaim and triumphant return to the Broadway stage, Evans admits to a lingering sense of imposter syndrome. He holds Tim Curry’s original performance in the 1975 film in high regard, acknowledging it as "the G.O.A.T." and a crucial "anchor" for his own interpretation. However, Evans was committed to forging a distinct path. To achieve this, he deliberately abstained from listening to the musical’s soundtrack and watching the film during the early stages of his preparation. Instead, he focused on cultivating a nuanced portrayal that balanced the character’s inherent danger with his undeniable sense of fun.
"Some Franks will lean very much into the sexiness and the charismatic side of him, but he’s a rebel. He’s also very dangerous. He’s a risk taker. He’s a train with no brakes, and he keeps going, until he’s stopped. There’s a hedonism to him, but also there’s a little girl in him too," Evans explained, referencing a moment in the show where Frank-N-Furter skips across the stage after freezing his guests. This duality is intrinsically linked to Frank-N-Furter’s alien origins, as described in Richard O’Brien’s script. This extraterrestrial nature grants him a profound freedom in his sartorial choices and his uninhibited pursuit of pleasure, including his interactions with Brad and Janet.
Navigating Audience Interaction and Stage Presence
The enduring appeal of The Rocky Horror Show and its film predecessor lies in their ability to foster a deep connection with their audience, a phenomenon that has given rise to the now-legendary "callbacks" – audience interjections that have become an integral part of the live experience. These range from the well-known shouts of "Slut!" directed at Janet and "Asshole!" at Brad, to a lexicon of more obscure phrases. This tradition, however, has presented challenges for the stage production, prompting signage at one point reminding theatergoers that they were attending "live theater, not a movie."
Rachel Dratch, whose Tony-nominated portrayal of the narrator navigates the brunt of these audience interactions, responds and reacts in character. Evans has also actively engaged with this unique aspect of the performance. "The callbacks and all the stuff that is very unique to The Rocky Horror Show early on was very difficult because we had diehard Rocky Horror Picture Show fans coming in who thought they were talking to a video cinema screen," Evans stated. "So that was hard because it was almost like you couldn’t say a line without somebody shouting something out, which was not the balance that we needed, but we found it, and I think it works very well now, and people love it, and we embrace the callbacks, most of the time."
The production, which opened at Studio 54 on April 23rd, saw Evans dedicate three months to practicing walking in heels, gradually increasing the height, until the experience felt akin to wearing sneakers. The revealing nature of Dr. Frank-N-Furter’s costumes also presented a perceived hurdle, which Evans anticipated might cause self-consciousness. However, upon stepping onto the stage, these anxieties dissolved.
"I thought I would be terrified. I thought I would be avoiding turning my back to the audience because my butt cheeks are out. I thought I would be self-conscious of the fact I’m wearing a woman’s corset with a wig. None of that was even in my mind when I’m standing behind that door before my big reveal before ‘Sweet Transvestite.’ I just feel power. I feel confidence. I feel strong," Evans declared, embodying the transformative power of performance and the enduring allure of a character who consistently defies convention. The success of this revival, underscored by Evans’s compelling performance and Tony nomination, signifies a vibrant continuation of a cultural phenomenon that continues to captivate and provoke.
