“I’m A Wild And An Untamed Thing”: The Power of Clinton Street Theater’s ‘Rocky Horror Picture Show’

Disclaimer: Mature language

In 1978, the Clinton Street Theater began playing the up-and-coming cult classic film “The Rocky Horror Picture Show” on Saturday nights. By 1986, the theater formed a partnership with a shadow cast troupe, the Clinton Street Cabaret. Now, nearly 40 years later, not only is the theater a landmark in Portland’s history, but “The Rocky Horror Picture Show” at the Clinton Street Theater has become one of the longest running movies in the world. “It’s a magical experience getting to work in a historical building, one that has so many communities connected by it,” shared Cabaret cast member Moss Lu. “You can ask any Portlander that is passionate about drag performances, ‘Rocky Horror,’ horror movies, or other cult classics and I guarantee you they’ve all seen at least one show at the Clinton Street Theater.”

The original film was a low-budget and underground project. It received horrible reviews from critics after its 1975 debut in the U.K., and no one expected the project to see any success. Yet, against all odds, the film became a cult classic after being played for midnight audiences. Fans came back weekend after weekend, dressing up and yelling quippy callbacks to characters on screen. Callbacks are constantly changing, and tend to differ from theater to theater. For example, at Clinton Street Theater, right before the character Brad says, “Looks like some kind of hunting lodge for rich weirdos,” everyone yells out, “Describe Reed College!” Another signature part of the “Rocky Horror” experience is a shadow cast — such as the Clinton Street Cabaret — performing the events of the film on stage while the movie plays behind them. Every “Rocky Horror” showing is unique, and it has become so much more than a movie, and so much more than anyone ever expected.

The film’s campy and non-conforming depictions of gender and sexuality, which were way ahead of its time, have made it especially influential within the queer community. “Rocky Horror” showings are safe spaces for queer people to explore self-expression, sexual liberation, and non-conformity. Lu elaborated on the importance of having such a freeing safe space, saying, “Audience members will approach us after shows and tell us about how they haven’t come out to their families yet, but being at our show gave them a taste of freely being themselves.”

Especially for those who are too young to frequent gay bars or clubs or engage in queer nightlife, “Rocky Horror” provides a unique opportunity to celebrate expressing their queerness outside of Pride, which only happens once a year. As cast member and Franklin alum Lennon Vidricksen described, “You’re doing or seeing the craziest, funniest, silliest things, but it’s so safe.”

The love that Clinton Street Theater’s community has for its “Rocky Horror” showings has been able to keep the theater running for over a century, even through the COVID-19 pandemic. Showrunners would come in on Saturdays to put on the tape for a sparse and masked audience. “A group of [performers and fans] came together and filmed different artistic performances at the theater to piece together an online charity show, helping raise money and keep the Clinton Street Theater open,” Lu described. After surviving the pandemic, the Cabaret restructured its operations and became a registered nonprofit.

Clinton Street Theater’s “The Rocky Horror Picture Show” has such a strong and resilient community in part because it brings together people from all walks of life. There are Cabaret members that have come from all over the U.S. and even Europe. The actor currently playing the character Columbia has a grandmother who was also once in a “Rocky Horror” shadow cast, and was very excited to hear that her grandchild got cast.

While the Clinton Street Cabaret is quickly approaching its 40th anniversary, the original film recently celebrated its 50th. In honor of this achievement, a celebratory documentary entitled “Strange Journey: The Story of Rocky Horror” was released. The documentary explores the rise and legacy of “Rocky Horror,” and features testimonials from the original creators and actors, as well as modern celebrities touched by the film, including Jack Black and drag queen Trixie Mattel. Levi Darling, the current Cabaret producer, was immensely moved by this, expressing, “Trixie Mattel is one of the interviewees in the movie, and hearing someone on such a global stage speak about something that’s important to not just her but also the queer community in general, I was sobbing in the movie theater.”

The impact of “Rocky Horror” on audiences is undeniable. However, there is even more magic that happens behind the curtain. Many Cabaret members shared that the best part of being a member of the production is the community they’ve found through it, with many having met friends, roommates, life partners, and even spouses through their time on “Rocky Horror.”

One Cabaret member shared that being a part of Rocky Horror allowed them to connect with a much-needed community, since they graduated high school during the pandemic and didn’t go to college after graduation, which made it hard to find friends their own age. Cabaret alum Beck Preciado shared that they grew up in Montana in the 90s, and joined the Cabaret as a mom, when they were substantially older than many of their castmates. “It was just really cool to see this young generation of people that was really supportive of each other and loving, and really good at communicating,” Preciado reminisced.

Within the Cabaret, cast members’ roles change every six months, and leadership roles change every year. Because roles and cast members are constantly shifting, the Cabaret offers numerous bonding opportunities — such as cast dinners and overnight sleepovers — to help strengthen their community. The cast also has more public-facing fun bonding activities. Once a term they perform what they call “Switch Night,” where every cast member gets a new role assigned to them about a week in advance, and they have that much time to learn the part before they perform it for the first time in front of an audience. Similarly, they also have a “Fuck With Your Character Night” each term, where there is a specific theme — such as cartoon characters or “The Phantom of the Opera” — and performers adhere to the theme in their portrayal of their character and outfit for the performance.

The Cabaret performs on the first and third Saturday of every month, and they have had numerous special performances over the years. This past October, they performed at the Arlene Schnitzer Concert Hall and got to meet Barry Bostwick, who played the character Brad in the original movie. The Cabaret has put on sensory-friendly performances, auction raffle nights where the proceeds go to charity, and shows specifically for first-time viewers. They also offer free BIPOC Affinity Tickets to community members of color. “We do our best to give back to the community,” Former Cabaret producer Jack Alister emphasized.

While going to see “Rocky Horror” can seem intimidating, members of the Cabaret had a lot of advice and tips for first-time viewers. Many recommend either seeing the movie at home first, or at least reading a synopsis before seeing it with a shadow cast, because the movie’s plot is nonsensical, even without the added stimulation of a crowd yelling callbacks or throwing rice in the air. “It’s an experience for anyone who wants to be their true self,” said Clinton Street Theater co-owner Aaron Colter. “It’s for all the misfits and weirdos out there.” “Rocky Horror” is about breaking barriers and pushing boundaries, while maintaining a safe space; as Vidricksen recommended, “don’t come in with any expectations, because there is nothing else like it … [and] if you don’t want to do anything, you don’t have to do it.” 

“The Rocky Horror Picture” show is not only an avenue for community, but a symbol of resistance. The original film was groundbreaking in its portrayals of gender and sexuality because the characters who defied societal conventions were complex and nuanced, both in their identities and outside of them. “When you have trans people portrayed on screen, they often are villainized. But beyond just being villainized, they’re seen as unlikable,” said one Cabaret member, referring to Dr. Frank–N–Furter, “And I feel like this is one of the few things I’ve seen where [the trans-coded character is] genuinely so likable, despite being a complex person and being kind of evil … his evilness doesn’t have anything to do with him being queer.”

Cabaret performances of “Rocky Horror” carry on a powerful legacy of breaking barriers and resisting norms. Current Cabaret director Coralyn Reinker stated, “It’s a form of protest and it’s a really beautiful thing to be a part of.” This non-conformity sends a powerful message. Lu shared, “I remember how much it impacted me seeing people on stage who had tattoos, scars, piercings, body hair, and all different weights and body types. Everyone was so beautifully human and unique on stage.” Many cast and audience members expressed that seeing such diverse representation has been healing for them. 

Additionally, callbacks at shows do not shy away from political topics. Lu described callbacks related to current events as “a tool of awareness of our current political climate while we are all trying to cope with it.” They added, “When I’m scared of my rights as a queer person, I know I can always show up at a ‘Rocky Horror’ show dressed however I like and kissing my girlfriend and not a single person there will make me feel lesser for it.”

“The Rocky Horror Picture Show” is special in the Portland community and beyond because it is a safe space that centers freedom and queer joy, rather than focusing on oppression and stories of struggle. You don’t have to be orderly or modest or even sexy; you get to be uniquely you, and that is power. “Just come and expect to have a really great time with a bunch of very loud and chaotic queer people who have made most of this their entire life,” encouraged Darling. “Everyone is just allowed to come as you are, and come as you want to be.”