Inside the mind of Richard O’Brien
Enter the surreal world of actor, writer and musician Richard O’Brien. Residing in Katikati, the Rocky Horror Picture Show creator takes us on a journey through the history of the world-shaking musical he wrote exactly 50 years ago.
Words Karl Puschmann
Photos Graeme Murray + supplied
I feel a slight shiver of anticipation as I approach the front porch of Richard O’Brien’s homestead, which sits between Tauranga and Katikati and overlooks the harbour. As a struggling theatre actor in the 1970s, Richard wrote a musical in order to create himself a job and have something to act in. That musical was an instant phenomenon and would go on to become the very definition of a cult classic, with the BBC hailing it as “the one cult movie to rule them all”.
As a teenager, it blew my mind when I discovered it had been written by a New Zealander. This was something far more impressive to me than any number of Rugby World Cup wins or America’s Cup victories. Richard’s musical was called The Rocky Horror Picture Show.
A sexy, madcap tribute to Richard’s beloved sci-fi and horror B-movies of the 1950s, Rocky Horror revolves around a wholesome, newly engaged couple who seek refuge from a violent storm in the castle of Dr Frank-N-Furter, a lascivious transvestite scientist who is conducting strange experiments in his laboratory. The story follows Frank-N-Furter’s efforts to – depending on your view – either sexually corrupt the couple or sexually liberate them. And then aliens get involved.
Joseph and the Amazing Technicolour Dreamcoat this is not. Rocky Horror is deeply weird, unashamedly sex-crazed and extremely funny. It features some absolutely banging tunes, the most famous of which is “Time Warp”, a spot-on rock n’ roll parody whose infectious lyrics instruct you how to dance to it (It’s just a step to the left / and then a jump to
the right). But songs like “Dammit Janet”, “Sweet Transvestite” and “Touch-a, Touch-a, Touch-a, Touch Me” are right up there with it in terms of memorability and sing-along catchiness.
On stage, the musical was an instant hit when it debuted in June 1973, in the small upstairs theatre of the Royal Court Theatre in London’s West End. The show became the hottest ticket in town and quickly outgrew the venue, moving to bigger and bigger theatres and collecting awards. Two years later in 1975, the film adaptation was released with most of the original cast reprising their stage roles, including Richard as the hunchbacked butler Riff Raff and Tim Curry in his star-making performance as the fishnet stocking-clad, nymphomaniac Frank-N-Furter. And that’s when things for Richard and Rocky Horror really launched into outer space.
I knock on the door and the shutters, which I presume had been closed so UNO’s photographer could take these stunning portraits of Richard in his open-plan living area, are opened, allowing me and bright rays of light to enter. Having just finished the shoot, Richard, resplendent in black with a sparkling diamond necklace rubbing up against a sheer silky negligee that’s exposed under his open shirt, has taken a seat at the circular dining table. He’s now 81 but exudes an ageless androgynous glam rock cool.
To his left is a gleaming white baby grand piano that’s covered in stacks of books, and beside that is a flamboyantly dressed life-sized mannequin. Behind him is a wall covered from floor to ceiling in currency from around the globe, with the phrase “The root of all evil” painted in the middle.
There’s so much to take in. Everywhere you look there are bright artworks, sculptures, instruments, books or pop culture collectibles. But don’t get the impression that it’s cluttered. Everything has been curated and displayed with an artist's eye.
I take a seat at the table as his wife Sabrina brings out a freshly brewed pot of strong coffee and a plate of chocolate bikkies before disappearing into the house, leaving Richard and I to talk.
Did she pull the curtains again on her way out? I’m not sure. But the day’s bright sun very quickly dissolves into a smeared golden haze, lending our chat an almost dreamlike quality as we veer away from Rocky Horror to discuss everything from the evolution of man, politics and religion, to what awaits us in the afterlife.
It was appropriately surreal. It’d be disappointing if an audience with the creator and star of Rocky Horror was not an intrinsically and pleasingly strange experience. There are also moments of breathtaking performance when he figures the best way to answer a question is to simply demonstrate rather than explain.
A question about writing Rocky Horror’s world-famous songs sees him answer by picking up a guitar and brilliantly performing a tune from his upcoming musical The Kingdom of Bling before joking, “Three chords do go an awfully long way.”
And when I ask about his creativity, Richard says he’s striving to “create a gem of a phrase equal to Oscar Wilde,” before dramatically reciting an astonishing and wondrous poem titled The Fatous Fowl from a collection of children’s poetry he’s currently looking to have published, which consists entirely of sparkling gem-like phrases.
But before all that, we have to start with Rocky Horror which, unbelievably, celebrates its 50th anniversary this year.
“I really think it's wonderful,” Richard says when asked about the musical hitting this impressive milestone. “It's so nice to meet so many people that love it.”
Then, as a nod to his purpose for writing it in the first place, he adds, “And it's so nice that it has employed so many people over the years.
“Without it intending to be, it’s become a kind of haven for people who feel different sexually. We all know that nobody asks to be born straight or gay. We seem to be going backwards slightly, don't we, on this whole issue. I thought we'd have got over that. I thought we all understood now that people are born gay and people are born transgender. It's not a choice. I thought we'd all agreed on that. But lately, we're becoming confused by the whole subject once again. I prefer a more tolerant society. I'm not sure if I approve of being too tarty in public.”
Then he chuckles softly and says, “Although, I think you should push the boat out occasionally. We don't want to live in a stuffy, staid, deeply evangelical society. It’s unhealthy.”
It’d be easy to think Rocky Horror was Richard purposefully pushing the boat out, ruffling the feathers of stuffy old England while waving the flag for LGBTQIA+ ideology and inclusivity. But that would be wrong.
“Rocky was a piece of adolescent fun. A boys' bedroom musical,” he says. “It has nothing of great import to say. It's not a political piece. It’s just what it is; a piece of nonsense. It’s very entertaining and it’s not a bad yarn. As a piece of storytelling and entertainment, it’s perfectly good and enjoyable, and fun. But for it to have had this longevity… It doesn't make a great deal of sense.”
He sounds almost puzzled by its success. But then, he’s struck by a thought.
“Maybe,” he begins, “that’s all we want? Maybe it’s the fact that Rocky Horror guarantees an evening out. You’re going to enjoy yourself and have a good time. It really could be just as simple as that.”
Perhaps. Rocky Horror is a good time. A whole subculture has grown around the movie, with people dressing up as their favourite characters and singing along with the film, while the stage play is said to be performed somewhere around the world every single night.
But it’s also credited as being a major influence on the counterculture and sexual liberation movements due to it being one of the first popular
and successful musicals to depict fluid sexuality and progressive values.
“It’s become connected by default to transgender issues and gay issues. I understand that and I'm glad that the world became more liberal,” he says. “As I get older, I’d like the world to be much, much more liberal and much more left-wing. I wasn't always that way. I was ‘conservative’ with a small ‘c’ when I was in my 20s.”
A surprising admission after he’d described himself as “a dope-smoking hippie” during the time he was writing Rocky Horror.
“Well, I hated the politics of envy. If people have a nice car and enjoy it, I say f**k it, they’ve earned it. That’s their right. They’re only caretakers anyway. It’s only yours while you’re alive. I don't like resentment,” he explains. “But I really loved the fact that there's a welfare state. I say to look after those who are less well-off, disenfranchised, isolated, or marginalised. It means that we’re civilised. If we start putting some bucks into that, it means we're really civilised. The glorification of wealth by the right-wing is an empty path. It’s really a glorification of greed. And that's shameful.”
Politics is a subject that’s very much on his mind. He especially has a keen interest in the circus of American politics and holds sharp vitriol towards the likes of Donald Trump and those who hide unsavoury, rights-destroying political convictions behind the facade of religion.
“It's odd to me that people prefer fantasy to rationality,” he sighs. “I think as a human race, we've lost the plot. Religion has led us astray. It confused our thinking. It demands that you abandon rationality and believe in an invisible man in the sky.”
It’s ironic, I say, that religion’s promise is on what happens after you’re dead, rather than doing good while you’re alive.
“Well, I do hope there’s something more because what I would like to do – what Sabrina and I want to do – is travel through time and space for eternity. To see how it all started and what went on. To see life on other planets and to look back on our own history. I can't wait to get back to the megalithic period. That’s my favourite. I want to know the answers to everything.”
Despite his age, his curiosity and creativity remain as strong as ever. Far from sitting back and watching the world go by, Richard’s working on a myriad of projects. There’s his art, which is currently going through a pastels phase, and the aforementioned children’s poetry book as well as The Kingdom of Bling, his brand-new musical which he describes as a “satirical fairytale”.
“I have fun working and writing and doing things,” he explains simply.
His slightly posh and proper accent betrays the short decade he spent as a child growing up in the upper-class town of Cheltenham, England before his family immigrated to Tauranga when he was 10 years old, but his affection for this adopted area can’t be overstated.
It’s so strong, in fact, that rather than produce The Kingdom of Bling among the bright lights of Soho, Broadway or closer to home in Auckland
or Wellington, he’s instead chosen to put it on at his old school, Tauranga Boys’ College.
Smiling warmly, he says, “We’re going to have the world premiere of The Kingdom of Bling using pupils from the primary school plus students from the boys’ and the girls’ colleges. What joy.”
He’s a singular presence with a highly theatrical aura. He carries a reputation for being a little prickly at times, but this morning he’s nothing but delightful company, whether slamming close-minded politics, marvelling at the hidden mysteries of the cosmos, recounting minutiae about the creation and legacy of Rocky Horror to an obvious fanboy or enthusing about his latest works.
“I’ve always lived in my head,” he says. “Being transgender and not being able to talk about that and yet wanting to be a young rock-and-roller...
But I enjoyed myself. I never felt that I’d been shortchanged in any way. Life is what it is and you get through each day. I was a dustman. I cleaned people’s houses. I pumped gas. I did a lot of these jobs.”
While he found success in London, he did so with a very Kiwi attitude. He didn’t wait for anything to happen. He made it happen. He knocked on doors. He took any theatre stagehand job he could get just to feel a part of that magic.
And when he couldn’t get acting work, he sat down and wrote his own musical, inadvertently creating a show that would resonate with millions of people around the world and become a saucy, fun, fishnet-clad beacon of the LGBTQIA+ community in the process and championed as a progressive cultural landmark. So happy 50th birthday, Rocky Horror, and bravo Richard.
To quote his character Riff Raff in "Time Warp", “It’s astounding.”
