'The Rocky Horror Show' is fifty this year, and it would seem it's here to stay. From its modest
beginnings as a fringe show at the Royal Court’s Theatre Upstairs to the 1975 film version by which
most people still know it, to the a seemingly endless series of revivals, of which this is only one, it’s
withstood changes of fashion and taste (though who needs ‘taste’?) and has now arrived at a
peculiar point in its history where the world seems in danger, finally, of catching up with it.
So,
where does Dr. Frank'N’Furter, arguably the stage’s first gender-fluid individual, stand in 2022?
The answer is: pretty much where he (or should it be ‘they’?) always did, as the star turn of
a romp that has proved as durable as it has impervious to criticism - so anything this, or any other
reviewer may find fault with, will make no difference to an audience’s enjoyment.
It may be
pointless to point out that the plot, such as it is, is barely developed, that the characters are all
ciphers or archetypes lifted from science fiction films of the Monogram era (it might be argued that
that’s the whole point) and that the first half is considerably better than the second half (the hit
number The Time Warp, arrives very early in the proceedings and everything that comes after is a
bit of an anti-climax, musically speaking). These things barely matter, as a Rocky Horror audience
comes knowing what to expect and determined to enjoy every second of it, with all the participatory
trappings.
The current touring version of the show, directed by Christopher Luscombe, features a very
strong cast, all of whom seem well-versed in the Rocky Horror style. There is probably only
limited room for innovation when it comes to interpreting these characters but each performer
manages to flesh out what they’ve been given: Richard Meek and Haley Flaherty were persuasive
as the vanilla duo Brad and Janet, whose unexpected sojourn at the Frankenstein House allows them
to explore their sexuality. Susie McAdam and Kristian Lavercombe were sinister and charismatic
as hostess Magenta and factotum Riff-Raff, and Darcy Finden, who graduated from Mountview
during the confusion and uncertainty of the pandemic, makes a splendid professional debut as the
high-kicking, tap-dancing Columbia. Ben Westhead makes an impressive adult debut as the
muscle-bound (titular) Rocky and Joe Allen impresses in the dual roles of Eddie and Dr. Scott.
To
the demanding central role of Frank'N’Furter, Stephen Webb brings an appropriate degree of danger
to match the camp androgyny in this modern Lord of Misrule. Narrators for this tour alternate
between Philip Franks and (in Sheffield) Jackie Clune, who coped magisterially with an audience
that considered itself a lot wittier than it actually was (don’t they all?).
With a flexible set by Hugh Durrant (rapid scene changes were required, often shifting
between interior and exterior and all were managed convincingly and with aplomb) and the original
costume designs of Sue Blane, this is a highly entertaining revival and ideal for any Rock Horror
neophytes (or ‘virgins’ as they’re known in the trade).
Reviewer - Paul Ashcroft
on - 23.1.23
on - 23.1.23
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