The Rocky Horror Show is surely unique. Even when buying a ticket you are made aware that this is very far from being a conventional piece of theatre, for you are advised that it’s ok to bring confetti, rubber gloves and playing cards, but that water-pistols, toast and KitKats are banned! Not that such peculiarities are likely to come as a surprise to many punters, as Richard O’Brien’s camp masterpiece has been in almost continuous production for over forty years. A merry mash-up of spoof gothic horror, cheesy sci-fi and singalong rock, it’s as well-known as a Dad’s Army repeat. There was a time when its celebratory take on gender-bending was ground-breaking, but transvestism is now so mainstream that very little in the show will come as either a shock or a surprise. But that does not mean that is has become stale. Instead, a performance of The Rocky Horror Show is now a kind of cult festival, with devotees of both sexes arriving in basques and suspenders, ready to sing along to their favourite songs and, of course, eager to ‘do the time warp’ yet again.
There is no doubt that audience participation has become a key feature of any performance of this show, with some rituals as well-established as the cries of ‘Look out behind you!’ in a Christmas panto. But cult followers can become very proprietorial, and there is a real danger that the audience can take too dominant a role in proceedings. There needs to be a master of ceremonies who can keep control, and Philip Franks is just the man for the job. As a richly voiced Narrator, he is urbane, unflappable and very funny, well able to respond to hecklers with a witty one-liner. He’s a figure of calm authority amid all the mayhem. Nevertheless, there is a sense at times that everything is being rushed along a little too hastily, as though the plot will be lost entirely if the cast give the audience too many opportunities for interruption.
Richard Meek and Haley Flaherty are excellent as the sweetly innocent and newly engaged Brad and Janet, finding themselves stranded near a mysterious castle when their car has a puncture. At the castle they are greeted by Kristian Lavercombe’s Riff Raff, a rasping, limping creature who seems strangely reluctant to grant their simple request for the use of a phone. Lavercombe is entirely at ease in the role of the evil Riff Raff, and so he should be, for he has performed it over a thousand times!
Among the other roles, Dominic Andersen brings both an impressive physique and considerable gymnastic ability to the role of Rocky, and Kay Murphy is gloriously uninhibited as the predatory Magenta. Paul Cattermole, once of S Club 7, takes on two parts. He is entirely convincing as the leather-jacketed rocker Eddie, but he is less comfortable as Dr. Scott, who he plays as a rather pale imitation of another doctor, Peter Sellers’ wheelchair-bound Dr. Strangelove.
The success of any production of The Rocky Horror Show will rely on the quality of its Frank-N-Furter. Tim Curry made his name starring as this hedonistic, transvestite alien from the planet Transsexual in both the original stage production and in the film version that followed. His was a definitive performance and a hard act to follow. Liam Tamne steps up to the plate magnificently, particularly in the second half of the show when Frank-N-Furter reveals an unexpected vulnerability. Tamne’s singing of I’m Going Home is a highlight, with Nik Carter adding some very tasteful saxophone. Musically this show is very strong throughout, though there are a few occasions when Ben Van Tienen’s talented five-piece band are a little too loud for all the lyrics to be audible. The quieter numbers are perhaps the best feature of this production, for they allow the cast to reveal real singing ability and bring a welcome contrast in mood.
I last saw The Rocky Horror Show over thirty years ago, and I suspect that over the years its naughtiness has become more explicit. Some of the stage business in this production certainly leaves very little to the imagination – subtle it ain’t. However, though much of The Rocky Horror Show is noisy, brash and decidedly rude, it does have a surprisingly reflective, downbeat ending. However, the audience is not sent away contemplating the futility of existence, as there is an inevitable and joyous reprisal of Let’s Do The Time Warp to send them home happy.
One or two moments fall a little flat, and at times the pacing of the show is so frantic that some details of the story are easily missed. It’s a show that caters for the aficionados, and those few who are not so familiar with the story may find themselves struggling to follow the plot. If last night’s standing ovation is anything to go by, these are minor reservations that will not deter very many from having a great time. The Rocky Horror Show is a theatrical institution. If you are familiar with it you have probably bought your ticket already; if you are not, you should go and see it to find out why it has such a devoted following. ★★★☆☆ Mike Whitton 15th November 2016
