“I wanna go to the late-night double feature picture show” croons the usherette (a ditsy Natasha Hoeberigs, with legs longer than a fortnight) in the opening moments of the Rocky Horror Show.
Jason Donovan as Frank ‘n’ Furter and Company in The Rocky Horror Show | Photo © David Freeman
Judging by the fact that this show has been playing for over fifty years and still commanding rapturous audiences both seasoned and new, it would appear she is not alone in still wanting to see this wacky staged “picture show”.
For the 3.7 people in the UK who still don’t know, Rocky Horror is a loving musical tribute to classic 50s sci-fi films, based principally on the Frankenstein story, garnished liberally with rock and roll songs both zany and poignant, and sprinkled with a raunchy subtext on sexual freedom.
It began life in a tiny 63-seat theatre, and originally flopped on Broadway and film, but developed a cult fanbase who kept going back for more, and it grew into the phenomenon it is today, simultaneously sexy and yet as comfy and recognisable as your fave slippers.
Updating this show drastically would always be a risk, since much of its appeal is in its familiarity to its legions of fans, so many of the touches remain largely unchanged, such as Sue Blane’s costume designs (fishnets and tailcoats everywhere).
However, there are enough fresh angles to keep devotees and newbies alike on their toes. The appearance of fresh young black stand-up comedian Nathan Caton as the traditionally crusty white old Narrator is a surprising change, but it works a treat, and he juggles the endless heckling superbly with references to everything from Trowbridge to Mohamed Al-Fayed.
There are some minor changes too to the songs (Once in a While, traditionally Brad’s solo, becomes a poignant duet with Janet) and staging, helped significantly by Nick Richings’ beautifully restless lighting design (most effective during Don’t Dream It, as it sweeps out over the audience) and Gareth Owen’s bass-heavy sound design, for which two auditorium boxes have been taken over with huge speakers.
All performances are on-point and zesty. Lauren Chia gives Janet a very believable nervous transition from buttoned-up virgin to sexual predator, and Brad was played superbly on press night by understudy Alex Hetherington, who brings a sweetness and honesty reminiscent of Seymour from Little Shop of Horrors.
Morgan Jackson is absurdly-and-appropriately buff as Rocky, but backs the cheese-grater abs up with fine singing and movement, whilst Job Greuter’s lumbering Riff Raff stuns with his vocals and duplicitous characterisation.
The success of all productions of this show, however, largely rests upon how the sweet transvestite scientist Frank N Further is played, and Jason Donovan proves from his first entrance that he is not just stunt casting.
He avoids the celebrated Tim Curry touches and gives us a deranged, drug-addled doctor, continually distracted by himself but showing flashes of a brilliant mind; the sexual side of the character is very much present but seems secondary, and it works a treat, whilst his moving rendition of I’m Going Home doesn’t leave a dry mascara-ed eye in the house.
This is a superb, showy and memorable production well worth sliding on the fishnets for. If you require an excuse, of course.
The Rocky Horror Show is at Theatre Royal Bath until 19th October. Box office: 01225 448844.
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Reviewer: Steve Huggins
