The Rocky Horror show proves to be the culturally significant powerhouse it was destined to be following its initial ventures in the 1970’s. This production excels in revelry, debauchery, humour and liberation.
Jason Donovan’s Frank N Furter is gorgeously eccentric, and though his animation seems slightly stifled and awkward (surprisingly Donovan doesn’t seem completely comfortable in heels), there is still a good fluidity and playful poise that, matched which is excellent stage presence, ultimately makes him very watchable. Connor Carson’s Brad and Lauren Chia’s Janet are excellent caricatures who’s stiff cliche is a perfect match for the unbridled chaos that surrounds them. They allow themselves to be engulfed, and by proxy we are swallowed by the raucous flamboyance. They are precise, understood and highly competent.
The live band are excellent, and their musical accompaniment is an excellent through line that weaves seamlessly throughout this narrative parody. The set design is keen and astute, with some remarkable lighting design which is sparingly used full tilt to remarkable effect.
The entire cast here is incredibly strong, and amongst the strongest I’ve seen in large musicals, which you could attest to the fact that not only are this cohort extremely well disciplined and trained, but they clearly seem to be having a lot of fun here, and this is sometimes vitally forgotten in long-standing touring productions. It was a delight to see. Notably Nathan Caton as the narrator was an excellent mediator to the shadow-cast of the audience, handling all heckles (traditional and non-traditional, shall we say) with an acerbic wit and banterous rapport. Job Greuter’s role as Riff Raff is also worth mentioning – a remarkably committed performance, especially his physicalisation which was impressively convincing yet appropriately theatrical.
While Richard O’Brien’s script is designed to be a pastiche of B-movies of a bygone era and their predictably shallow tropes and execution, it does leave a bit to be desired even in the context of parody. A story tries to be told, but it frankly isn’t there, and it lacks the strong storytelling of other comedic stage plays that have emerged since which operate in a similar vain. This absence leaves the audience clinging to a non-existent apparatus we expect the narrative to be strung upon. Fortunately, I don’t think anybody comes to Rocky Horror for nail-biting drama. That’s still to say that a more active and participatory story would’ve elevated this work. Christopher Luscombe as director does a great job with the material to hand, but I wonder if there was more that perhaps could’ve anchored the text in a worthwhile way. I also concede that there is not really an option for a rewrite of such a culturally important work, but it does provoke the question of how one should engage with historic work in a modern context. Remarkably, and predictably for those who understand the bones of this work, its themes (which pushed the envelope of this piece in the 1970’s) are the components which stand the test of time today.
For those who have not yet experienced this show yet, now may be the time to surrender to pleasure. Who knows, you might enjoy it…
The Rocky Horror Show is running at the Sheffield Lyceum until Saturday 30th November before embarking on further dates. Please visit www.rockyhorror.co.uk for tickets and information.
Reviewer: Louis Thompson
Reviewed: 26th November 2024
North West End UK Rating: