Fifty years after it first flounced onto the London stage, Richard O’Brien’s campy cult classic is still a certified smash. Written as an homage to ’50s sci-fi and horror B-movies, ‘The Rocky Horror Show’ quickly solidified O’Brien as a queer icon after its initial debut in 1973 - thanks to his unashamedly horny script and a star turn as Riff Raff in the initial production. Several decades, a movie adaptation later, O’Brien’s legend status remains untouched - as does that of this gleefully chaotic show, which still draws in crowds of adoring fans. This is not because of its plot (which is wafer-thin at best), but because of ‘Rocky Horror’s infectious energy, memorable songs, and a dedicated following that makes every performance a riotous, truly immersive experience.
Let's start with the storyline: straight-laced, virginal couple Brad and Janet get stranded at a creepy castle, where they fall into the clutches of Frank N Furter, a fishnet-clad, mad scientist-alien who spends his time creating sexy new minions he can play with. That’s pretty much the whole plot, and while the first act zips along thanks to iconic bangers like ‘Time Warp‘ and ‘Sweet Transvestite’, the second act does bog down a bit as the narrative fizzles out and the well of recognisable songs dries up.
But no one comes for the story, do they? It’s the audience interaction that makes ‘Rocky Horror’ a one-of-a-kind event. Ardent fans arrive in flamboyant costumes, armed with fairy lights and placards, and ready to yell at anyone and everyone on stage. For me, it was this electric crowd energy that truly elevated the evening; as a first-time attendee, I was largely ignorant to the various heckles and responses - but nonetheless loved being along for the ride. Being part of that communal mayhem is exhilarating, and Christopher Luscombe’s direction skilfully embraces it, allowing the chaos to flourish while keeping the show’s pace tight enough to keep it all from spinning off the rails. It’s not actually the original show but a touring production Luscombe first directed this production back in 2006, and his ability to maintain its anarchic spirit while ensuring the performances shine is impressive.
The big name in the cast is Jason Donovan, reprising the role of Frank N Furter 25 years after he last performed it. While his entrance elicits the biggest cheer of the night, his performance is a teensy bit underwhelming. His performance lacks the sultry charisma I was hoping for, instead leaning into a kind of Ozzy Osbourne-esque eccentricity. Donovan can undeniably belt a tune, though, and he certainly looks the part. His Frank just has more of a lolloping stroll than a commanding strut.
On the flip side, comic Mawaan Rizwan is an absolute delight as the Narrator. Fresh off the success of his BAFTA-winning show ‘Juice’, Rizwan injects the role with his trademark cheeky wit and irreverent charm, making what could be a dry, expositional part into something that’s a joy to watch. Meanwhile, Connor Carson and Lauren Chia give impressive performances as Brad and Janet, both nailing the square, nerdy innocence of their roles while delivering terrific vocals throughout.
For all its enduring appeal, there’s no getting around the fact that ‘Rocky Horror’ feels dated. It hasn’t been updated much, if at all, since its debut, and what was once a subversive, counter-cultural romp now feels more like a nostalgic throwback. In a world where gender politics and knowledge of queer identities have evolved significantly, the show’s once-ground-breaking genderfuckery has lost some of its edge.
But no one buys a ticket to ‘The Rocky Horror Show’ expecting reinvention – they want to revel in its campy, chaotic roots. So, while this cult hit no longer feels revolutionary, it is still a riot. If you’re after a few hours of singing, dancing, and pelvic thrusting, then Rocky Horror is still just as good a bet as ever – even if its fishnets are a little frayed.