“This iteration of Rocky Horror felt fresh, liberated, whimsical and still incredibly professional. “
Kate Stratford
5 late night picture shows
Theatre Royal
31 Mar – 5 May
[Narrator: Dylan Alcott to April 17, Peter Helliar to May5]
Last year, in February, Richard O’Brien’s Rocky Horror Show opened at the Theatre Royal. It was, despite the talent on stage, somewhat timid, a little apprehensive and seemed to be playing to an ill-perceived political correctness. But director Christopher Luscombe has done what a good directors should when realising their vision has not hit the mark – reworked the approach and concept. Now we have a fresh, celebratory Rocky Horror Show which embraces its longevity in theatre and its cult following. The film version regularly has midnight screenings at various indy cinemas and the audiences shout at the screen, anticipate lines etc. This time around, the audience were encouraged to embrace this participation, with a few plants amongst them to lead the heckling.
Once again it is deliciously raunchy, funny and joyful. Playful and puerile in the best possible way.
There have been a few changes of cast but not many. Jason Donovan is again that most charismatic mad scientist, Frank N Furter. Rather than channelling Norma Desmond (an interesting but not a particularly memorable interpretation), this time Donovan’s Frank is more aged rock star. There were moments of Freddie Mercury and Mick Jagger – salaciously strutting, stumbling and posturing and then delivering mesmerising, bizarre performances. This particular interpretation puts Donovan up there with Tim Curry and Reg Livermore in the role – and I have seen both live, having been in London in the 70s (ahem!) and Sydney when it first opened in Glebe.
Dierdre Khoo’s Janet is freer and more playful. Touch-a Touch-a Touch Me still shows off her vocal skills but it is funnier and sexier this time around. Blake Bowden is now her fiancé, Brad Majors. Bowden has a powerful stage presence and voice and effortlessly embodies all the American arrogance the show parodies. This is a much better chemistry between the two hypocritical “innocents”.
Henry Rollo reprises as Riff Raff, Frank’s chief creep and head minion, in a polished performance worthy of standing alongside that of its creator, Richard O’Brien. Returning also, Stellar Perry as both the Usherette and Magenta is suitably uninhibited and fearless as is Darcey Eagles’ Columbia. It feels as though these three have been unleashed and allowed to indulge their creativity fully. Daniel Erbacher is certainly one of the best Rockys to grace the role in a performance which delivers an understanding of how childlike Rocky’s personality is. And I am sure Meatloaf would be proud of Ellis Dolan’s Eddie; Dolan is almost unrecognisable once he converts to Dr Scott.
The cleverly conceived Dementor-like chorus – one of the better original ideas of Luscombe’s, continue to add deliver a sinister humour in the most professional way; enhancing the wild ride of a night in Frank’s castle. Dylan Alcott, greeted with cheering from the audience, encouraged audience participation and gave as good as he got in those exchanges.
This time around, the lighting was superb (Nick Richings) with an exacting use of movement, colour and rhythm in design. The musos were tight under the baton of Andrew Bevis. No glitches here, all cues prompt (Go Stage Manager Maree Kanoweski!) making transitions and changes effortless.
This iteration of Rocky Horror felt fresh, liberated, whimsical and still incredibly professional. Paradoxically, it is both tighter and looser than it was. It honours the 50-year history of the show and acknowledges the cult following both the stage production and the film have.
Last year, I admit I gave this 3.5 stars. This time around, it is a banger.
Kate Stratford, Theatre Now
Photo Credit: Daniel Boud
