“An homage to rock and roll, science fiction and nostalgia, Rocky Horror always will be a favourite night out. Let’s do the Time Warp again.“
Kate Stratford
3.5 late night picture shows
Theatre Royal Sydney
Currently running to April 1st
I would like, if I may, introduce you to the Rocky Horror Show, turning 50 this year. Which makes me feel quite decrepit as I (at a very tender age) saw the original London production with Tim Curry, Richard O’Brien, Little Nell et al. And I have seen many iterations of the cult show since, beginning with Reg Livermore’s Frank-N-Furter in the first Australian production. What stands out is its ability to withstand the vicissitudes of time and weirdly, appropriately, remain relevant. Brad and Janet are still representative of a narrow minded, hypocritical society whilst the all the characters who people Frank’s castle are beautifully representative of rainbow joy.
Over the years, the cultural zeitgeist of any particular time has affected the characterisation of Frank-N-Furter, the mad scientist bent on creating the perfect sex toy. Franks have been seductive, charismatic, threatening, salacious, bizarre, homicidal, exuberant and jealous – to differing degrees. Jason Donovan infuses this Frank with elements of Norma Desmond, underscoring a more vulnerable, wistful side which serves well in their final song Going Home.
As chief creep and head minion, Henry Rollo’s Riff Raff is a polished performance worthy of standing alongside that of its creator, Richard O’Brien. Stellar Perry as both the Usherette and Magenta is suitably uninhibited and fearless as is Darcey Eagles’ Columbia. Usually, these two are coupled up more as voyeurs who spy on the events unfolding in the castle but there was less sense of that in this production. Myf Warhurst seems a little out of her depth as the Narrator, whose sonorous role is to keep the audience amusingly engaged through transitions. As a music guru, Myf is spectacular but musical theatre is not her medium.
The two innocents Brad (Ethan Jones) and Janet (Deirdre Khoo) journey from sexual repression to absolute pleasure in one night and they have the vocal chops to pull this off. However, Khoo’s Touch-a Touch-a Touch Me seemed to be more about showing off those vocal skills than manifesting the raw, new lust Janet has discovered within.
Director Christopher Luscombe has updated the penguin-attired Wedding Guests to Dementor-like Phantoms, and their threatening presence during Over at the Frankenstein Place adds a sinister layer as they surround Brad and Janet who seem oblivious of the dangerous net in which they are caught. But there the sinister elements end. From there on, it is the wild ride of familiar and beloved numbers performed on what is, for this musical, a relatively simple set which serves the tour well.
Opening night was dogged by some hiccoughs in lighting and sound cues and uneven energy levels but undoubtedly these will be sorted as the show beds in. All forgiven by an audience who stood to dance the Time Warp at the final curtain.
An homage to rock and roll, science fiction and nostalgia, Rocky Horror always will be a favourite night out. Let’s do the Time Warp again.
Kate Stratford, Theatre Now
