Review: Rocky Horror Show – Edinburgh Playhouse

The chances of Richard O’Brien’s enduring musical masterpiece, Rocky Horror Show requiring an introduction seem slim to potentially zero. Vanilla middle-class Brad (Connor Carson) and Janet’s (Lauren Chia) traumatic, if tuneful adventure into sexual liberation and B-movie science fiction in the bonkers castle of transvestite alien scientist Frank-N-Furter (Jason Donovan) opened in London in June 1973. By the time it closed in 1980, it had spawned a cult movie, made Tim Curry a fishnet pin-up for the ages, and played almost 3000 performances to a still-growing, and eternally devoted fanbase. Rocky Horror has been conquering stages on every continent ever since.

Dear reader, if you have happened upon this review with no knowledge of the show, rest assured that I shan’t spoil proceedings for you, you rare creature. So read on with confidence, and decide if you need to introduce yourself to the ‘sweet transvestite from Transsexual, Transylvania’ and his castle full of all-singing, all-dancing misfits.

One thing’s for sure – before those creepy doors have even opened you’ll be impressed with the tight, powerful band under musical director Josh Sood. Boy does that five-piece rock band know how to treat O’Brien’s iconic rock melodies – Richard Hartley’s decades-old arrangements suit this talented bunch just fine. Dare we say oldies but goodies?

“…you’ll be impressed with the tight, powerful band under musical director Josh Sood.”

There are moments, however – particularly in the first act when the sound balance favours the band over the cast. Maybe the varying vocal powers on stage make things difficult, or perhaps the sound techs needed more time to perfect the mix before opening night. Time will tell.

For now, let’s talk about this production’s MVP, no – not Donovan’s audibly adored turn at the centre of events, but the Narrator played with charm, gravitas and lightning-quick good humour by stand-up comedian Nathan Caton. Fans of The Rocky Horror Show have been developing audience callback scripts for decades, and it takes a cool customer to bat every witty, ribald ball they send screaming in from the stalls back with interest. Suffice it to say Caton makes it look easy – the man is made for the role, and it’s a delight every time he steps on stage.

*Brad* (**Connor Carson**) and *Janet* (**Lauren Chia**)

He isn’t the only talent impressing on stage, far from it. Indeed Job Greuter’s hunchbacked Igor knock-off Riff Raff comes armed with a killer voice, a soaring range, and a flare for physical comedy. Chia and Garson might not make such a strong first impression, but blossom as the story proceeds, displaying fine talents for character comedy and excellent rock voices. Natasha Hoeberigs also impresses, first as the usherette opening the show with a super rendition of the nostalgic ‘Science Fiction/Double Feature’, and as the quasi-psychotic Magenta thereafter.

The fabulous band of singing and dancing Phantoms who provide sterling backing vocals whilst fleshing out Nathan M Wright’s slick, high-energy choreographies also deserve praise. The ‘Time Warp’ – that enduring party favourite – gets the VIP treatment in particular.

This leaves us to discuss Donovan’s Frank, a role he last played 25 years, yes years, ago. Expecting a 56-year-old star to conjure a character akin to Curry’s immortal creation (when aged 29) would be madness. However, exchanging a pin-up vision of corseted high fashion for a limp-wigged, age-wearied louche in smeared makeup, leaves this Frank feeling distinctly washed-up. Donovan has the charisma, uniqueness, nerve and talent to take the character in other directions, so this is a choice, and for me, it doesn’t pay off.

When he conjures his ideal sex object Rocky (a muscular and spritely Morgan Jackson), for example, there’s no hint of glamorous fascination to confuse their obvious master and slave relationship.

I’d like to see what today’s Donovan could do with Frank after more hours in the dance studio in heels, and a make-up artist tasked with making him deadly to look upon. He is, nevertheless, a compelling performer with more than enough presence to command the show from centre stage.

Before the audience can decide how they feel about all of this, the first act comes to a close. To call Director Christopher Luscombe’s production pacey is an understatement – this production runs at 1.5 x speed, particularly during its 40-minute first act. The result isn’t precisely rushed, but certain scenes and songs could use an extra beat or two to sell the show as a living, breathing story. Conversely, the musical over-indulges Donovan’s compulsive need to loll his tongue ‘suggestively’ at every passing object. Am I asking for less tongue and more action? You bet I am.

It would be better, for example, if Edward Bullingham’s respectable attempt to follow Meat Loaf’s iconic turn as the ill-fated delivery boy Eddie and return as his investigating uncle Professor Scott, wasn’t conducted quite so near to light speed. Being the subplot laced with the show’s most grisly potential, it’s also a shame to see it played almost entirely for laughs. Between O’Brien’s sparklingly barmy script, Caton’s razor-sharp ad-libs and ample comic timing amongst the cast, we don’t need more laughs, we need more ‘ewwww’s.

“…a less beloved performer wouldn’t get half as warm a reception.”

Indeed, judging from Hugh Durrant’s excellently immersive and adaptable set design, I expect he could conjure deliciously macabre environs if given the chance.

A continuing lack of horror aside, the second act proves stronger than the first. As mentioned before, the sound is more crisply balanced, and as a result, the vocal powerhouses in the cast shine all the brighter. The laughs keep coming, as do the enduring catchy melodies.

This final act is also blessed with longer scenes which help counter the show’s hasty heart, not least the climactic ‘Floor Show’ which finds the principal cast at their absolute best. Donovan bows out in particular style, reeling his tongue in to deliver a majestic rendition of the bluesy and gospel-infused ‘I’m Going Home’.

Beyond the show’s particular choices and my personal taste, there’s ultimately no denying the power of the catchiest rock melodies in musical theatre history and an excellent cadre of performers. Fast, furiously funny, and destined to make theatres tremble with massed seat bopping, this Rocky Horror Show may not be perfect, but it still makes for a darn good night at the theatre.

Featured Image: Jason Donovan as Frank-N-Furter – all images provided by The Rocky Horror Show PR.