It was great when it all began… and still is.
Back in 1973, Richard O’Brien’s first attempt at writing a musical became an explosive success, no one could’ve anticiii–pated the world-wide phenomenon it would become after receiving mixed reviews and only enjoying a short life on stage. After a tentative start for the play the film was was produced for just $1 million by Twentieth Century Fox in 1975, but opened to terrible reviews and soon found itself buried in videoland as quickly as was possible. However, the following year an ingenious Fox executive introduced the movie as a late night shock-horror filler in a few late night Manhattan cinemas that were frequented by gays, students and punks and they loved it. The word-of-mouth chattering on the streets soon spread and by 1977 Rocky Horror was playing every weekend and in over 100 art houses. A legend was born.
So what of the theatre production? This rock-tastic, sexy spectacular has always been popular. The music, mystery, magical, vibrant and downright arcane has lured theatre goers for decades now and remains to this day the longest running theatrical release in film history.
To celebrate the 40th anniversary of this masterpiece, Christopher Luscombe has created a brand new production for a year-long UK tour.
I would like, if i may, to take you on a journey… It all begins when two healthy, normal kids, Brad Majors and Janet Weiss, become engaged and decide to visit their old High School science teacher, Dr. Everett Scott. Whilst on their journey they (un)fortunately run into difficulty when their car gets a flat tire and so the pair decide to seek help at a castle they passed. No sooner do they walk through the doors of this mysterious ‘castle’, than they are thrust into the world of Dr. Frank N Furter, a self-proclaimed, “Sweet Transvestite from Transsexual Transalvania” and a whole host of freaky and sexually charged characters. What will become of the them once inside…
Along with a soundtrack that makes you want to run up on stage and do the time-warp with the ensemble, audience members are invited to participate with the onstage action by hurling abuse at the sickly sweet Brad (A**hole) and Janet (sl*t) and are actively encouraged to invent alternative lines or responses to the script. It is this interaction that keeps the show so fresh and makes it so utterly unique. Of course, dressing as the characters or simply donning a pair or fishnets is also encouraged.
Luscombe’s direction is nothing unusual, which isn’t a bad thing at all. The show, as expected, is fast paced and raunchy, and is as colourful as ever. The only disagreement I had with this production was that it was so fast paced, bits were missing, which could be potentially confusing for those unlucky few that might not have seen the film before. Despite this, the cast was great. West End star, Oliver Thornton was assured, commanding and effortlessly sexy as Frank and thanks to his student days training as a classical ballet dancer, he seemed perfectly comfortable in those tights. Dani Harmer was equally as sassy. I was a little aghast at this casting when I first found out but actually she was brilliant and unusually believable as Janet with her newly found sex-appeal – a reflection of her transition from child star to dancing queen I wonder? Whatever, she was a perfect fit. Sam Attwater was also noticeably fabulous but with such athletic legs it was hard to believe he was nerdy Brad Majors, still, great eye candy! Gotta love a man in fishnets!
With as many men in basques as women, and with as much glitter as sex, the show is bold and entertaining in equal measure. It was as rude and as crude as ever and if you’re lucky enough to see it on this current tour, remember, it’s just a jump to the left…
