RICHARD O'BRIEN'S ROCKY HORROR SHOW - THEATRE REVIEW

Performance Reviewed: Monday 25 January 2016 (Press Night)

Rocky Horror is a rare beast in the world of theatre - a once cult favourite that has indelibly crossed over into the mainstream whilst at the same time being the kind of seat-filling, crowd-pleasing and, dare I say it, critic proof hit that is usually reserved for the outputs of Lloyd-Webber, Sondheim or their like. Richard O’Brien’s wonderfully camp, devilishly smutty and irrepressibly good fun explosion of B-movie madness has triumphantly soared past its 40th anniversary with another UK tour and continues to prove as popular, infectious and beloved as ever. Few shows, if any, can boast such fervent audience interaction and frenzy - expect the usual array of fancy dress, hen parties and lookalikes dotted throughout the auditorium. 

Much of it’s adoration and devoted following comes from it being primarily such a darn bonkers and completely inimitable slice of musical theatre madness. Like it’s 1975 movie counterpart, there is simply nothing quite like Rocky Horror, and whilst it's postmodern madness may prove too alternate for some audiences, it really should be on any self respecting theatre-goers musical bucket list, if for the unbeatable audience energy and atmosphere alone. Beyond this though, there is a lot to continue to enjoy about the show, and this current touring production, not least of all O’Brien’s cracking score, which includes such classics as 'The Timewarp', 'Sweet Transvestite', 'Don’t Dream It, Be It' and 'Hot Patootie'.

Newly engaged couple Brad (Ben Freeman) and Janet (Diana Vickers) are our initial protagonists at the offset of the show, when they must take refuge at an eery castle when their car breaks down on the way home from a friends wedding. The real star of Rocky, however, is of course the salacious cross-dressing ‘master’ of said castle, Dr Frank-N-Furter - all high heels, leather corsets and insatiable lust. It’s here that this current tour really pulls an ace, with veteran West End actor (and recent The Voice contestant) Liam Tamne putting his own stamp on this much-played role from the moment he arrives on stage.

Yes, there have been many who have played the role of ‘Frank’, including some real theatre greats, though more often than not the performance fits vaguely within the mould and shadow of Tim Curry’s definitive (and still exquisite) take on the role in both the original Broadway run of the show and it’s aforementioned big screen adaptation. Enormous credit then, to Tamne and director Christopher Luscombe for offering such a unique and refreshing take on the role. Here is a Frank-N-Furter of barely suppressed exuberance and sexual frisson - where Curry would cut through a scene with the raising of an eyebrow or tilt of his hip, Tamne’s is a far more excitable, giddy and almost infantile Frank - prone to fits of giggles, hysterics, childish vulgarity and at times genuinely hilarious showboating that make his a distinct, unanticipated and no less enjoyable interpretation of the character.

For a show where a considerable portion of its audience will have likely seen it countless times before (I myself having reviewed a UK tour of the production now four times in as many years), it’s great to see the creatives so willing to add new flavour and dimension to offer audiences old and new something a bit different as part of their Rocky Horror mansion of madness.

That’s not to say the rest of the cast are slouches though by any means. X Factor alumni Diana Vickers recovered from a slightly pitchy start to end up giving a real vocal powerhouse of a Janet, particularly during the floor show finale, and it’s always enjoyable to see singer ‘names’ proving themselves to be equally competent actresses to boot, with Vickers relishing in both the comedic beats and burgeoning sexuality of the role. Ben Freeman continues to impress after being one of the few saving graces of last year’s Happy Days tour, and here as the slightly wet and wimpish Brad he is once again both in fine voice and a charismatic character performer.

Steve Punt mines plenty of laughs and even some healthy corpsing from his direct interaction with the audience as the show’s permanently heckled narrator, and it wasn’t at all surprising to see Punt having recently portrayed Eric Idle, so uncanny is he in both appearance and deportment. Dominic Andersen cuts an aptly impressive figure as Frank’s creation, the titular Rocky, again adding some strong vocals to 'Sword of Damocles' and the finale numbers to go alongside his rippling torso and audibly-appreciated physique.

Of Frank’s cohorts, Sophie Linder-Lee is a sublime Columbia, the character here writ-large like much of the production, and Kay Murphy is a sultry, almost wincingly flexible Magenta. Rocky veteran Kristian Lavercombe returns to duties as the production’s Riff Raff, and it isn’t difficult at all to see why he has been invited back once more - his take on the character absolutely relentless in energy and voice, undoubtedly one of the show’s highlights and easily one of the best iterations of this fan favourite character you could hope to see.

This latest touring production of Rocky Horror is by some measure the most energetic, frantic and downright crazy the show has been in recent memory. Everything here is dialled up to eleven, including Richard Hartley and Ben Van Tienen’s booming, full bodied take on the show’s already vibrant and character music, with Nick Richings' lighting similarly following suit. If there is anything to detract from this Rocky-on-steroids approach (we’re sure Frank would approve), it is that occasionally, particularly during the second act, it all occasionally threatens to get a bit too hyperactive and overdone, with numbers such as 'Eddie’s Teddy' for instance a lot noisier and overblown than necessary. And whilst the performances are wonderfully enjoyable throughout, some of the whackier character beats and nuances could in places do with being reigned in ever so slightly, as even by Rocky Horror standards nuggets of plot and dialogue can occasionally get lost at the expense of momentary silliness or a unique take on a line.

In all though, this latest take on the Rocky Horror monster certainly earns the Charles Atlas seal of approval - with a refreshingly unique take on a now iconic central role, a surrounding cast who do terrific work across the board, and an invigorated, supercharged production that never fails to whip its audience up into a frenzy. If you’ve never seen Rocky Horror before, this is the best chance you will have to experience it in it’s full, unabashed camp and glory, and even the most ardent and veteran of fans may find themselves surprised by some of the new flavour and direction this latest tour takes. As mentioned, this is a show everyone should experience at least once, though chances are, like the countless that have already been permanently ensnared by the charms of O’Brien and his motley band of B-movie misfits, you’ll likely find yourself time-warping back to the inimitable Rocky Horror for many years to come.

RATING - ★★★★

RICHARD O'BRIEN'S ROCKY HORROR SHOW is running at the NEW ALEXANDRA THEATRE, Birmingham, from Monday 25th through to Saturday 30th January 2016.

CLICK HERE for more information on the show's run at the New Alexandra Theatre and to book your own tickets!

Alternatively, telephone the theatre's booking line direct on 0844 871 3011.

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