24/09/26
Bedlam Theatre, Edinburgh
Way back in the distant mists of time – 1975 to be precise – I went to a cinema in London to watch something called The Rocky Horror Picture Show. It featured a very young Susan Sarandon and a star-making turn from an actor called Tim Curry. Of course, posters for the theatrical production had been staring accusingly down at me from the walls of the Underground for a year or so, but I wasn’t much of a theatre-goer back then.
This was my first exposure to Richard O’Brien’s iconic, groundbreaking creation. To say that it blew me away would be an understatement. I had honestly never seen anything like it before and it was clear it had a very big future ahead of it.
Flash forward many, many years to a time when the rights of transgender people are being increasingly threatened and policed around the world, and EUTC’s production really couldn’t feel more relevant. Director Hunter King has focused on the feel-good factor, going back to the play’s origins, when crowds of ardent followers would yell perfectly-timed heckles at the performers. (Here, onscreen prompts help to remind us what they are, and King is sitting in the audience, flinging out a series of sarcastic suggestions.)
The Rocky Horror Show is of course the story of strait-laced alpha-male Brad Majors (Max Middleton) and his virginal fiancée, Janet Weiss (Charlie Senior). On their way to visit Max’s former tutor to announce their upcoming marriage, their car breaks down in the middle of a rainstorm and they take refuge at “the castle they passed a few miles back.” Weird handyman Riff Raff (Dani J Bryant) invites them inside to meet his ‘Master’ Frank N Furter (Lil Hodge),who is currently undertaking a series of mysterious experiments.
And… well, I’m pretty sure you know the rest. EUTC’s shows are known for their high standards and here they’ve pretty much surpassed themselves: this Rocky is the very definition of an ensemble piece with each performer giving every bit of their youthful energy. Choreographer Naomi Jessiman has them drilled to perfection as they hoof energetically around the stage of Bedlam, backed by six talented musicians. Lily Goodchild’s video designs are displayed on a screen at the back of the stage and aren’t those the original credits from the film version playing out as The Usherette (Hattie Sumners) performs the intro song? Nice one.
Oliver Mason does a great job as The Narrator, while Josh Chamberlain is possibly the least buff Rocky ever conceived, but still emphasises the character’s innate sweetness. There’s a frenetic sequence from Eddie (Ewan Robertson), one of Frank’s earlier attempts to create the perfect male, brutally interrupted by a cleverly-staged chainsaw intervention.
But of course, the inevitable question is this: how can any actor hope to live up to the late lamented Tim Curry’s iconic performance? I’m delighted to report that Hodge is incredible in the lead role, effortlessly running through all the emotions – from sarcasm to sweetness; vengeful to vulnerable – before unleashing such a powerhouse performance in their final song that the awed crowd rises as one to applaud.
These are troubled times we’re living through and those hankering after a slice of unadulterated escapism should head to Bedlam (was there ever a more apt name for a venue?) and immerse themselves in this divine madness before it’s gone. While you’re there, why not take the opportunity to grab a props bag which contains things you can actually throw. How often do you get an offer like that?
And if you don’t come out singing about the ‘Sweet Transvestite from Transexual Transylvania’ then there’s probably no hope for you.
5 stars
Philip Caveney
