The Rocky Horror Show | Bouquets & Brickbats

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

21/02/22

King’s Theatre, Edinburgh

‘It’s just a jump to the left… and then a step to the righ-hi-hi-hight!’

It’s hard to believe that Richard O’Brien’s shlock-horror musical began its theatrical journey way back in 1973. Like many others, I didn’t actually witness it until The Rocky Horror Picture Show hit cinema screens in 1975. I can honestly say I’d never seen anything like it. The sexual politics were startling to say the least, Tim Curry’s Frank N Furter virtually burned up the screen, and yet the film didn’t make much of an impact at the box office. Go figure.

It wasn’t until much, MUCH later that it began to build its dedicated cult following.

Die-hard fans are only slightly in evidence at the King’s Theatre tonight, a few brave souls sporting French maid outfits, stockings and suspenders – which may have more to do with the Scottish weather than anything else. But the elderly couple sitting in front of me are clearly longtime fans, singing along with every single number and helping each other into the aisle to smash The Time Warp.

Rocky Horror is just a gloriously silly romp with canny sci-fi references, backed up by a whole string of banging songs. From the opening chords onwards, I’m hooked.

Brad (Ore Oduba) and Janet (Haley Flaherty) are two wholesome (okay, repressed) people, whose car breaks down one stormy night. They take refuge in that creepy-looking castle they passed a couple of miles back. Here they meet their unconventional host, Frank N Furter (Stephen Webb), his handyman, Riff Raff (Kristian Lavercombe), his maid Magenta (Suzie AcAdam) and a whole gaggle of deranged characters with a propensity for dissolute behaviour.

Furter, it transpires, has been working on a special project and Brad and Janet have arrived on the very night he plans to unveil Rocky (Ben Westhead), the perfect sexual companion.

This production, directed by Christopher Luscombe, moves like the proverbial tiger on vaseline – the dance routines are brilliantly executed, Webb is wonderfully flamboyant as Furter and, of course, the presence of The Narrator (Philip Franks) is the production’s trump card. Suave, sophisticated and delightfully potty-mouthed, he fields interjections from the more vocal followers and offers a few pithy observations in return. One of them, about Prince Andrew, has the entire audience applauding.

Okay, so the first half still features the lion’s share of the best songs – which has always slightly unbalanced the production – and there are a couple of scenes in the second half that, viewed through a contemporary gaze do feel a bit… well, rapey… but of course, this was written at a time when the subject of sexual politics was in its infancy. O’ Brien’s main theme – that people should embrace and celebrate their sexual identities – still seems somehow ahead of the game forty-nine years after the show’s birth. And it seems highly unlikely that anybody is going to attempt an update this late in the game.

This is an absolute delight. As the performers thunder into a reprise of the show’s two best songs, the entire audience is up on its feet, clapping, dancing and singing along. Few nights out at the theatre are as deliriously enjoyable as this – and as we wander out into the night, we’re still humming The Time Warp.

After so long shut away in glum silence, we all deserve a large helping of Rocky. If this doesn’t put a great big stupid grin on your face, then nothing will.

4.6 stars

Philip Caveney