Richard O’Brien’s Rocky Horror Show – Dominion Theatre

Pictures: Roy Tan

Richard O’Brien’s Rocky Horror Show was reviewed at the Dominion Theatre, London where it runs until 20 September 2024. The tour continues until 30 August 2025.

Star rating: five stars ★ ★ ★ ★ ★

Having just stepped to the right out of the vast Dominion Theatre in central London, I’m most relieved to report that Richard O’Brien’s love letter to all things camp, curious and non-confirming is still a wild and an untamed thing.

And with – dare I say ‘ageing’? – pop star Jason Donovan in the lead role of the sweet transvestite from transexual Transylvania, I’m seeing for the first time something of the Sunset Boulevard in this rock ‘n’ roll musical.

According to a feature in this production’s rather large, glossy souvenir brochure, barely a year has passed without Rocky rearing his pretty blonde head somewhere in the world. And no surprise, really, as this camp classic is packed with what can only be described as objectively good songs. Yes, the fishnets and gender-bending have helped to keep this show alive all these years, but I really don’t think it would’ve survived – and still thrive – if it wasn’t for the quality of the songwriting.

As as teen, I listened to Tim Curry on the 1974 Original Roxy Cast Recording on repeat, and to this day I can recite every lyric in every song. They’re just lodged there forever. I’ve seen the movie enough times to have lost count, but not to the point of knowing every shout-out or turning up to my local Odeon in a basque and scrubs. So yes, just enough of a fan.

However, I wasn’t bowled over when I saw my first staged production – that was back in 1994, with Nicholas Parsons (bless him) as the narrator and Bread star Jonathon Morris as Frank ‘n’ Furter. After years of enjoying the cast album, it felt to me like an unpleasant caffeine rush – way too loud and throbbing with steroid-pumped ’90s beats that sand-blasted the heart of the show.

Now, though, director Christopher Luscombe’s reincarnation feels to me like everyone has gone back to the source material. It’s calmed itself down and captures more of that pastiche ’50s vibe that O’Brien was clearly revelling in back in 1973, while at the same time amping up the sexiness and remaining a thrill to an unshockable modern audience.

In a delightful casting coup, Luscombe has placed the 56-year-old Jason Donovan in the lead role of Frank, then surrounded him with youngsters, painfully emphasising the fading of this dying queen’s light. Donovan hams up this aspect of the character perfectly, giving us his best Norma Desmond, desperate and alone, surrounded not by chimps but sycophantic aides and phantoms. Donovan’s played the role before but I don’t know if he channelled the same pathos as he does now; either way, I found his performance utterly captivating and at times quite moving.

And what a lovely cast he’s supported by. Ubiquitous comic Mawaan Rizwan as the Narrator receives special billing, and deservedly so – he just has funny bones. And bones that can dance, as we discover in the final numbers and encores.

With no shade thrown on these two big names, there the ‘stunt’ casting ends, which means we’re pretty much guaranteed a top notch set of leads. Connor Carson and Lauren Chia are suitably sexy and full-voiced as Brad and Janet. RAM graduate (and classical cellist!) Job Greuter more than delivers as faithful handyman Riff Raff, as does Natasha Hoeberigs as Magenta, Jayme-Lee Zanoncelli as Columbia and Edward Bullingham as Eddie and Dr Scott.

Morgan Jackson has all the right attributes for Rocky himself – a physique that Charles Atlas would kill for, and an arsenal of backflips, cartwheels and handsprings to rival that of any Olympic gymnast. Oh, and he can sing and dance too. He really does put the quads (and triceps and biceps) into quadruple threat.

Filling out the ensemble are the phantoms: Ryan Carter-Wilson, Arthur Janes, Hollie Nelson, Erica Wild, Alex Hetherington and Stacey Monahan.

I was a little bit surprised that there wasn’t more casting of explicitly trans actors. If there’s one show that should embrace such gender and identity diversity, it’s Rocky Horror – a musical that revels in sexual and gender nonconformity. And especially in the light of the recent surge in hostility towards the trans community… seems that society hasn’t quite caught up with this 50-year-old show.

A live band led by MD Josh Sood bangs out Richard Hartley’s musical numbers, and choreographer Nathan M Wright returns to the show and makes sure not a foot is out of place. The show rarely lets up, but when it’s needed – Carson’s ‘Once in a While’, for example, or Donovan’s ‘I’m Going Home’ – the foot comes off the accelerator and we’re given space to enjoy the numbers without them being overworked.

A nod must also be given to lighting designer Nick Richings for so beautifully bathing the Dominion in the most glorious colours. Hugh Durrant’s celluloid set also sets a nice tone, given the show’s original B-movie inspirations.

The press night was a raucous affair, with costumed superfans hollering back in all the right places, and whether or not this degree of interaction will be enjoyed every night is to be seen. (Richard O’Brien also made an appearance, and through his tears of joy at the outpouring of love from the audience, led a singalong. ‘There’s a liiiiight…. Over at the Frankenstein Place…”)

One thing is for sure, though: this show has legs. Long, fishnetted legs that deserve to run and run. Its universal messages of acceptance and finding your community – and the fact that it’s funny, sexy and bursting with great songs – means it can be endlessly moulded to new generations of fans. Just please do see it with Jason “Swanson” Donovan if you can.

Craig Glenday