The Rocky Horror Show – Palace Theatre, Manchester and Touring

Picture: David Freeman

The Rocky Horror Show continues at the Palace Theatre, Manchester until 22 January 2022 and then tours the UK until 9 July 2022.

Star rating: four stars ★ ★ ★ ★ ✩

As it nears its fifth decade on this planet, there are still many miraculous things to behold about Richard O’Brien’s cult behemoth.

Firstly, there’s the simple achievement that it’s lasted so long. Forty-eight years from when it first appeared Upstairs at the Royal Court, and in a current touring incarnation – directed by Christopher Luscombe and with costumes from original costume designer Sue Blane – that is itself already 15 years old, its other achievement is that it is in such rude health.

This is due, in no small part, to its devoted following, built up over countless tours, revivals and a life-prolonging film version in 1975 which – holding the record for the longest continually released movie in motion picture history – is where its cult status was secured and the tradition of audiences dressing up, catchphrases and interjections really took hold.

Based on a very vocal, enthusiastic Manchester crowd – no doubt revelling in taking part in such an interactive theatrical experience after all the uncertainty of the last year – this is the part of the show that has grown most over the decades, and is possibly the element that has escalated to a point that might put off the more timid non-devotees.

This is accentuated by the feeling that some of the more well-timed interjections have the whiff of being more than a little stage managed. But, however well-rehearsed, funny riffs involving Nadine Dorries, Downing Street parties and Prince Andrew give the show a raucous, topical air. They also provide ample opportunities for Philip Franks, having a blast as a devilishly dirty Narrator – now freed to stalk the stage – to bounce off the audience.

But it’s not just fan service and a reliance on the hits that garners the show such a rapturous response, there’s real craft on display in this production. Luscombe’s smooth direction and Nathan M Wright’s well-drilled choreography, coming to the fore in the big ensemble numbers like the iconic ‘Time Warp’ and Act II’s ‘Eddie’s Teddy’, make sure that the pace never slackens, especially in the peppy, fast-moving first half.

Nick Richings’ searing lights add a real sense of occasion to Frank N. Furter’s big entrances and successfully transform the stage into a space ship using just dry ice and flood lights in the climactic final scenes. Hugh Durrant’s set is enjoyably cartoonish in the early sections and suitably gothic and sturdy whenever the action moves inside the castle, while having the impressively tight five-piece band seated on high behind a huge strip of movie celluloid is a clever nod to the show’s origins as a homage to schlocky 50s horror and sci-fi B movies.

Ore Oduba is an engaging presence as Brad. The former sports presenter and Strictly winner has now more than proved himself in the musical theatre realm but holds his own among a committed and energetic cast, and displays a pleasantly tuneful singing voice in his solo number ‘Once In a While’ and duets with Haley Flaherty’s suitably prim Janet.

Suzie McAdam’s vocals impress in her dual role as Magenta and the Usherette, managing to turn the opening number ‘Science Fiction/Double Feature’ into a toe-tappingly enjoyable set piece despite being onstage alone with just a glittery curtain for company. Kristian Lavercombe faithfully channels Richard O’Brien as Frank’s “faithful handyman” Riff Raff when it comes to his vocals but brings an amusing physicality all of his own to the role.

But, as in only fitting, the show really belongs to its Frank N. Furter and Stephen Webb doesn’t disappoint with a towering, physically imposing performance as the original gender fluid, sexually vivacious anti-hero. Webb flirts and struts with the best of them but manages to skilfully combine an unhinged menace with a softer, almost vulnerable side, as demonstrated by his turning of ‘Don’t Dream It, Be It’ into a torch song tour de force.

The fact that Webb can find fresh notes in such a much-performed role, tailored with the fact that the show’s uninhibited sexual politics still feel as daringly transgressive as they did way back in the 1970s, is further proof that, far from being a lumbering, reanimated corpse, The Rocky Horror Show is still very much alive and kicking and shows no sign of stopping.

Chris Bartlett