The Rocky Horror Show – Belgrade Theatre, Coventry

Writer: Richard O’Brien

Director: Christopher Luscombe

Surely everyone has heard of the infamous The Rocky Horror Show and can maybe hum a few of its numbers, including, of course, the iconic Time Warp. And many will know that it has built a cult following with audience members dressing up as characters and heckling the cast, especially the Narrator.

In the theatre foyer, there’s a heightened sense of anticipation among theatregoers, whether it’s their first time at a Rocky Horror Show (as it was for this reviewer) or their 50th. It’s clear that every performance of this award-winning musical is an EVENT, surrounded as we are by many basque-wearing, fishnet-tight-clad audience members of all ages, genders and shapes who, incidentally, will later leap to their feet and join in the choreography of The Time Warp flawlessly.

Can a show that was first seen over 50 years ago possibly live up to this level of anticipation and feel fresh?

Yes, it can.

The Rocky Horror Show is Richard O’Brien’s homage to science fiction and horror B movies from the 1930s through to the 1960s – indeed, the opening number sees us serenaded by a cinema usherette in a song that names many of the best-known examples of the genre. It was also in the advance guard with its themes of gender fluidity and acceptance. Although it’s not explicitly stated, the action takes place in mythical 1950s small town America with the music rooted in the rock and roll tradition: even in 1973, Rocky Horror was nostalgic, and that’s maybe a factor in its continuing popularity – it will never get dated: it was written dated.

The plot starts off in what seems to be a fairly traditional way: newly-engaged Brad and Janet’s car breaks down one dark and stormy night. They approach a spooky castle, hoping to be able to phone for help, where they are greeted by the butler, Riff Raff, and allowed entrance. But this is no safe haven as they quickly discover. They meet the castle’s hedonistic owner, Frank-N-Furter, and all manner of strange shenanigans ensue, each more unlikely than the last and typically lifted from a sub-genre of film – for example, we quickly witness the reanimation of a man, Rocky, in the Frankenstein tradition, albeit with a twist. To be honest, if you’re looking for an introspective state-of-the-nation piece in which the plot makes perfect sense, then Rocky Horror probably isn’t for you. For the rest of us, it’s a joyful Technicolor night out.

The score is full of bangers, many rock and roll, but also some ballads that are delivered with feeling, for example, Brad’s Once in a While. The cast nails the energetic choreography of Nathan M. Wright, while the cartoonish set from Hugh Durrant (supported by lighting and sound design by Nick Richings and Gareth Owen respectively) reinforces the period feeling of the whole.

Holding it all together is the narrator (Nathan Caton), who is also the target of many of the audience interruptions. Caton’s background in stand-up shows as he deals with the good-natured heckles well, converting each seamlessly into a joke. He is the eye at the centre of an unpredictable storm.
James Bisp and Haley Flaherty bring us the preppy Brad and Janet. Bisp’s Brad is all angles, while Flaherty’s Janet flows and floats across the stage. Both display brilliant voices and moves, too.

Also with an exceptional voice and range is Stephen Webb as Frank-N-Furter. Webb has outstanding stage presence, drawing all eyes to him on stage. He relishes the contradictions in his role, going gleefully over the top.

Ryan Carter-Wilson is suitably oleaginous as Riff Raff, appearing to ooze across the stage, his movements calling to mind the characters of Tim Burton.

With its established cult following and its high energy, The Rocky Horror Show crashes through the theatre like a tornado. It won’t be for everyone, but take it on its own terms and you’ll have a great time.

Runs until 27 September 2025 and on tour