Reviewed Friday 21st March 2014
Let's face it, it really doesn't matter a fig what I say here as the
Rocky Horror Show has a cult following, it is celebrating its 40th anniversary, and it has not had a professional production in Adelaide for some time, which all guarantees that this run will get packed audiences. The fact that the Adelaide season also features the man who wrote the book, music, and lyrics, Richard O'Brien, as the Narrator, doubles that guarantee. The Rocky Horror Show opened in July 1973 and the response was such that the film was released only two years later, with O'Brien in the role of Riff Raff.
Starting dead on 7:30, with a lock out until convenient times to let latecomers in, would have greatly pleased people like myself, who make an effort to be seated well before the start of a performance, only to be kept waiting by tardy patrons delaying the beginning of a performance.
A brief overture from the marvellous five piece band, under Musical Director Dave Skelton, brought the first big round of applause for the evening, and you could feel the excitement and antici...................pation in the air. The Usherette,
Erika Heynatz, sang what is effectively a prologue,
Science Fiction, establishing the premise on which the surreal tale relies, and it was over to Brad and Janet to express their love for each other. Then their car gets a punctured tyre on the way to see Dr. Scott. Caught in the rain, they head off to seek help.
Christie Whelan Browne, as Janet Weiss, and
Tim Maddren, as Brad Majors, are an ideal pairing as the naive young lovers, all bright eyed and innocent. They could have stepped straight out of a 1950s teenage love film. They have an air of sweetness and light about them as they declare their love, and their rapport is such that they convince in this, thus making what happens to them later all the more powerful.
The four Phantoms,
Vincent Hooper,
Luigi Lucente, Meghan O'Shea and
Angela Scundi, also make a first appearance at this time, adding plenty of movement and great vocal harmonies, a preview of much more to come, as they contribute considerably to every scene.
Richard O'Brien's first appearance then brought forth enormous applause and cheering that stopped him in his tracks before he could utter a word, continuing for so long that he could not prevent himself from laughing with pleasure, what we theatre folk refer to as corpsing, and then pausing to thank everybody before continuing. Yet more enthusiastic and appreciative applause accompanied his exit a few minutes later, after his introduction to the tale about to unfold.
I doubt that anybody needs to be given a synopsis of this show, in fact most of those attending probably knew all of the songs, dance moves and, perhaps, even all of the dialogue by heart from repeated watching of the DVD of the film. Not many shows can make that sort of claim.
Kristian Lavercombe, as Riff Raff, greets Brad and Janet who, against Janet's better judgement, enter the castle, where he takes them to meet
Erika Heynatz, as Magenta, and
Ashlea Pyke as Columbia, leading into
The Time Warp, followed by the appearance of
Craig McLachlan as Frank-N-Furter, who introduces himself with
Sweet Transvestite.
Lavercombe is wonderful as the hunchbacked Riff Raff, bustling around, dodging, weaving, and deviously doing his masters bidding. He gives us a sly and somewhat secretive character who, although doing his duty, gives an edgy feeling that he has an agenda of his own in his every action.
Heynatz's Magenta is supremely sensual, oozing sexuality as she slinks and shimmies around the stage, every move flowing suggestively. Pyke shines as Columbia, in a bright and bouncy portrayal, and drawing a big round of applause for that all too brief tap routine.
McLachlan played Frank in 1992, when he was in his mid 20s, so there is a lot of acquired experience being brought to this production. He makes the role his own, not only excelling as Frank, but regularly breaking the fourth wall to interact with the audience, whether vocally, or just with a look, a facial expression, or using body language. This is a show in which it is almost impossible to go too far over the top and McLachlan takes high camp to another level again, the audience revelling in his no holds barred performance, responding with both laughter and applause.
Frank then takes the two young folk to his laboratory, where he brings to life his creation, Rocky, played by
Brendan Irving, who is not musclebound, as some past Rocky's have been, but instead is well toned, as well as in fine voice.
Nicholas Christo, explodes onto the stage as Eddie, a failed earlier experiment, interrupts with the lively number,
Hot Patootie, and is promptly disposed of by Frank. Christo reappears later as the wheelchair bound, Dr Scott, Frank's nemesis, and is the catalyst for the decline and fall of Frank's reign, with Riff Raff and his sister Magenta taking control.
The ensemble work in this show, though, is very important and this cast is spot on, bouncing off each other and filling every number with enormous amounts energy.
Hugh Durrant's set curves around behind the cast, revolving panels allowing fast scene changes, with
Nick Richings's lighting greatly assisting with defining the different locations. Director,
Christopher Luscombe sets the cast a cracking pace to follow, with Nathan M. Wright's choreography filling the stage with intricate movement.
Sue Blane was responsible for the costumes, with wigs by Darren Ware, and their combined efforts were a vital part of creating the characters' visual impact.
Fans of the show, or the film, will be turning up in droves and, quite possibly, attending more than once during this season. It is safe to assume that younger folk who have not had the opportunity to see a live performance will also be out in force. It is everything that an enthusiast could wish for and will be talked about for a long time after it has moved on.
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