‘The Rocky Horror Show’ review
‘a wonderful collective reminder that queer people are not going anywhere - a sentiment adopted by the show and then portrayed beautifully in all its camp glory.’
The Rocky Horror Show feels incredibly necessary and important right now, and Sarah Jonhston and Jacob Vellucci’s take is something truly spectacular. From the minute I arrived at the theatre, I was overwhelmed by the freedom and acceptance of queer expression. Many audience members dressed up in their best Rocky Horror Show attire, a classic tradition, and the atmosphere in the theatre was unlike anything I’ve experienced in the many shows I’ve seen in the Assembly Rooms. It was a wonderful collective reminder that queer people are not going anywhere - a sentiment adopted by the show and then portrayed beautifully in all its camp glory.
The show itself was phenomenal across all fronts. From the choreography to the lighting design, from the set, to the cast themselves, the show is a true testament to the impeccable standard of student theatre in Durham. From beginning until end, the show utterly captivated the audience, earning cheer after cheer and rapturous applause. Johnston and Vellucci, assisted by Lauren Williams and Damola Amusa, have elevated what is already such a cult classic, and I genuinely feel indebted and grateful to them both for crafting what is absolutely one of my favourite productions I have ever seen, not just in Durham. The direction was masterful and attentive; every aspect felt cohesive and well thought out. The creative additions, particularly having the ensemble come on dressed up as Brad and mock his feelings during his solo, were strokes of creative genius.
The show follows the recent engagement between slightly ditzy and status-quo-obsessed Janet Weiss, played by Lucy Atkinson, and hunk himbo Brad Majors, played by Joe Wilson. On a road trip gone wrong, they end up at a certain dark and mysterious castle where they are confronted with the antithesis of their values and morals: queer sexual liberation. Atkinson and Wilson play off each other fantastically with faultless comedic timing. Wilson’s take on Brad was endearing, his nerdy innocence played perfectly. His vocals were crystal clear throughout the show, and his solo song, ‘Once in a While’ was captivating but surprisingly hilarious. Atkinson was also phenomenal, portraying Janet’s arc in the show wonderfully, playing her quirkiness and raunchiness with equal comedic brilliance. ‘Touch-a Touch-a Touch me’ was a highlight, with Atkinson’s hysterical depiction of Janet’s deranged lust towards Harry Graves’s Rocky truly cementing her status as an icon of the Assembly Rooms stage. Heartthrob Harry Graves consistently looked confused, and lost, but happy to be there - all makings of a great Rocky. He was well-suited to the role, and earned some well-deserved laughs.
Opening the show - no easy feat - was Freya Rogers’s enchanting performance as the Usherette. In an iconic song, which she beautifully makes her own, she effectively establishes sex as the show’s tonal focus. The opening is an equally fantastic introduction to Beth Dench and Lucy-Mae Bly’s steamy choreography, alongside the assistance of Rosie Hopson. Their vision is excellently performed by the ensemble. Lily Moon, Evie Trueman, Jonathan Wilson-Downs, Lucy Rogers, and Poppy Harvey Wood all showcase insanely impressive stamina and dance ability. They effectively underscore the entire show, maintaining an infectious energy which is truly half the work in making the show such an unforgettable experience.
The castle hosts a cast of colourful characters, all of which are played excellently. Jude Battersby plays the show’s narrator, fiercely handling audience callouts with an exuberant charisma only few would be capable of pulling off. Molly Bell as Riff Raff was an excellent and inspired casting choice; her vocals are truly divine, and she plays on the character’s crazed monotony ridiculously - and it’s perfect. Harry Allderidge has the princess track, playing the edgy Eddie in a showstopping rendition of Hot Patootie. Although having little to do, he was anything but forgettable and his brief reprise in ‘Eddie’s Teddy’ was more than welcomed. Dr Scott was another short but sweet role, played by the over-the-top and hilarious Thomas Rainford.
Columbia and Magenta were both stellar roles also, played by Connie Richardson and Clara Dammann respectively. Both sexy, hilarious, and brilliant dancers, and their presence illuminated the scenes they were in. Dammann’s take on the iconic sexy maid was fantastic and a respectable tribute. Richardson’s unhinged Columbia was a true spectacle, expertly showcasing her range and managing to stand out amidst a very colourful cast and ensemble. Columbia arguably gets some of the best verses in the show, and Richardson does not miss the opportunity to profit from the fact.
The man of the hour, Midun Odunaiya as Frank-N-Furter, excels in the lead role. Casting a black, queer actor in such an iconic and liberating role feels so important, especially given the current socio-political climate. Pride, more than ever, is a protest, and Odunaiya's Frank is a testament to that. ‘Sweet Transvestite’ was such an overwhelmingly beautiful and flamboyant expression of queer identity and joy. Boasting a pride fan, Odunaiya’s Frank makes a clear statement; as much as you may try, you cannot silence black queer voices, and they are not going anywhere. It was a powerful moment shared between the audience, and I’m not exaggerating when I say that little else in that theatre has made me as emotional as that moment did. We all felt seen, heard, and loved, and I cannot thank everyone involved enough, particularly Johnston and Vellucci’s direction, for their commitment to delivering such a necessary message. Odunaiya is a powerhouse, and he draws on Tim Curry, David Badella, and surprisingly, Mercedes from Glee, yet utterly makes Frank his own. It’s such a breath of fresh air, and he won over the audience the second he stepped onto that stage.
Words really can’t express how every aspect of this production was practically flawless, working alongside each other cohesively to deliver a standout show. Anna Brzezinski, the production manager, should give herself a very forceful pat on the back for her excellent job on everything tech and set-related within the show. The lighting design, done by Rory Collins, was fantastic. Never distracting, the lighting consistently worked alongside each song and scene, effectively heightening the energy and emotion at work on stage. The projected callouts were essentially faultless, and the audience had great fun playing along. The costumes were equally phenomenal, a true testament to Harriet Miller’s talent. Polished and on-theme, they elevated the show brilliantly. I cannot praise the show without also praising Bee Wilkes’s excellent publicity, no doubt an active element in selling out the Assembly Rooms Theatre. Kyle Ludlow also deserves his flowers for his part in musical directing the show; the vocals and fantastic band were equally to a very high standard and would not be out of place on a West End stage.
Overall, words can truly not explain how insanely brilliant this production was. My critiques are minuscule; I wished diction were sometimes slightly clearer, or that the audience had been given newspapers or been splashed with water guns during ‘Over at the Frankenstein Place’. Yet, none of this detracted from the brilliance of the show and its honestly tear-jerking depiction of queer joy. I overheard the person sitting next to me say, before the show started, that she was dreading watching the show. By the interval, she was having the time of her life and was completely won over. I think that the show’s ending is pretty fitting; just as Janet and Brad are forever changed after the show, so are we.
By Dylan Jimenez Morales.
The Rocky Horror Show is showing at the Sir Thomas Allen Assembly Rooms Theatre on Friday 20th June and Saturday 21st June at 17:30 and 21:00.