The Rocky Horror Show

The fact that The Rocky Horror Show is having a 50^th birthday bash is sufficient reason to see it again. But wait, there’s more (and not a free set of steak knives! and the presents are for the audience).

There’s a new production which replaces much of the aged “campery” with timeless “Kitsch”ery. There’s an amazing cast of (mostly) local talent; and there is a chance to see perhaps the greatest Frank of all time (sorry Reg and Tim) Mr David Bedella – charisma in heels - command the stage and the audience with a mere flick of a finger or raise of an eyebrow.

Bedella does something I have never seen before in this show (and he is the 10^th Frank N Furter I have seen live) – he makes Frank into a credible and complete being, albeit alien to us. He doesn’t “camp” it up – he simply behaves as he was born to behave, so that often he seems like a hetero Alpha male, then becomes a simpering girly-girl without any noticeable transition or fakery, a totally rounded creature who behaves naturally – for him. His Frank defies labels - he simply is who he is, an explorer of multi-sexuality (we should all be so lucky).

Then there’s the craftmanship itself. As an actor Bedella simply owns the stage and everything on it. Such stage presence is rare - simplistically it’s called “star quality” – but that doesn’t do it justice. Added to that, there’s the voice - from the deep basso profundo that causes vibrations in the pit of one’s stomach – to a full out show-belt – to top notes full of pathos. It’s a stunning performance throughout, mesmerising and gob-smacking.

But Bedella doesn’t have it all his own way. For the first time in many a long year we have a narrator who is far more than just a bums-on-seats celebrity. Nicholas Hammond, a star in his own right, adds charm and whimsical gravitas to the role and controls the narrative as a true storyteller. How very different from the many times we have seen this role narrated as if it’s a shopping list or a flight call at the airport. Hammond has real command and a deliciously sly tongue in cheek approach which makes the shlock story seem almost plausible.

There are electrifying performances from Henry Rollo, an amazing young talent who makes Riff-Raff his own, and Stellar Perry as Magenta. Her soaring vocals are not the only tool in her skill set; she has real stage presence and credibility.

Ethan Jones (Brad) and Diane Khoo (Janet) are both WAAPA grads and show once again what good training on top of natural talent can achieve. Jones in particular has a beautifully lyrical top range and a delightful over-all appeal, and Khoo makes the transition from innocence to lustful seem totally credible, and sings up a storm in the process.

Darcey Eagle makes Columbia a three-dimensional character and is endearing at the same time. Loredo Malcolm does the impossible and imbues Rocky with a range of emotions and credibility, from child-like to sexual, and Ellis Dolan is a veritable powerhouse as Eddie/Dr Scott, with a quintessential rock voice perfectly suited to the score, which is executed by a kick-arse band.

The Phantoms are all highly skilled performers. We should never take our ensembles (considered the best in the world in most quarters) for granted, so props to Daniel Erbacher and Keane Fletcher - both of whom I have seen shine in leading roles; the super versatile Catty Hamilton; the award winning multi-talented Josh Gates; the highly experienced Kristina McNamara, and – by no means least – the delightful Erica Wild.

This must surely be the best overall cast ever in a production of this show. It doesn’t entirely make up for the show’s flaws - it’s dated rather than timeless - and Richard O’Brien is not Sondheim in terms of musical talent. It’s lost its ability to shock and so now is more of a celebration of sexual diversity, if not the norm. Nevertheless, it is arguably the most revived and most successful musical of all time with audiences of over thirty million people. I can’t think of a single good reason NOT to join the party.

Coral Drouyn

Photographer: Daniel Boud