Note: TWE reviewed  ‘The Rocky Horror Show’ earlier in its current tour. Given that this is the same touring production, what follows is a revised version of that same review, updated for its current visit to the Alexandra Theatre.

If there was ever to be a case made for there being such a thing as a review-proof show, surely Richard O’Brien’s The Rocky Horror Show would be it.

Recent cultural juggernauts, such as Toby Marlow and Lucy Moss’ Six may nip at its (8 inch, blood-red stilettoed) heels, but those queens have almost half a Century of catching up to crack on with before they’re challenging Rocky.

The cult classic wheels back into town with its now practically annual stop at the Alexandra, Birmingham, and the usual fan fervour, audience dress up and participation shows no signs of waning. And why would they? Crowds have been donning their suspenders, singing along and lovingly heckling all things Rocky since the seventies.

The current touring production is for all intents and purposes a re-wheeling of the same slick, technicolor iteration that has been doing the rounds for the past decade or so. Hugh Durrant’s inspired fusion of gothic-lite hunting lodge fused with lashings of fifties B-movie flavouring and sci-fi provide a playground for Sue Blane’s rhinestoned costumes and Nick Richings’ decadently unsubtle and disco-infused lighting to shine.

You’ve likely seen it all before, but that is no bad thing.

What Rocky‘s latest visit boasts, however, is what is arguably one of its strongest, if not the strongest, casts in the 12 plus years that this particular reviewer has been doing a jump to the left, a step to the right… and the whole timewarp shebang. 

For its most revent visit – a pitstop at the Wolverhampton Grand back in April – an assemblage of covers and understudies were praised for putting on a great show, so be assured you’ll be getting a high voltage, sassy, sexy ride whoever dons the stage for this current production.

“Previously, Carter-Wilson impressed when understudying the role, but it is this full realisation, the role being his, where he’s really crammed it full of nervous, quirky little beats and measures all of his own.”

Birmingham’s press night boasted the full cast of principles, meaning Daisy Steere with a giddy, hyperactive and delightful Columbia, and Ryan Carter-Wilson‘s twitchy, idiosyncratic and fantastic take on the iconic Riff-Raff. Previously, Carter-Wilson impressed when understudying the role, but it is this full realisation, the role being his, where he’s really crammed it full of nervous, quirky little beats and measures all of his own. Of course, he still belts for the stratosphere when needed, but it’s in the quieter, even sillier, moments of the character that he really commands a role that has been so indelibly performed by others in the past.

Familiar faces abound as Haley Flaherty and Stephen Webb return to the roles of naive, hapless and repressed Janet, and the maniacal, freewheeling Dr. Frank ‘n Furter, respectively. Flaherty and Webb are both amongst the finest Janets and ‘Franks’ that the production has boasted over the past decade or so, and it’s a joy to have them back in these roles that fit them like taut, snapping rubber gloves. They each have plenty of fun alongside a perfectly cast James Bisp, who proves an inspired choice for Brad, and gives character to spare to the nervy, awkward yet occasionally soulful dweeb.

Morgan Jackson, similarly, stands comfortably amongst the best incarnations of the titular ‘Rocky’ creation to date. As well as acing the Charles Atlas’ seal of approval in terms of a mightily impressive physique, he also showcases killer vocals during his ‘Sword of Damocles’ solo and his portion of ‘Rose Tint My World’. And if his Rocky belts and poses for the gods, Laura Bird is equally perfect as the enigmatic and sultry Magenta.

Moments of invention and surprise are littered elsewhere, too. Jackie Clune’s female narrator does a great job with the usual schtick of injecting plenty of topical meta humour throughout (and three guesses as to which Farrage-stamped President and political party bear the brunt of these). But it is when Clune goes off on distinctly female tangents to some of the show’s trademark heckling and audience participation that we get yet newer wrinkles and spins on formula.

“…it’s particlarly impressive to see Webb still having fun and trying new things out with his Frank ‘n Furter (…leave it).”

On a similar note, it’s impressive to see such an expansive, ongoing tour and production still playing with new beats and ideas – little moments popping up that weren’t even in the show a few months ago, such as some notable playabout with panties. And the leads are still giving it their all; it’s particlarly impressive to see Webb still having fun and trying new things out with his Frank ‘n Furter (…leave it), not to mention the sheer heft he throws into the character’s mercurial bouts of passion, rage and even despair.

In all though, whether playing it safe or flirting with surprise like this current production, it’s generally very difficult to go wrong with The Rocky Horror Show. It is the same colourful, postmodern melange of mayhem and naughtiness that audiences have flocked to in cinemas and theatres alike for over fifty years.

O’Brien’s now-iconic numbers are as irresistible and entertaining as ever, and few shows can boast a toe-tapping, off-your-seat doublet as infectious as ‘Time Warp’ and ‘Sweet Transvestite’.

Whether it is your first trip over to the Frankenstein place, or your feather boas and fishnets are already weathered from their service to the pelvic thrusting of it all, The Rocky Horror Show remains a firm audience favourite, and deservedly so. This latest tour peppers itself with some fresh twists, faces new and old alike, but it’s still essentially the same beloved time warp that you’ll be having a ball of a time doing all over again.

Altogether now; it’s just a jump to the left…