Image: Photography by Brian Geach
Caught with a flat? Well, not with this production! The Rocky Horror Show jumps successfully in diverse directions onto Sydney’s Lyric Theatre stage. The bold production features TV stars and a high-calibre cast of stage performers with local and international experience.
The shock-value quirkiness of the 1973 original is mixed with modern production values of super-hero strength. The show has novel representations of familiar scenes and sets. Musical numbers are convincingly updated and the singing throughout is of a refreshingly high quality. Lighting effects and the popular score are tweaked to make this a very now event.
Craig McLachlan is a sweet transvestite who is a master of bawdy impromptu banter and reactive posturing. His Frank’n’Furter makes swift work of every call back from the audience without marring the flow of the action. He gives an authentic performance, preserving the tongue-in-cheek essence of the original concept from 1973.
This towering pearl-necklaced master in impressive bodice takes control of the stage, challenging our believed unshockable current broadmindedness. McLachlan’s microphone sound effects, flexibility of vocal register and armoury of provocative poses are highlights of his raunchy yet refined portrayal. His acrobatic jumps and dancing across the stage on heels are the stuff of extreme sports but are managed with ease.
Stephen Mahy and Amy Lehpamer begin their journey with engaging excitement as the naive, fresh-faced science geeks Brad and Janet. These successful stars of Australian theatre bound out of their cut-out car on a post-wedding high to rush into engagement themselves. All singing is colourful and very strong.
Janet’s Act Two classic ‘Touch-A-Touch-A-Touch-Me’ from Amy Lehpamer bristles with new found confidence. Brad’s mini ballad ‘Once In a While’, is subtly beautiful heartbreak when sung by Stephen Mahy. Brad and Janet’s confusing corruption is in evidence as they sing ‘Superheroes’ at the show’s conclusion with expressive remorse.
Bert Newton’s familiar and dulcet tones as narrator succeed with the audience. They are keen to see a popular TV personality in the role. Newton’s narrator has at times the reserve of the 1975 film version. In this production’s environment however, his progress is jarringly less-energetic than the larger than life triple-threat performances onstage.
The band provides a full sound for the talented cast. Full numbers such as Time Warp and Rose Tint My World are meaty versions of the cult musical’s hits. The cast of individuals and phantoms move with good unison in these large numbers. The audience joins in in the final reprises.
Standout characterisation and powerhouse Frankenstein Place vocals are found in Kristian Lavercombe’s Riff-Raff. Supported ably by Jade Westerby in the role of his sister Magenta, his servant is a theatrical superstar in cringing hunchback disguise. His mutinous final scene with stunning change of outfit illustrates his range and an out-of-this-world poise.
Angelique Cassimatis offers what we need to see as the emotional tap dancing, energetic pocket-rocket Columbia. Nicholas Christo also gives convincing performances of the contrasting visitors Eddie and Dr Scott.
This show is a ‘wild and an untamed thing’ by nature, but has disciplined construction and a string of slick performances to highlight its well-known architecture. The fine production, new visual gags, strong characters and quality singing make for a successful 2015 revival. It is one of ‘Master’s affairs’ not to be missed.
The Rocky Horror Show
Lyric Theatre
7 June 2015
