Richard O’Brien’s The Rocky Horror Show has long been a gleeful, gender-bending rebellion against theatrical convention – and even after half a century, it continues to draw crowds ready to shout, sing, and step to the left. This week’s stop in Stoke sees the latest UK tour bring its usual blend of glam rock, B-movie homage, and unabashed camp to the Regent Theatre, with a few notable twists.
Under Christopher Luscombe’s direction, the show still pulses with energy. The pacing is slick, the transitions seamless, and the set – designed by Hugh Durrant – offers a colourful, comic-book-style backdrop to the madness. Sue Blane’s legendary costume design remains as bold and boundary-pushing as ever, with fishnets, corsets, and sequins galore.
The choreography, courtesy of Nathan M. Wright, is executed with impressive sharpness. The ensemble work is particularly strong: the four Phantoms (Alex Hetherington, Arthur Janes, Hollie Nelson, and Erica Wild) are precise, expressive, and constantly animated, never dropping character even at the edges of scenes. There’s a discipline underpinning the chaos that elevates the whole production.
One of the great joys of Rocky Horror is the way it actively invites its audience to heckle, shout, and become part of the performance. This tour certainly includes all the expected interaction – especially in Jackie Clune’s turn as the Narrator, which leaves room for plenty of comic back-and-forth – but compared to previous runs, there’s a surprising restraint in the crowd. Participation is there, but it doesn’t quite reach the fever pitch long-time fans might expect.
The cast is uniformly strong vocally, delivering powerhouse renditions of the show’s cult-classic numbers. Connor Carson’s Brad and Lauren Chia’s Janet are both well-pitched – sweetly naive but never grating. Carson plays the straight-laced awkwardness of Brad with great comic timing, while Chia brings a spark to Janet’s transformation from buttoned-up to liberated.
The real revelation, however, is Job Greuter as Riff-Raff. Vocally outstanding and physically mesmerising, Greuter manages to echo Richard O’Brien’s original performance while also adding his own sinister twist. He embodies the role with eerie elegance and effortless charisma, commanding attention in every scene he’s in. His delivery of “Time Warp” is a masterclass in controlled mania.
Natasha Hoeberigs (Magenta/Usherette) and Jayme-Lee Zanoncelli (Columbia) both bring vibrant presence and strong vocals to their dual roles. Morgan Jackson’s Rocky is wide-eyed and physically committed, adding real heart to a role that could easily be played for laughs alone.
Ryan Carter-Wilson takes on Eddie and Dr Scott with enthusiasm and strong belts, and Jackie Clune brings wit and timing to the Narrator, though can feel a little lethargic and overly rehearsed .
Perhaps the most divisive element of the night is Adam Strong’s Frank-N-Furter. Strong is, without question, vocally sublime – his rendition of “Sweet Transvestite” is musically impeccable, and his voice soars through the Regent with ease. However, his interpretation of Frank leans heavily into masculinity, stripping away some of the role’s traditional androgyny and flamboyance.
The result is a Frank that feels more grounded and commanding than camp and chaotic. While this may be a deliberate choice – offering a fresh take on the character – it lacks some of the subversive, gender-bending mischief that usually defines Frank as the centre of the show’s transgressive spirit. It’s a technically excellent performance that doesn’t quite ignite in the way audiences might hope.
Behind the scenes, the production is tight. Nick Richings’ lighting design delivers an ever-changing palette of garish, gothic glow, and Gareth Owen’s sound design keeps the music crisp and balanced. The band, under the supervision of Greg Arrowsmith, powers through Richard Hartley’s arrangements with enthusiasm and precision.
Costume and make-up, led by Christopher Porter and Darren Ware respectively, are on point, helping to sustain the heightened, carnivalesque world of the show. Every element of the production, from wigs to lighting cues, reflects a touring machine that knows exactly what it’s doing.
This latest touring production of The Rocky Horror Show is a polished, high-energy affair with a standout Riff-Raff in Job Greuter and consistently strong performances across the board. While the audience participation is slightly more subdued than in past years, the precision and professionalism of the staging more than compensate. Frank-N-Furter’s reimagining may divide opinion, but it’s part of what keeps Rocky Horror evolving. Even when it reins itself in slightly, this show still delivers a wild, joyful celebration of queerness, liberation, and rock ’n’ roll theatre.
Whether you’re a time-warping regular or a curious first-timer, Stoke’s Regent Theatre has the goods this week – just don’t forget your feather boa and golden glitter hat!
The Rocky Horror Show plays at Stoke’s Regent Theatre until Saturday 10th May 2025 where it continues its UK tour.
Photography throughout from David Freeman.
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