The one thing you really need from a production of Richard O’Brien’s Rocky Horror Show is to have fun. It’s not so light of an expectation as it might seem at first glance: the musical, and 1975’s The Rocky Horror Picture Show, starring Tim Curry, have long since become iconic and enshrined in their cult classic status, but they’re a difficult mix of wry social satire, camp sci-fi absurdity, and a huge helping of rather outdated cultural references. After all, one wonders how many of the celebrities named in ‘Science Fiction/Double Feature’ would still be considered household names in 2026.
This becomes even more important when performing to an audience who may be unfamiliar with the original show, rather than one dressed up and well trained to know the right call and response heckles. A production of Rocky Horror has to harness a ridiculous, glitzy monster of a production and keep it just as lively and full of momentum as it was on its debut in 1973.
It’s safe to say, however, that UMMTS have more than achieved their goal.
Their dazzling, vivid, and exciting production was a more than welcome escape from the trials of mid-December just before the winter holidays, and proved the perfect, explosive end to a season of student theatre at the university.
For those unfamiliar, the Rocky Horror Show tells the story of thrillingly heterosexual young fifties stereotypes Brad and Janet as they stumble upon a mysterious castle in the dead of night (having blown a tire on the way to see their science teacher to celebrate their engagement) and find themselves at the mercy of a decidedly queer mad scientist, unsubtly named Frank ‘n’ Furter. They become entangled in unnatural science experiments, a minor but musically fun love affair, murder, adultery, and extra-terrestrial beings.
Here, Iona Lyall and Adam Fox played Brad and Janet as a charmingly overemotional double act, hamming it up to the greatest extent possible while keeping very well within the line of effective comedy. The rather dubious American accents only added to the charm. Lyall’s Janet perhaps lacked some of the ironic meekness of Susan Sarandon’s 1975 version, but more than made up for it with her dynamism and energy. Their duets, alongside vocal performances from the whole cast in general, were faultless and well-acted throughout.
The inhabitants of Frank ‘n’ Furter’s home – Magenta, played by Summer Lagan, Columbia, played by Vika Nekhaenko, Rocky, played by Daniel Forber – rounded out a cast filled with vibrant performance and precise comedic judgement. There was also the narrator, played with tireless charm by Will Knight, who worked well with the few devoted hecklers in the crowd to create the rowdy back and forth the show has become known for, and Eddie and Dr Scott, both played with effortless range by Calum Baille. One particular standout performance was Lewis Diggins, who reportedly shaved his head for the role, as Riff-Raff. An incredible musical performance as well as a perfectly captured aura of hilarious menace.
There was also the ensemble, made up of Owen Gunn, Annabelle Francis-Baker, Frankie Franklin, and Emma Flack, all of whom played a key part in the production’s pitch-perfect atmosphere of hedonistic amusement – Francis-Baker in particular should be congratulated on a stellar performance. As should the choreographers Samantha Martin and Eve Flaxman, whose work tied the whole show together, ramping up the energy to a fever pitch where needed while also providing smooth and dynamic movement across dance sequences. The ensemble was used to the fullest extent to convey the hedonistic and chaotic atmosphere without the need for a larger cast or overwrought set.
The set, and its designers should also get their due credit. Designer Theodore Anderson-Lincoln and assistant designer Natalie Bhart were able to perfectly bring to life the necessary showiness of Frank ‘n’ Furter’s laboratory and castle without overcrowding the small space available to them. Alongside the well crafted costumes and makeup, it made for a beautiful production that was fun to watch not only for the story developing, but also for the way it looked.
The band and other musicians (Ben Johnson, Ethan Taylor, Ned Brougham, Ruby Fuller, Mathew Jones, Eliza Dawson, Joshua Graessler, and especially Jamie Marriott on tenor sax) were also in excellent form. While the sound mixing may have been a little miscalibrated so that there were times when an actor’s voice could be difficult to hear, the music itself was exactly on target.
Last, and certainly never least comes the star of the show, Alexia Mourao as Frank ‘n’ Furter. Effortlessly capturing the combined absurdity, cruelty, and beauty of the character, Mourao stalked around stage with unerring confidence and force. She easily moved from the extremes of Frank’s jealous manic passion for Rocky, to their surprisingly heartfelt reveal as an alien, bridging the gap between the two extremes seamlessly.
A stellar performance for a stellar production. Director Hattie Thompson – as well as her entire cast and crew – should be congratulated on three nights of such well-executed, raucous, unabashed fun.
