⭐⭐⭐
Rating: 3 out of 5.
I blame it all on Will and his inspirational speeches about the value of a “fresh, virgin experience,” unburdened by the jaded eye of a seasoned reviewer. That is how, on the morning of 30 December, already contemplating New Year’s resolutions, I found myself volunteering to attend the Playhouse on 6 January to review the “legendary Rock ’n’ Roll Musical” with absolutely no prior exposure to it. (I did read the synopsis before agreeing, so Will is not entirely guilty, it was an informed consent.)
So writes Alena Shmakova for theQR.co.uk…
To heighten the contrast, I already had tickets for Handel’s Messiah a few days beforehand. The pressure only grew when the reviewers’ group chat erupted with delight at my confession of “virginity,” and so here you are, reading the impressions of someone encountering this emblem of the sexual revolution for the very first time — a Russian, born in the USSR, with a passion for ballet and early music. (If you prefer a more experienced opinion, Will’s review from 21 January 2025 is waiting for you)
The spectacle began even before the curtain rose. Entering the Playhouse, I was struck by the sheer number of “dressed-up” audience members. Some, as I now understand, were cosplaying characters from the show; others wore wigs, party hats, and an assortment of Halloween-adjacent costumes.
My own “christening” happened almost immediately, as I approached my row and had to lean in to whisper to a beautiful Rouge, asking if she could let me through to my seat. It quickly became obvious that the audience is not merely watching the performance – they are part of it, a living extension of the show’s cult following. I overheard people who had travelled from Inverness, and the Playhouse was so full that an usherette had to shout instructions about the one-way system on the stairs and where to find the toilets.
It quickly became obvious that the audience is not merely watching the performance – they are part of it, a living extension of the show’s cult following.
Once the main show began, Laura Bird’s gorgeous voice in the iconic opening immediately calmed me and reassured me that I might actually enjoy what was to come. Sue Durrant’s set design was bright, sparkly, and unexpectedly refined, never giving the impression of a touring production or Fringe show. The lighting, both onstage and in the auditorium, was stunning and further blurred the line between performers and spectators.
With the Playhouse so lit, the interior took on a gothic quality, becoming an extension of the castle and the audience, its ultimate guests. I won’t spoil the surprises, but Rocky Horror should be a compulsory viewing for anyone interested in immersive theatre. I have never felt so naturally integrated into a performance; the boundaries between the musical and a concert dissolved almost completely.
Morgan Jackson, Job-Greuter, Jason-Donovan, Natasha Hoeberigs, Jayme Lee-Zanoncelli and Connor Carson Image: David Freeman
Lauren Chia and Connor Carson.-Image: David Freeman
The January 2025 cast of Rocky-Horror. Image: David-Freeman
The costumes by Sue Blane could use a bit more polish (or budget) in the first half, but the second half was visually satisfying. The choreography by Nathan M. Wright and Stephania du Toit flowed well and was performed with enough plasticity and acting nuance to strike a fine balance, allowing the vulgarity and explicit elements to fit in without causing disgust or tipping into overacting.
The brisk musical pace removed some of the sensuality, though perhaps that is simply the effect of living in a post–Game of Thrones world where hardly anything shocks anymore.
Continuing with the theme of sexuality and energy, I found Donovan’s Frank-N-Furter, unfortunately, lacking charisma. I expected an aura of dark fantasy, but his portrayal felt tired rather than seductively transgressive, to the point where I wondered whether he was enjoying the role at all. Part of this impression may come from the fact that I had to rely heavily on his gestures and facial expressions: the combination of the production’s pace, my unfamiliarity with the material, and his Australian accent made it genuinely difficult to understand him — let alone what he was singing.
Perhaps this style was an intentional nod to age; more than fifty years have passed, and we are still arguing about the same issues. However, the sound design did Donovan no favours either, as the music frequently drowned out his voice. (Managers, have you read Will’s review from last year? Why do we write this if no one listens?!)
Editor’s comment: Alena is on the money here. I begin to wonder whether this muddying of Donovan’s voice isn’t a deliberate effort to disguise failing abilities, but other critics seem to think he still has it…
Continuing with the theme of sexuality and energy, I found Donovan’s Frank-N-Furter, unfortunately, lacking charisma. I expected an aura of dark fantasy, but his portrayal felt tired rather than seductively transgressive, to the point where I wondered whether he was enjoying the role at all.
It was easy for me to relate to Janet and Brad. We were, in a sense, in the same boat, sorry camper, at least in the prelude, discovering the castle and its peculiar inhabitants with similar bewilderment.
The rock numbers were catchy, and most of the cast delivered them with great energy. I was especially impressed by Daisy Steere (Columbia), who bounced around the stage with acrobatic enthusiasm without it affecting her vocal performance and ability to perform even the most outrageous movement without overdoing.
Laura Bird’s dual portrayal of the Usherette and Magenta was superb; had I not seen the cast list, I would never have guessed it was the same person (cheers to the production team, too).
Overall, I found the female voices stronger and more compelling than the male ones (apologies for binary gender projections!). There were some peculiar nods to the Scottish locality of the performance, including Jackie Clune’s marvellous turn as the Narrator, which evoked unmistakable associations with Nicola Sturgeon and added a witty layer of Scottish political banter to the evening for me.
To conclude, I won’t claim I am now hunting down every adaptation of Rocky Horror, nor that I’ve been converted into a repeat attendee. But I must confess: I danced the Time Warp at the end along with the entire stalls, who were all on their feet by then. In that moment, any lingering sense of being an outsider vanished, and I left feeling that I had genuinely enjoyed the ‘night out or in’ even if Messiah still stirs my soul more deeply.
Featured Image: Jason Donovan. Image: David Freeman
Details
Show: The Rocky Horror Show
Venue: Edinburgh Playhouse
Dates: 6–10 January 2026
Running Time: 2 hours incl. interval
Age Guidance: 12+ – this show contains naughty bits!
Admission: Tickets available from £15.00
Time: Tue–Thu 8:00pm; Fri & Sat 5:00pm and 8:30pm
Accessibility: Fully Accessible Venue
The Rocky Horror Show will play the Edinburgh Playhouse until January 10th, 2026. For tickets and more information, click here.