If I had a pound for every production of The Rocky Horror Show I’ve reviewed this month, I’d have two—which isn’t a lot, but it’s weird that it’s happened twice, right? This week brought together two of my favourite things: Rocky Horror and the New Wimbledon Theatre.

A quick refresher for the few people yet to be seduced by this gloriously indecent classic: The Rocky Horror Show follows newly-engaged couple Brad and Janet, who upon being stranded in a storm, find themselves in the castle of Dr Frank-N-Furter. A glitter-trenched evening ensues, whereby we are met with aliens, synthetic men, iconic dance grooves, sexual transgression, all clad in corsets and fishnet tights. This plot defies logic and coherence, but delights in all the best ways.

I ought to open with a disclaimer: I do not approach Rocky Horror as a neutral observer – I loved the show enough to write my undergraduate dissertation on it. Thus, it is safe to say I am already convinced by both O’Brien’s writing, and his conceptual vision. This review, therefore, stands on two axes – a) how fully it accesses the heart of Rocky Horror, and b) how clearly it allows the audience to do the same. This touring production, in both regards, is nothing short of phenomenal.

Visually, it’s a sensory feast. Every technical element feels both meticulously sculpted and gloriously unrestrained — true to the chaotic heart of Rocky Horror. Sue Blane’s costumes are spot-on: Frank’s iconic red corset channels the camp demands of the creative elements; Rocky’s gold hot pants are perfect, and the Usherette’s bubblegum-pink number radiates vintage cinematic charm. These aren’t just outfits — they’re a love letter to O’Brien’s vision, anchoring it in the present without losing sight of its culturally rich past.

However, the standout technical element is the lighting by Nick Richings. Never merely functional, it becomes truly instrumental in bringing each facet of this production to life. From the crisp spotlight slicing through darkness at Riff Raff’s first entrance in “Over at the Frankenstein Place,” to the angular, fluorescent beams that centre Frank at the end of “Sweet Transvestite”, the lighting makes narrative sense of what could otherwise feel like a chaotic incoherence. When the visitors (& Rocky) are locked in a grid of frozen spotlights, it’s a moment of genius – a nod to other-worldly UFOs, while being conducive to the immediate plot. Lighting designer Nick Richings deserves unbridled praise.

As for the cast — they delivered above and beyond at each of the three shows I attended during this short run. To perform Rocky Horror is to walk a tightrope: the audience knows the lines, the cues, the comebacks. You must respond aptly, without leaning into a robotic autopilot; you must surprise without alienating. The Narrator, played by Nathan Caton, was utterly masterful. Navigating audience heckles with both pre-rehearsed zingers and fresh, fast-footed improvisation, Caton balanced wit with warmth. A couple of P Diddy jokes — audacious and outrageous — landed brilliantly, and his handling of the grotesque interjections in the early scenes was both playfully familiar and razor-sharp.

Then there’s Jason Donovan as Frank-N-Furter — a casting choice that has caused its fair share of raised eyebrows. While his portrayal may lean less into Frank’s camp melancholy and instead into a darker menacing, it works. Donovan’s Frank is calculating, charming, and moderately sinister. His habit of repeatedly undoing Brad’s lab coat became a hilarious motif of teasing — a small but intelligent choice I had never seen before. Vocally, he’s strong — his “Symp-toms” in “Sweet Transvestite” is delivered with glorious control — but he sometimes lacks the emotional texture and sadness that makes Frank such a compelling anti-hero. Still, what Donovan does bring is commitment, charisma, and a theatrical stamina that is unparalleled.

As for the central couple — they were an utter joy. Janet was played by Lauren Chia with sweetness and strength, her vocals soaring throughout. Her rendition of “Touch-a, Touch-a, Touch-a, Touch Me” was one of the most confident and hilarious I’ve seen — navigating that fragile balance between sexual awakening and outright parody with ease. But it was Alex Hetherington as Brad who quietly stole the show. Hetherington’s Brad was a masterclass in comedic precision and emotional nuance. His vocals were rich and tender, and his physicality brimmed with detail. From his increasingly exasperated background interactions with Janet to his gleeful confusion when flirted with by Donovan’s Frank, he was endlessly watchable.

Choreographically, the show was tight. From the iconic shuffles and pelvic thrusts of “Time Warp” to the slick and stylised movements of “Eddie’s Teddy”, Nathan M. Wright’s choreography was both faithful and fresh. It carried the audience — willingly and wide-eyed — from cinema to castle to outer space.

Musically, the band (under the direction of Josh Sood) handled the score with charm and soul. Rocky Horror’s music shifts gears constantly — from rock opera to glam-pop to mock-musical-theatre ballad — and they nailed each style without ever losing momentum. There’s something deeply satisfying about watching a band play a score that is so loved, so known, and yet still managing to breathe new life into every riff.

In all, this Rocky Horror is no hollow pastiche or cheap nostalgia grab. It’s an electrifying, intelligent, and genuinely affecting celebration of weirdness, queerness, and joyful theatrical rebellion. Whether you’ve seen it fifty times or are a Rocky virgin, this production is ready to blow your mind — and possibly your trousers — clean off.

Get your tickets for the rest of the 2025/2026 touring run here!

Image credit – David Freeman