Yes, the legendary rock ‘n’ roll musical, Richard O’Brien’s Rocky Horror Show is back on the Ipswich stage, to the delight of many.
Love it, hate it, have no idea what it is (where have you been?) this show remains one of the most curious things in the history of musical theatre. Originally a low-budget tribute to 1950s science fiction and B-movie horror, a niche in itself, the show has evolved into a global rite of passage for the inquisitive. The current UK tour proves that while the ‘shock value’ of its 1973 debut has softened into nostalgia, the production remains a masterclass in audience-driven immersive performance. In other words – this uniquely bonkers, sexy, sci-fi, suspender-wearing musical is still a strong favourite.
Directed by Christopher Luscombe, this iteration is a sleek, high-octane machine with a cinema-inspired set design to create a vibrant, comic-book aesthetic. The use of a static cut-out car and a vertical bed for the infamous seduction scenes are clever nods to the show’s low-budget origins, elevated by expect lighting, plenty of fog, and not forgetting the sparkly skimpy costumes.
Musically, the production is secured by a five-piece band who deliver the score with a loud intensity that prioritises rock-and-roll energy over lyrical subtlety. While brisk tempo can occasionally mute the sensuality of numbers like Touch-a, Touch-a, Touch Me, it ensures the show maintains a relentless momentum.
The success of any Rocky Horror production rests on the shoulders of its key characters. Dr Frank-N-Furter, (more usually played by Stephen Webb) was on this show night played by Ed Bullingham, and what a fabulous performance Ed gave. He offers a more conventionally seductive and athletic interpretation leaning into the character’s fierce authority and risqué physicality.
The Narrator, played with razor-sharp wit by Jackie Clune, must be the hardest role as the actor must act as a lightning rod for the audience’s scripted (and unscripted) heckles. Clune was excellent at weaving in timely political barbs – referencing everything from Donald Trump to local geography – ensuring the 50-year-old script feels current.
Brad and Janet: James Bisp and Haley Flaherty master the transition from ‘squeaky-clean squares’ to liberated participants. Flaherty, a veteran of the role, portrays Janet’s descent into ‘a creature of the night’ with a nuanced vocal performance that prevents the character from becoming a mere caricature.
It does feel as though the show is of two-halves, however. The first act is a relentless parade of hits (Science Fiction/Double Feature, Dammit Janet, The Time Warp, Sweet Transvestite). In contrast, the second act often struggles with its own ‘wafer-thin’ plot, and to be honest I was lost a few times. However it fits the Sci-Fi B-movie parody by giving way to a messy alien coup which no-one actually seems to mind due to the audience participation. it is the core architecture of the show. The fascination lies in how the production manages to be both a rigid ritual (where fans shout specific lines at specific times) and a spontaneous party.
The 2026 tour of The Rocky Horror Show is less a piece of traditional theatre and more a communal exorcism of social inhibition. It is fast, filthy, and unapologetically loud with a polished, professional joy that makes it impossible to dislike.
Photo credit – David Freeman
Rocky Horror Show is playing at Ipswich Regent Theatre until 31st January
Linkhttps://ipswichtheatres.co.uk/whats-on/the-rocky-horror-show/
