Half a century since its first outing at London’s Royal Court Upstairs, The Rocky Horror Show is still baring its teeth- and legs- on stages across the UK. Here at the Palace Theatre, Manchester, this current tour, directed once again by Christopher Luscombe, is a faithful revival of Richard O’Brien’s gloriously anarchic cult classic. But while the fishnets are as tight and the heels as high as ever, the production sometimes feels more like a museum piece rather than the midnight revolution it once was.  

The story- a delirious mash-up of 1950s sci-fi, B-movie schlock and gender-subversive glam rock- remains as baffling and beguiling as ever. Newly engaged Brad and Janet, stranded on a rainy night, stumble into the world of Dr Frank N Furter, played by star of stage and screen, Jason Donovan-and chaos duly ensues. It’s an often glorious yet nonsensical ride, powered by a jukebox of timeless songs- including the effervescent and always gratifying ‘Time Warp’- which still has the audience on their feet and in the palm of its hand from the first strum of that iconic bassline; 53 years after its first outing.  

Donovan is no stranger to his iconic role, having donned the fishnets in its 25^th anniversary production, and his confidence in his portrayal is visceral. As always, the Narrator- here played with wry, scene-stealing finesse by Jackie Clune- is an unadulterated highlight, sparring effortlessly with the audience’s catcalls and innuendo-laden heckles. In these moments, the show crackles with the unpredictability that made it iconic- with a freshness that wouldn’t go a miss elsewhere.  

O’Brien’s music and lyrics remain the focal point of the show, with some songs naturally more crowd pleasing than others- Act 2 is particularly thin on the ground for earworms. An unfortunate mix from Sound Designer, Gareth Owen, sometimes leads to lines being swallowed- which does little to help what is already an off-the-wall book with an unhinged narrative. Visually, the production remains faithful to its roots; Hugh Durrant’s set and Sue Blane’s costumes offer a vibrant homage to the original, all gothic excess and 70s kitsch. But therein lies the issue: there’s little in the way of reinvention. While the show’s celebration of sexual liberation and gender fluidity was once radical, it now sits in a vastly different cultural landscape. In 2025, Rocky Horror feels more like beloved nostalgia than a provocative cultural force. 

That’s not to say it doesn’t have relevance. Its joyfully queer ethos and message of embracing one’s true self still resonate- perhaps more now than ever. But the production plays it safe, relying on audience devotion and somewhat ritualistic participation rather than offering a bold vision for a new era. Ultimately, this is a show that delivers on expectation. For first-timers, it’s a bonkers introduction to a world of glittering submersion. For die-hard fans, it’s a chance to do the Time Warp again. But it’s hard to shake the sense that Rocky Horror, once a theatrical revolution, has been tidily placed behind glass. Thrilling and unpredictable, yes- but somehow tamed in its own, well-preserved image.  

Playing at the Palace Theatre until Saturday 31st May, further details and booking can be found here.

Tickets received in exchange for an honest review.