“Rocky Horror Returns: Camp, Chaos & Complete Joy”

There’s something about The Rocky Horror Show that keeps pulling me back. Maybe it’s the camp, maybe the chaos, maybe the comforting madness of it all, but having seen it live around ten times now, I went into last nights performance at Belfast’s Grand Opera House with high expectations and a familiar grin on my face.

First premiered in 1973 (yes, it predates the cult classic film), Richard O’Brien’s rock and roll tribute to B-movie horror and sci-fi has been thrilling and shocking audiences for over 50 years. And it’s still as gloriously filthy and delightfully unhinged as ever.

Belfast audiences never disappoint when it comes to Rocky Horror, and this crowd was no exception. The theatre was buzzing from the moment I arrived, with a glorious mix of first-timers in jeans and jackets and seasoned fans decked out in fishnets, corsets, glitter, and sequins. That melting pot of excitement is one of my favourite things about a Rocky night. Whether you’re shouting “ASSHOLE” at Brad or doing the Time Warp in your seat, everyone belongs.

This year’s production sees a brand new cast take the stage, and what a company they are. Leading the charge as Frank N Furter was Adam Strong, a performer I was particularly eager to see. Having watched three or four different Franks over the years, each bringing their own flavour of sex appeal, danger, and diva, I initially found Adam’s portrayal a little rigid, especially in terms of physicality. He was less flamboyant in his movement compared to past Franks I’ve seen, and for a moment I questioned if he would command the stage in the way the role demands.

But within ten minutes, I was completely sold. His version of Frank had a whole different energy: bold, towering, and brimming with delicious quirks. His stature alone made him a striking presence, and that contrast against the other actors only added to the comedy. By “Sweet Transvestite,” I was locked in. Adam Strong’s Frank is less manic and more methodical, which gave the performance a fresh tension. It worked beautifully.

Due to illness, Northern Irish performer Connor Carson wasn’t able to appear as Brad, but understudy Alex Hetherington stepped in, and I have to say, he smashed it. His Brad was uptight, awkward, and totally endearing. He had great chemistry with Lauren Chia as Janet, whose transformation from innocent sweetheart to empowered vixen was paced to perfection. Lauren’s vocals were killer too, clean, expressive, and cheeky in all the right places.

Jayme-Lee Zanoncelli was a chaotic joy as Columbia, bursting with energy and heartbreak in equal measure, and Job Greuter gave us a slick, sneering Riff Raff who practically slithered across the stage. Morgan Jackson as Rocky was an absolute standout. Not only did he look the part (those muscles didn’t lie), but he brought warmth and playfulness to the role that made his scenes with Frank and Janet especially engaging.

A major highlight of the night was Nathan Caton as The Narrator. He brought a calm, commanding presence to the role but also knew exactly when to lean into the madness. The way he handled audience shout-outs was hilarious, keeping the tone light without ever letting the story get lost. His banter was razor sharp, with fresh topical references that had the crowd howling. One moment he was cutting down hecklers with a single eyebrow raise, and the next, he was playfully encouraging the chaos. I genuinely looked forward to every time he stepped back into the spotlight.

Special shout-outs also go to Natasha Hoeberigs as both Magenta and the Usherette. Her “Science Fiction/Double Feature” opening was hauntingly good. Edward Bullingham brought two completely different energies to Eddie and Dr Scott. The latter, in particular, was a surprise hit, with comedic choices that had the audience in stitches.

The production itself was slick, stylish, and surprisingly intimate. The set was relatively minimal, allowing the performances and the outrageous costumes to take centre stage. The lighting design played beautifully into the show’s B-movie roots, with strobes and spotlights adding drama at just the right moments. Choreography by Nathan M Wright was tight and vibrant, and you could see how much fun the cast were having, a feeling that spilled right out into the auditorium.

And then came the moment. The encore. The curtain call. The “Time Warp” reprise. As soon as those iconic opening chords hit again, the entire theatre, and I mean everyone, leapt to their feet. Strangers became backup dancers. Aisles became runways. For a brief, glitter-soaked moment, Belfast was transformed into the Frankenstein Place we all wish we could live in.

So yes, I’ve seen Rocky Horror more times than I can count, but this production gave me something new. A Frank with unexpected nuance. A narrator who made me laugh out loud. An audience that was up for it from the first “hello.” This show remains a masterclass in queer joy, subversive humour, and unapologetic camp, and this cast does it proud.

If you’ve never experienced Rocky live, don’t miss your chance. And if you’ve seen it before? Go again. Because in the words of the man himself: don’t dream it, be it.

Tickets are limited but still available at goh.co.uk. Do yourself a favour and give in to absolute pleasure.