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SCENE IT: 10 Reasons to get your time-warp fix at Theatre on the Bay
- May 10
- 5 min read
Updated: May 27
Barbara Loots
A new staging of the legendary cult musical THE ROCKY HORROR SHOW, directed by Steven Stead, is currently on at Theatre on the Bay until 31 May 2026. The show invites audiences to step out into the extraordinary... Don’t dream it. Be it!
Not all may know this, but the staged musical, THE ROCKY HORROR SHOW, came before the movie, The Rocky Horror Picture Show (1975). The staged production, created by Richard O’Brien, premiered at the Royal Court Theatre in London on 19 June 1973. Tim Curry, known as the original Frank-N-Furter, first made the character his own on stage, before taking Frank-N-Furter to the big screen. The big screen transition for this much-loved production was not without obstacle, as it was labelled a commercial flop. But art perseveres and it soon became a cult classic through midnight screenings in 1976. Since then, the charm of this liberating story (both onstage and onscreen) has not waned.
Known for its inclusivity (giving fans, eccentrics and rebels alike opportunity to escape the harshness of the world by eagerly stepping into an exiled alien’s eerie manor on a rainy night), the musical continues to appeal to those seeking musical liberation from whatever their personal shackles may be at any given time. The added appeal being that audience participation is highly encouraged (though not compulsory): You can involve yourself as much as the mood takes when nudged by the show’s Narrator to direct “vibrant” commentary at the characters as the onstage shenanigans unfold.
If this is not reason enough for you to get yourself to Theatre on the Bay to see the latest staging of this cult classic, then we’ve got 10 extra reasons for you!
Great production value: It’s a well-polished, sleek production, that hits all the right notes to live up to audience expectation, whether they be Rocky Horror connoisseur or virgin.
Clear vision: Director Steven Steads' vision respects the classic and presents audiences with a punchy, fast paced production that leans into the musical’s much-loved filmic feel.
Beautiful set: Stead’s vision is amplified by Greg King's set design. The set allows the production to feel much larger than the actual intimate space of Theatre on the Bay. The multi-facetted set design allows for cinematic moments, especially when paired with clever use of lighting. It gives the cast a canvas against which to bring the audience all the magic associated with this iconic tale.
A smorgasbord of talent: The story is brought to life by an extraordinarily talented cast, and includes names that are well-known and beloved in the South African musical theatre scene: Craig Urbani, Natasha Sutherland, Zak Hendrikz and Schoeman Smit.
Craig Urbani as Frank-N-Further: Even though Urbani is reprising his role, nothing in his performances feels lazy, because he's an absolute pro! Many actors may simply fall back on past traits, but Urbani embraces this opportunity to evolve his character. His fresh Frank is fantastic. Urbani gives audiences a new naughty facet of Frank to sink their teeth into, and it's utterly delicious.
Photo by Daniel Rutland Manners. Natahsa Sutherland as the Narrator: Sutherland’s performance is a delight. She projects a sense of familiarity that allows for the audience interaction associated with ROCKY HORROR to feel organic. This is pivotal to the structure of the show, as audience participation can so easily feel forced and overly manipulated. Performed with British flair, Sutherland’s character lives in the realm between sexy librarian and naughty teacher. You can read more about how she prepared for this role here: "Natasha Sutherland embraces her role as Narrator with experience and energy in cult musical THE ROCKY HORROR SHOW".
Schoeman Smit as Riff Raff: Smit has paid his dues in musical theatre, playing an array of colourful characters throughout his career. That experience has given him a toolbox of personalised traits that he draws on to present audiences with his unique take on Riff Raff. Smit's sinister Riff Raff is odd-ball weird in an unsettling yet very appealing manner, perfect for an alien trying to cosplay as a human. His Riff Raff gives “it thinks its people” energy as a grounded presence to his character amidst all the over-the-top chaos that unfolds around him.
Zak Hendrikz as Eddie / Dr. Scott: Great Scott!, Hendrikz ups the ante every time he steps onto the stage. He's another great example of a performer who knows how to make an established role their own. Both as Eddie and Dr. Scott his presence in the cast is key to the success of the production, adding dimension and moving the show forward in a darkly fun manner. Lived (musical) experience can’t be taught, it is earned, and Hendrikz too has earned all the applause his performance garners.
Leah Blerk as Janet Weiss: Blerk as Janet Weiss is an inspired choice. She gets to flex her musical and acting muscles, and does so with ease. She hits all the right notes, effortlessly taking the audience along on Janet's character development journey from bright eyed and gullible to ravished and sexually awakened.
Energetic musical numbers: All the known and loved musical hits are exceptionally performed in the high-energy style audiences expect. It would be utterly criminal for anyone to not jump up and do the time-warm again, and again.
Through their understanding of the motivic relationships at play, Urbani, Sutherland, Smit, Hendrikz and Blerk move the narrative of this iconic musical forward in a very enjoyable fashion. But when one looks beyond the high-octane musical numbers in ROCKY HORROR, this staging is perhaps just a tad too PG on two other fronts: Firstly, Micah Stojakovic as Rocky feels out of place in the show, so when it comes to his sexual vulnerability (especially when connecting with Janet) his performance verges on forgettable, and secondly, the Phantoms along with Magenta need to up their levels of grit and naughtiness, as they feel a bit cookie cutter in their portrayals.
This is the case especially when it comes to the Phantoms. I’ve been struggling in my articulation of this feeling that something is amiss with the majority of the chorus. They mentally clock what the delinquent brief is (they do the moves and they hit the notes), but they just can’t seem to translate that in a seductive manner. I may still get it wrong in expressing my discomfort here, so perhaps the best way to do so is to stay within the ROCKY HORROR realm when explaining this perception that the Phantoms feel too safe: They are very capable in terms of musical skills to sing “TOUCH-A, TOUCH-A, TOUCH-A, TOUCH ME”, but they look like they may run away if someone actually offers them that naughty opportunity. Because of that they lack believability in the selling of the sexual liberation element that is such a cardinal carnal theme in this show. However, it must be said that there is one exception from the ranks of the Phantoms: Cleo Wesley gives a stand-out performance, completely getting and giving for what is expected from a sexy chorus of seducers, and he looks to be having fun doing so, and that translates to the audience.
The current run is until 31 May 2026 at Theatre on the Bay, but it’s unfortunately sold out. Lucky for you, you can still go give yourself over to absolute pleasure with THE ROCKY HORROR SHOW during the return run from 28 August to 18 October 2026. Tickets can be booked online through Webtickets. The show carries an age restriction of PG16.