The Rocky Horror Show as presented by Maynooth University MS

Maynooth University MS 

The Rocky Horror Show 

Friday 11th April 2025 

Although I never ventured there myself…(honest!)…I'm old enough to remember when the Classic Cinema in Harold's Cross, Dublin was thronged on Friday nights with crowds dressed in stilettos, fishnets and highly provocative, revealing attire. And that was just the men! Of course, they were there to see ‘The Rocky Horror Picture Show,’ which ran at the southside Dublin venue every Friday night for over 20 years. One of the key elements of this cult classic was the audience participation, during which cinemagoers would roar the most inappropriate responses and interjections at the screen when prompted by one of the movie’s iconic lines. There was plenty of this kind of audience participation in evidence at Maynooth University Musical Society’s production of ‘The Rocky Horror Show.’ It was outrageous, raunchy, occasionally indecent, and awash with innuendo. What’s not to love? It was deliciously self-aware and a whole lot of fun. 

There was palpable excitement in the room as we entered the Aula Maxima at Maynooth University. This was partly due to the wonderfully immersive experience which had been created from the very start, with lots of interaction between the audience and front of house personnel, who greeted us in character and skilfully engaged in some improv, when prompted. Usherettes, clowns, and all sorts of weird and wacky characters set a really good tone in anticipation of one of the most absurd musicals I’ve ever had the pleasure to see. 

Shane Dornan directed with considerable flair. He didn't so much lean into the show's absurdist tone as fling himself headfirst into the insanity. Mr. Dornan didn't shy away from the highly irreverent thrust of the show. Indeed he wrung every last drop of innuendo-laden comedy from the book with little consideration for subtlety or fine edges. And this full-on, in your-face approach worked perfectly. He worked hard at continuity, ensuring that there was a breakneck pace throughout. I was very impressed with Mr. Dornan's attention to narrative detail as he brought some semblance of clarity to what is a highly convoluted plot. He even managed to find heart underneath all of the raunch and filthiness. As mentioned, one of the unique features of the Rocky Horror Show is its audience participation, heckles, etc. Having audience ‘plants’ ensured that the lines were delivered but it felt overly rehearsed for something that should sound spontaneous. I loved the featuring of the circus podium being struck and the confetti being cleaned away during the entr’acte. This worked really well and was an experience in itself with the contortions and suggestive movements complementing the tone of the show perfectly. A really super job from Mr. Dornan. 

Musical director Louise Gilmore was assisted by Enda Keating, who conducted with great control and dynamism. There was a very impressive sound from the band, which was really well balanced. Underscored dialogue was handled very well and it was a joy to be able to hear every word. Principal vocals were excellent right across the board. The opening number, ‘Science Fiction Double Feature,’ showcased excellent ensemble harmonies which were so well balanced. ‘Once In a While’ was another song with superb choral sound. ‘I'm 

Coming Home’ was one of the highlights of the night with its incredible choral vocals, perfectly balanced. 

Choreographer Mark Lehane embraced the wild, irreverent spirit of the show, with great confidence and flamboyance, guiding his dancers incredibly well and creating fresh, dynamic routines which were original and fully in keeping with the outrageous tone of the show. Mr. Lehane was assisted by dance captain Niamh Dempsey, who herself shone in the superbly devised numbers. There were so many highlights. ‘The Time Warp,’ which features early in the show, was energetic, synchronised, and brilliantly performed. The most notable aspect of the choreography was the manner in which every cast member was committed to the performance and used each routine as a way of telling the story. Faces were always in tune with the narrative and the outrageousness of Mr. Dornan’s vision. This was a superb job from Mr. Lehane, who complemented that vision perfectly. 

Brad, the all-American, clean-cut ‘square’ was played with hilarious self-awareness by Taylor Dench. This was a very funny performance as one half of the hapless couple who find themselves stranded on a wet night, before making their way to Frank-N-Furter's castle in search of assistance. Mr. Dench's comic timing was excellent and he was always in tune with what was going on around him. He had an exceptionally good voice, with ‘Once in a While’ being a standout moment, during which he demonstrated excellent range and a fabulous falsetto. 

Éabha Brennan delivered an exceptional performance as Janet, Brad's other half. Ms. Brennan’s character was a beacon of chastity and her journey from naive, wide-eyed innocence to sexual liberation and the loss of all inhibitions, was brilliantly realised. This too was a superbly self-aware performance and Ms. Brennan clearly understood the style of humour and performance just right. ‘Touch-a, Touch-a, Touch Me’ was brilliantly performed by Ms. Brennan in one of the standout musical and comical moments of the show. 

It's not every day someone gets to play a transsexual, mad scientist, space alien. Seán Mac Mathúna was more than up to the task and took on the role of Dr. Frank-N-Furter in style, capturing his charisma, darkness, and sheer lunacy so well. Mr. Mac Mathúna embraced the hilarious characterisation, seducing everyone in sight, literally and metaphorically. His mesmerising presence dominated the show every time that he set a stilettoed foot on stage. He was daring, he was dynamic and he was exceptionally funny. His hilarious hairball moment was a delight and his timing of “Silly bitch!,” in response to Columbia sacrificing herself to save him, was comedy gold. 

Cian Murray was an eerie and mysterious Riff Raff. His presence was dark and brooding and he had exceptionally good physicality in what was a very unsettling performance. Mr. Murray was perfectly unhinged as Frank-N-Furter's creepy minion, bringing a dark quirkiness to this role. His vocal work in ‘The Time Warp’ was excellent. 

Annie Bolger was an equally impressive Magenta. She too had exceptional presence and an amazing energy which drove so many scenes. Ms. Bolger was also a superb mover, standing out in all of the dance routines. She had a powerhouse vocal which was at its best in ‘The Time Warp’ and the fabulous ‘Touch-a, Touch-a, Touch Me.’ An exceptionally good performance overall. 

Alison Kiernan Whelan gave a fabulous performance as the lovestruck Columbia. She had wonderful comedic timing and delivery of dialogue was very strong. I loved her emotional, 

delirious outburst at Frank-N-Furter, which was so beautifully pitched and timed to perfection. She too was excellent in ‘Touch-a, Touch-a, Touch Me.’ 

Eddie was played by the very talented, hirsute David Swift. From his shady appearance through the trapdoor, we knew that this was going to be a very strong performance. He sang brilliantly in ‘Hot Patootie’ and made the most of every minute he had on stage. 

John Doyle Peredo was the perfect choice for the role of the muscle-bound Rocky. Mr. Peredo’s impressive physique, made him ideal for the role of Frank-N-Furter's perfectly engineered specimen. But there was more to Mr. Peredo than muscle. He also had a wonderful vocal and a very clever comic touch. His reactions to Frank-N-Furter’s amorous advances were subtly hilarious and he never fell into the trap of over egging things. A fabulous portrayal from a performer that we will definitely be hearing about again. 

Aaron Viera Kelly was a youthful Doctor Scott. This was a humorous portrayal but his heavily accented dialogue was in need of some attention, as diction was compromised on occasion. 

Patrick Montgomery was very charismatic as the narrator. He played the role with great confidence, reacting to the audience’s heckles and responses in a very relaxed, natural, and funny way. He set the perfect tone when encouraging the audience to participate at the top of the show. He was very funny in ‘Once in a While.’ A very strong performance of a role that literally holds the show together. 

Becky Casley offered great support as Trixie. She had very good presence and shone in ensemble numbers in general. 

The ensemble was exceptionally good, with excellent focus and commitment to the director's vision. Movement and dancing were extremely well rehearsed and infused with character at all times. Vocals were also very strong. ‘Once in a While’ was a memorable moment with some beautiful harmonies and ‘The Time Warp’, mostly known for its iconic dance moves, had an incredible sound and infectious energy from a very talented ensemble. 

With a fixed set and very little movement of pieces throughout the show, Dan Lavelle's stage management utilised cast cleverly to move furniture and minimal set pieces as required. He ensured that they were very well rehearsed and that everything was slick from the outset. A really good job overall. 

The set was simple but innovative and very effective. It was visually interesting with the circus themed red and white. There were ramps either side of the stage. The band was upstage, underneath scaffolding. A key feature was the extended walkway downstage of the main stage leading to a circular playing space right in front of the audience. This worked really well in the context of the circus theme and meant that the audience surrounded this ‘circus ring’ playing space on three sides. I loved the simplicity of the upstage curtain which was perfect for reveals of key characters and moments. 

Lighting was very strong throughout, creating atmosphere through the use of bold colours, shadows, haze, and low fog. All of this added so much to the mystery and excitement of the show. Operation was very strong and cues were all timed very well. Overall, this was a very impressive lighting plot. 

Sound was exceptionally good, with a clear, balanced mix of vocals and the band being at appropriate levels. Sound effects were very well timed throughout, which added a nice layer of authenticity to proceedings. There was superb vocal balance in the opening number and 

that became a hallmark of this show as the ensemble shone brightly thanks to exceptionally good mixing. ‘I'm Coming Home’ was stunning in its vocal balance. A real highlight. 

Props were generally well looked after with most things looking authentic and suiting the show. The fans, the narrator's book, ray guns all looked perfectly in place. One small thing was that one member of the ensemble had a copy of the Dublin Gazette during one of the dance routines. A small point but when everything else is so detailed, these are the things that jar. 

Costumes were glamorous, outrageous, and full of flamboyant eccentricity. They were, of course, outrageously camp, with lots of lingerie, fishnets, and heels. The usherettes in their pink and black looked particularly well and Columbia's red hot pants, basque and red boa were perfectly chosen. 

Hair and makeup were a huge part of the success of this wonderful show. The design was bold and theatrical and had an enormous visual impact overall. The clown-like makeup brought an eerie, unsettling aesthetic to the show. Frank-N-Furter's over the top makeup was perfect as was the very specific looks for Riff Raff and Magenta with both looked suitably ghoulish. A great job overall from all involved. 

This was quite the journey, with super pace and infectious energy that swept us along on a raucously raunchy rollercoaster ride. The world is a very different place today than it was over 50 years ago when ‘The Rocky Horror Show’ first took to the stage. As outrageous as the show might appear today, one can only imagine what the reaction was when it debuted in the early 70s. But one thing is for sure – things have changed for the better. We laughed. We laughed a lot. We laughed through every pelvic thrust, through every jump to the…ok…you get it. It was a very funny, outrageous show which was superbly performed by a very strong group of principals and ensemble. Take a bow all!

Photos by Paul Whelan and edited by (Alison Kiernan Whelan). Other photos were provided by the South Kildare Photography Club