Google ‘Rocky Horror’ and in 0.46 seconds 11,200 entries flash onto the screen. Batteries of dedicated Rocky fans advertise worldwide conventions, kooky meet-ups and endless fetishistic forums. The ’70s cult classic is still huge – and ongoing – but the director of Hong Kong’s Rocky Horror Show laughs off suggestions the show itself should be a massive production. “Utter bollocks,” blasts Adam West over the phone, “and you can quote me on that.”

The Rocky Horror Show was first performed at the tiny Royal Court Upstairs in London, 1973. West claims that small is still the best way to get into the ham-horror parody. “Every aspect of this production is based on the fact that the audience is a guest at the castle of Frank ‘n Furter,” he says of his version, which jumpstarts at the Fringe Theatre later this month.

“The actors are right there in your face,” he continues, and adds that some of the musical numbers will be performed in amongst the audience. He anticipates that, true to tradition, a dress-up competition and audience participation will be part of the production – already ticket holders are downloading the interactive script, which, over the years, has become almost as famous as the show itself.

Rocky’s story follows two all-American sweethearts lured into Dr. Frank ‘n Furter’s castle lair when their car blows a gasket leaving them stranded. The unsuspecting couple become entangled in the kinky scientist’s steamy sexual underworld of zany characters, including Rocky Horror, a bronzed Adonis crafted by transsexual Frank himself. The show takes its cues from ’50s b-movies, sci-fi, and rock’n’roll, and spawned the party classic The Time Warp.

After his successful run of The Blue Room back in March, West is making a name for himself with cutting edge programmes. “There are intelligent people in Hong Kong, and they deserve more thought-provoking theatre,” is his excuse. His next project is the Pulitzer Prize finalist Keely and Du, a play on the political hot potato that is abortion. “I want Stylus [his production company] to be characterised almost by edginess – something to challenge Hong Kong,” he explains. Even Rocky’s risqué content can be read in a number of ways; the raucous musical raises issues of sexual identity and the human condition.
His image as an adventurous director may have helped West gain the rights for The Rocky Horror Show – only four overseas companies have ever been granted performing permission. And in West, Hong Kong has a director ready to take risks over the whole theatrical gamut: “I work at either end of the spectrum,” he says of his willingness to produce both thought-provoking work and full-on comedy. For the 100-per-night-strong crowd lucky enough to snap up tickets, The Rocky Horror Show, says the director, will be like “watching the Rolling Stones [perform in] a pub”.