The story is iconic, the characters are legendary and the songs are etched in theatrical history, carrying across generations and escaping the traditional 'showtune' mould to become numbers well entrenched in popular culture. With those elements already on the table, how could you really go wrong with The Rocky Horror Show?

This new production, directed by the incomparable Gale Edwards, attempts to find the edginess and the daring nature of some of the best versions of the show from decades gone by, and on the whole it succeeds in presenting something pretty special, even if there's a few bumps and bruises along the way.

Most of us know the story: young lovers Brad and Janet are out for a night on the town, only to have their car break down in the middle of nowhere. They go in search of a phone and stumble across a house where, as they ultimately learn, not everything is quite right. And so begins a two hour journey full of transvestites, sex, maniac experiments and of course, killer music.

While changes have been made to this production after writer Richard O'Brien allowed Edwards some creative licence, the core of the show remains the same and in many ways this production pays tribute to those that have gone before it, never really escaping the quirkiness that makes it such an enjoyable and care-free musical romp. There's certainly no attempt to make it any more serious than it should be and thankfully, no dumbing down to try to appeal to a new breed of fans.

As the story's cornerstone star-struck lovers Brad and Janet, Andrew Bevis and Kellie Rode are wonderful, particularly Rode who comes to life in the second act with a sensational rendition of 'Touch-a-Touch-a-Touch-a-Touch Me'. There's other good performances too - Michael Cormick's experience and stage presence is a real winner here, while Sharon Millerchip and Tamsin Carroll are fantastic as Columbia and Magenta, though Carroll would benefit from a pumping up of the sound - there's moments she should really command the stage but fails to do so, through no fault of her own.

However, there is little doubt that this production belongs to iOTA as Frank 'n' Furter. He owns the stage the minute he enters, much like he did in his crowning glory Hedwig And The Angry Inch, and he delivers a stellar, Herculean performance that is every bit as good as the heavy expectations upon him demanded. He is a true theatrical star in the making and his edgy, brawny stage attitude is perfect for this role.

The biggest problem this production has is the way it speeds through the first act, almost like somebody has hit a fast forward button and can't get it unstuck. Thankfully, this problem is rectified in the second stanza, which is much sharper with stronger performances and a more relaxed feeling.

It is impossible to re-invent the wheel when it comes to The Rocky Horror Show and there is little doubt that over the years it has lost its shock value and its grungy feel, but it remains an entertaining and enjoyable night at the theatre and with an unbelievably talented cast and some solid creative elements (Dale Ferguson's set is noteworthy and Julie Lynch does a fantastic job on costumes), Edwards' production does not disappoint.

This production provides a wonderful opportunity for old Rocky Horror fans to re-live some great memories (and there's plenty of fans out there to ensure this show survives), but whether or not it does enough to attract new blood, so to speak, is questionable. It is, however, a spectacle that should be seen and taken for what it is - fun, unassuming entertainment.