Luke Evans (Photo: Sara Krulwich, The New York Times)
The Rocky Horror Show
By Deirdre Donovan
Richard O’Brien’s The Rocky Horror Show storms back to Broadway at Studio 54 with a gleeful sense of mischief and theatrical abandon, reminding audiences why this cult classic has endured for more than half a century. Under the exuberant direction of Sam Pinkleton, this revival fizzes with irreverent energy and a game, starry ensemble, delivering a deliriously entertaining ride that honors its legacy while feeling freshly unhinged.
Part affectionate spoof and part gleeful provocation, The Rocky Horror Show follows a newly engaged, buttoned-up couple who, stranded by a storm, seek refuge in a bizarre mansion presided over by the flamboyant Dr. Frank-N-Furter—a mad scientist with a flair for spectacle and seduction. What begins as an innocent detour quickly spirals into a night of outrageous revelations as Frank unveils his latest creation, Rocky, a sculpted, Frankenstein-like figure, and the couple’s tidy notions of identity, desire, and normalcy are turned deliciously inside out.
Juliette Lewis, Andrew Durand, Stephanie Hsu, Amber Gray (Photo: Joan Marcus)
Before diving into the new revival, it’s worth recalling the show’s winding trajectory since its 1973 premiere at London’s Royal Court Theatre. A major success in the UK, it initially stumbled on Broadway in 1975, only to find renewed life in subsequent revivals, including a stronger 2000 staging. That uneven history makes the current production’s confident footing feel all the more hard-won—and well-earned.
Happily, this revival is anchored by a sterling cast led by Luke Evans and Rachel Dratch as Dr. Frank-N-Furter and the Narrator, respectively. Evans commands the stage with swagger and sly sensuality, fully embracing Frank’s identity as a self-proclaimed “sweet transvestite” from the planet Transsexual. Dratch, meanwhile, proves an inspired choice, bringing her signature deadpan wit to the traditionally stiff Narrator role and serving as an expertly wry guide through the show’s gleeful chaos.
The supporting cast more than holds its own. Andrew Durand and Stephanie Hsu are superb as Brad Major and Janet Weiss, charting a persuasive arc from prim propriety to liberated abandon. Durand balances tentative awkwardness with a gradual, convincing loosening of inhibitions, while Hsu infuses Janet with a playful duality—equal parts ingénue and unleashed id. A standout turn also comes from Amber Gray as Riff Raff, whose wiry physicality and sneering intensity lend the character a volatile edge.
The legacy of the The Rocky Horror Picture Show (1975) looms large over the production, particularly in its embrace of audience participation. Here, that interactivity is not merely tolerated but actively courted. Dratch skillfully modulates the pacing to accommodate shouted quips and call-and-response moments, allowing the audience’s enthusiasm to become an integral part of the theatrical experience rather than a distraction. The result is a lively, anything-can-happen atmosphere that injects the performance with genuine spontaneity.
Rachel Dratch (Photo: Joan Marcus)
Musically, the show remains as infectious as ever. Its score—an eclectic blend of 1950s rock ’n’ roll pastiche, 1970s glam, and camp theatricality—retains its irresistible pull. Numbers like “Sweet Transvestite” and “Time Warp” land with full force, inviting toe-tapping, swaying, and unabashed sing-alongs. “Science Fiction/Double Feature,” led with panache by Juliette Lewis as the Usherette, sets the tone with a loving nod to B-movie kitsch.
Visually, the production delights. David I. Reynoso’s costumes strike just the right balance between sci-fi fantasy, glam rock excess, and tongue-in-cheek sensuality. Dratch’s elegant smoking jacket provides a sly visual counterpoint to the more outré ensembles, while the deliberate minimalism of Brad and Janet’s later costuming underscores the show’s gleeful dismantling of repression.
Amber Gray, Juliette Lewis, Michaela Jaé Rodriguez, Andrew Durand.( Photo: Joan Marcus)
Not everything is fully polished. Ani Taj’s choreography, at least on the evening I attended, occasionally lacked precision, with some ensemble moments feeling under-rehearsed. It’s the kind of issue that may well resolve itself as the run settles, but for now it registers as the production’s one notable shortcoming.
Still, these minor rough edges hardly dampen the production’s anarchic charm. In an era when Broadway can sometimes feel overly calibrated, The Rocky Horror Show revels in its own messiness, inviting audiences to let go of decorum and dive headfirst into its joyous, transgressive world. This revival doesn’t just resurrect a cult favorite—it reaffirms its enduring power to shock, delight, and, above all, bring people together in a shared celebration of the weird and the wonderful.
At Studio 54 (254 W. 54th St.)
Running time: 1 hour, 40 minutes, one intermission
Through November 29, 2026
