The morning after witnessing the new Broadway staging of The Rocky Horror Show at Studio 54, it’s difficult to recall much to remark upon. So I guess this revival cannot be considered, at least by me, a memorable production from the Roundabout Theatre Company. Sam Pinkleton, the director of Oh, Mary! among recent successes, presents a respectful staging of Richard O’Brien’s forever monstrously entertaining musical performed by a capable company upon a setting more functional than fabulous designed by the dots collective.
For better or worse, Pinkleton and his designers accentuate the campy sci-fi elements of the story more than its mockery of gothic horror. Silvery androids rear up inside the stage boxes. A glowing miniature castle ascends towards the heavens. Jane Cox’s lighting favors garish greens and purples. Was that a theremin effect slithering amid the familiar rock ‘n’ roll score energetically banged out by a five-member band? Faithful fans of the “Picture” version of the musical who like to call out remarks triggered by the action – “asshole!”, “slut!”, etcetera – appear to be tolerated rather than encouraged by the management. Audience call outs were scattered and sporadic the other evening, although it was nice to see some ticket buyers sporting costumes.
Let’s omit a plot rehash of this 50-year-old musical, fellow Transylvanians, while I consult my notebook for any interesting details about the revival that opened Thursday. Essentially, it’s the same dear old thing realized pretty much as usual inside a picturesquely deteriorated proscenium frame with relatively little interactive spillage into the auditorium. And that’s okay, which is the best word to describe Roundabout’s okay show; it’s the steak dinner you already know without the sizzle.
[Read Bob Verini’s ★★☆☆☆ review here.]
The performances are all right, for the most part, if short on charisma; but perhaps the intimacy coordinators are inhibiting the company from getting as sexy as they might be. As robustly depicted by a strapping Luke Evans, Dr. Frank-N-Furter is a jaunty, athletic figure; more of a long-tressed DILF than a sweet transvestite in his pretty lace hose (available as merch?) and armor-like corset. For the floor show finale, designer David I. Reynoso dresses up Frank in a flowing costume and starry headpiece recalling Hedy Lamarr’s outfit from the “You Stepped Out of a Dream” number in Ziegfeld Girl. Sporting a brocade smoking jacket, Rachel Dratch imperturbably wanders among the action as the Narrator. A suitably hunky Josh Rivera embodies an amiable Rocky. After a shaky start as the usherette who opens the production by warbling “Science Fiction Double Feature” rather feebly (was that meant as a character choice?), Juliette Lewis springs back in a henna hairdo and frilly skirts to be a spirited Magenta. Andrew Durand and Stephanie Hsu do nicely by their standard Brad and Janet. Wearing all kinds of heavy makeup and giving their roles at least the old college try are Amber Gray (Riff Raff), Michaela Jaé Rodriguez (Columbia) and Harvey Guillén (Eddie/Dr. Scott), joined here by four stage helpers known as Phantoms and played by Boy Radio, Caleb Quezon, Larkin Reilly and Paul Soileau.
The company agreeably perambulates through Pinkleton’s competent though surprisingly uninventive staging of The Rocky Horror Show that churns up a decent amount of laughs and entertainment and yet offers little in the way of remarkable sex appeal or bizarre atmosphere. An inability or unwillingness to cue the audience into responding at least to a few of the show’s obvious gags sacrifices the potential communal satisfaction which the film’s ritual delivers. Reflecting upon this conventional effort, it’s too bad Roundabout no longer leases that funky basement theater space underneath an Eighth Avenue supermarket in Chelsea – now there was a properly seedy joint for a weird manifestation of The Rocky Horror Show.
The Rocky Horror Show opened April 23, 2026, at Studio 54 and runs through July 19. Tickets and information: roundabouttheatre.org
