The world’s favourite adult pantomime returns to Broadway in a splashy, starry new revival.

Note: having attended an early preview performance, this review is more of a general description of the production rather than a full critique.

On a roll from the smash hit success of Oh, Mary!, director Sam Pinkleton has assembled an impressively starry cast for the production; better yet, they are all perfectly well suited and more than capable of their roles. No cringey stunt casting here!

After more than 50 years, The Rocky Horror Show is one of musical theatre’s most widely known titles, largely thanks to the iconic 1975 cult film. Basically all theatregoers are readily familiar with the book, music, and lyrics by Richard O’Brien. Rather than capitalise on that familiarity with the text, producers are currently being over-cautious by proactively warning against audience involvement. Having seen the electric atmosphere conjured up at Cats: The Jellicle Ball, where colourful swooshy fans are distributed to incoming patrons, this may turn out to be a mistake by removing the fun sense of engagement that has become a trademark of midnight screenings of the film. 

That said, there is abundant fun to be enjoyed from the stage, with Pinkleton and his team wisely respecting O’Brien’s material and allowing its wickedly subversive joy to speak for itself. The characterful performances are expertly played by a cohesive ensemble cast.

One likely challenge for Pinkleton was finding a way to recreate the original sexual shocks for audiences who are both familiar with the show itself and have pretty much seen everything on streaming tv. He has fun with the saucy pair of scenes that open act two, where Frank-N-Furter sneakily sleeps with Janet and then Brad. One authentic and rather outrageous “shock” (no spoilers here) ensues when Janet later uses the life-sized monitor to observe Brad and Frank. 

Music supervisor Kris Kukul has economically prepared a tight set of five musicians to play the much-loved light rock score. Conductor Jane Cardona plays keyboard, which has apparently taken five people to program, ensuring that this covers a full, rich part of the overall sound. 

Scenic design by the collective known as dots appears to have had a generous budget and yet it is still created with a deliciously creaky B-movie aesthetic. Along with the lighting of Jane Cox, colourful design elements snake all the way around the auditorium, giving a buzzy haunted house vibe. 

The costume design of David I. Reynoso and wig design of Alberto “Albee” Alvarado present the well known characters in fresh yet clearly recognisable looks. Actors playing dual roles are very well served in regard to creating distinct characterisations with completely different looks. 

Much as the performance is a team effort, the work of Luke Evans as diabolical doctor Frank-N-Furter is a clear standout. Not only does Evans tower in height over every other actor, but his rich baritone voice has a delightfully plummy tone and he completely throws himself into the vicious traits of the petty, spoilt character. Evans ensures that Frank’s ultimate breakdown is fully realised, pouring out all of the character’s remaining emotional energy in 11 o’clock number “I’m Going Home.” 

Adorable in cozy floral smoking jacket, Rachel Dratch cultivates a devilish straight face as the intrusive Narrator. 

Andrew Durand progressively brings out the twinkle in the eye of square cut Brad. Durand nails the one “straight” song of the show with a beautiful rendition of little heard ballad “Once in a While.” Stephanie Hsu takes Janet on a wild journey from prim puritan to sexually confident young woman. 

Amber Gray is completely unrecognisable as Riff Raff, a role still presented as male. Gray imbues the role with sinister menace, readily segueing to Riff Raff’s alien appearance. Juliette Lewis starts slowly as the Usherette and then brings a daffy, perky presence to Magenta. Michaela Jaé Rodriguez is something of a glamazon goddess as troubled good time girl Columbia. 

Harvey Guillén delights in the paired roles of demonic delivery boy Eddie and well meaning scientist Dr Scott, who may or many not have a hidden European background. Hispanic himbo Josh Rivera is a new age Rocky, buff and braod, with his hair tipped blonde to match his creator’s requirements. 

The ensemble, as usual, comprises of four “Phantoms,” a team of triple threat performers who are kept productively busy throughout the show. 

Already a great night out, The Rocky Horror Show may become even more enjoyable if audience engagement is suitably cultivated. 

The Rocky Horror Show was reviewed 8pm Thursday 2 April 2026 at Studio 54, New York where it plays until 21 June 2026. For tickets, click here.

Curtain call photos: Simon Parris