The Rocky Horror Show, the campy 1973 musical inspired by sci-fi and horror B-movies, has returned to Broadway at Studio 54. Despite a star-studded cast including Luke Evans, Juliette Lewis, and Rachel Dratch, the production struggles with energy and coherence, offering only fleeting moments of genuine fun.
A Legacy Overshadowed by Film
Richard O'Brien's musical has lived a long and fruitful life, but its 1975 film adaptation, the longest-running theatrical release in US history, has overshadowed the stage show. The film's song selection, plotting, and performances from Tim Curry and Susan Sarandon remain definitive, making a stage revival a challenging endeavor.
Star Cast and High Expectations
The revival's announcement generated excitement, particularly around its cast. Luke Evans, known for his West End and film roles, plays Frank-N-Furter, the role made famous by Curry. Oscar nominee Stephanie Hsu plays Janet, Juliette Lewis is Magenta, and Rachel Dratch is the Narrator. The production is directed by Sam Pinkleton, who recently earned acclaim for the queer comedy Oh, Mary!
Promising Start but Sagging Energy
The show opens with promise: Lewis delivers a wobbly but charming rendition of Science Fiction Double Feature, and Hsu and Andrew Durand (as Brad) carry the plot with winsome energy. Pinkleton's analogue stagecraft, including hands poking from curtains and miniature models of the mansion, telegraphs merry silliness. However, the energy soon sags. The crispness of Oh, Mary! is absent, replaced by aimless shuffling. A professional production should be tighter and more engaging.
Highlights and Low Points
Evans, though saddled with a limp wig and unsteady dialogue delivery, comes alive in songs like I'm Going Home, where his Elton John-like tenor shines. Dratch is a hoot as the Narrator, bantering with audience shout-outs. However, Harvey Guillén as Eddie is barely audible during Hot Patootie, a number staged in confusion. Later, as Dr. Scott, he fares better, but Pinkleton's handling of the plot becomes incoherent.
Accessibility and Audience Experience
The production seems to assume too much familiarity with the material. While devoted fans enjoyed the show, others—including a family with two adolescents who left after act one—appeared lost. A revival should mint new fans, not merely rehash memories. At hundreds of dollars a seat, clarity is essential to ensure everyone has a good time.
