LET’S DO THE TIME WARP
AGAIN AND AGAIN

A high-energy revival proves this
cult classic still knows how to party

Unless you grew up in a monastery, had a severely conservative upbringing, or are just too young, you’ve probably seen or at least heard of the drag-tastic cult classic The Rocky Horror Picture Show.

Maybe you even attended a midnight screening with fans shouting one-liners at the screen and dressing up as the characters. Rocky Horror nights follow the proud tradition of events like Mardi Gras or Halloween, where a certain level of raunchy behavior is expected and tolerated. Many musical theater fans may have gotten their first taste of gender nonconformity when they slipped on stockings or applied ruby-red lipstick for their first Rocky Horror night.

Released in 1975 and playing constantly in midnight showings everywhere, The Rocky Horror Picture Show (based on The Rocky Horror Show, first performed at London’s Royal Court Theatre in 1973) has been a cross-generational cult classic. Now it returns in a revival at the most fitting venue imaginable, the infamous Studio 54.

But in 2026, with annual Pride events in most major U.S. cities, television shows like Pose centering transgender characters, and RuPaul’s Drag Race still going strong, is there still room for this audacious homage to B-movies?

It turns out there absolutely is.

Brad and Janet are riding the post-wedding glow of some friends when Brad seizes the moment to propose. Soon after, their car breaks down, and they seek help at a nearby mansion. That is where things take a turn toward the bizarre as they are welcomed by the fabulous Frank-N-Furter and his house staff, including Riff Raff, Magenta, and Columbia. The evening spirals into a wild, hyper-sexual send-up of classic science fiction and horror B-movies from the 1930s through the early 1960s.

A palpable energy fills the theater as soon as the audience enters, and it surges when the lights dim for the opening number, “Science Fiction Double Feature.” It is hard not to expect the iconic floating red lips from the film, but Juliette Lewis, making her Broadway debut, delivers the number with gusto.

Other standouts include Luke Evans as Frank-N-Furter, who struts and stalks the stage as equal parts predator and patriarch. Evans is no stranger to singing and delivers “Sweet Transvestite” with swagger. Amber Gray sulks and simmers as the “loyal” Riff Raff, and as the first woman to play the role on Broadway brings a fresh edge to the character. Stephanie Hsu’s Janet charts a believable sexual awakening in “Touch-A Touch-A Touch-Me,” while Michaela Jaé Rodriguez’s Columbia pines for rock-and-roll rebel Eddie.

A clear show-stealer is Rachel Dratch as the narrator. She brings sharp comic timing and excellent crowd work while guiding the audience through the story and the Time Warp. Only a seasoned SNL veteran could handle the level of audience participation that comes her way, and she meets it head-on.

The set design by dots extends the extravagance beyond the stage, with silver mannequins, neon green tube lighting throughout the house, and aluminum-wrapped seats that evoke low-budget sci-fi films. The design captures the charm of the original film while embracing its own theatricality. Frank-N-Furter’s lab, eerie woods, and the mansion itself are realized with a playful sense of unreality.

Costumes by David I. Reynoso depart from the exact look of the film while preserving the essence of each character. Magenta reads as a maid, Riff Raff as a butler, Brad and Janet as buttoned-up 1950s innocents, and Frank-N-Furter appears in a bold, genderqueer ensemble complete with corset and fishnets. Hair and wig design by Alberto “Albee” Alvarado complements the overall aesthetic.

A romp like The Rocky Horror Show can easily spiral into chaos, but director Sam Pinkleton and choreographer Ani Taj keep things under control. Pinkleton maintains a steady hand, allowing the production to go big without losing its shape.

Another welcome update is the inclusive casting by Carrie Gardner and Stephen Kopel. With greater racial and gender diversity, the production feels aligned with the show’s themes and more reflective of the present moment.

Lascivious, loud, and unapologetically cheeky, The Rocky Horror Show delivers exactly what audiences want. It is packed with memorable songs, a cast fully committed to the tone, and effects that embrace their own campiness.

Put on something bold, grab a date and a drink, and get ready to do the Time Warp again.

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photos Joan Marcus

The Rocky Horror Show
Roundabout Theatre Company
Studio 54, New York City
ends on July 19, 2026
for tickets, call 212.719.1300 or visit Roundabout

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