“The Rocky Horror Show” Returns to Broadway in a Campy, Luke Evans-Led Revival That Plays It Too Safe

**Broadway’s New Take on ‘The Rocky Horror Show’: A Dazzling Revival with a Softened Edge**

The Roundabout Theatre Company has launched its much-anticipated revival of Richard O’Brien’s legendary musical, ‘The Rocky Horror Show’, at Studio 54 in New York City. Directed by Tony Award winner Sam Pinkleton, the production opened its doors on April 23 and aims to captivate modern audiences while leaning heavily into the show’s campy humour and notable performances.

At the heart of this reimagined experience is Luke Evans, making his Broadway debut as the enigmatic Dr. Frank-N-Furter. Known for his roles in major film franchises such as ‘Fast & Furious’ and ‘The Hobbit’, Evans presents a portrayal that is undeniably playful yet arguably lacks the provocative edge that the role traditionally demands. Whilst he immerses himself in the eccentric character’s outlandish extravagant attire—complete with fishnet stockings and a leather corset—there is a certain lightness to his interpretation. It seems he engages more with the fun of Frank than with the chaotic menace that underlies the character’s nature.

Despite Evans’s charismatic performance, the production falters in capturing the unsettling essence that has kept ‘The Rocky Horror Show’ alive for decades. His interactions with other characters, including Brad and Janet played by Andrew Durand and Stephanie Hsu, respectively, come off as teasing but fail to instil any genuine sense of peril. For example, a pivotal moment involving Frank and another character, Eddie, played by Harvey Guillén, lacks the shock factor inherent to the narrative and winds up feeling more like a scripted gag than a horrifying climax.

Audience engagement, a staple of the ‘Rocky Horror’ experience, also appears subdued in this revival. The original staging, celebrated for its ability to provoke spirited reactions from theatre-goers, has seen a significant shift with this rendition. In an effort to curtail chaos, even signage in the lobby discourages audience participation. Evans, in a recent interview, noted that prior disruptions during previews led to the decision to temper the audience connection, suggesting a more restrained atmosphere for this iteration.

This shift creates an uncomfortable disjointed dynamic; some audience members attempt to engage with the cast through shouted comments, leading to awkward pauses from the stage as performers struggle to incorporate the inconsistent participation. The production risks alienating fans who relish the interactive component of the performance while leaving newcomers unsure of how to fully engage with the experience.

Nevertheless, beyond the somewhat muted interaction, the cast as a whole offers a vibrant showcase of diverse performances, each bringing unique interpretations to their roles. Juliette Lewis, in her Broadway debut, shines in her dual role as both the whimsical cinema usher and the character Magenta, creating an enticing on-stage presence that draws viewers in. Her energy sets the tone for a show that, while lacking in spontaneity, delivers plenty of individual flair.

Amber Gray, stepping into the role of Riff Raff, offers a fascinating and eerie spin on the classic character, introducing new dimensions to the narrative through her gender-flipped portrayal. Meanwhile, Michaela Jaé Rodriguez as Columbia explores a range of emotions, bouncing between lively exuberance and raw vulnerability, providing depth to her character’s journey.

Stephanie Hsu stands out as Janet, showcasing her talents through an arc of self-discovery that captures the essence of breaking free from societal expectations. Her powerful vocals and comic timing are certainly among the highlights of this production, as she navigates her character’s transformation with finesse.

Andrew Durand, portraying Brad, complements Hsu’s Janet with his grounded yet humorous take on a character often seen as the antithesis of the show’s wildness. His understated performance juxtaposes nicely against the exuberance of the other characters, adding layers to the overall narrative.

Even with the production’s attempts to harness the chemistry that typically drives ‘The Rocky Horror Show’, it doesn’t come close to the exhilarating chaos that has defined its legacy. In fact, as it stands, while the over-the-top costumes and impressive set design contribute visual allure, the production feels weighed down by its uncertainty—missing the transgressive thrill that initially made the show an iconic success.

In conclusion, Sam Pinkleton’s revival offers a visually stunning experience filled with talented performers, yet it does so at the cost of the raw, edgy spirit that has captivated audiences for generations. As ‘The Rocky Horror Show’ runs through June 21, the show remains a testament to the enduring appeal of its musicality and campiness, albeit with a slightly subdued heart. The excitement may remain, yet for loyal fans longing for the boundary-breaking essence of the original, this rendition falls short.