Review: The Rocky Horror Show

Review of the Saturday, March 28, 2006 preview performance at Studio 54 in New York City. A Roundabout Theatre Company production. Starring Luke Evans, Rachel Dratch, Andrew Durand, Amber Gray, Harvey Guillén, Stephanie Hsu, Juliette Lewis, Josh Rivera and Michaela Jaé Rodriguez. Book, music and lyrics by Richard O'Brien. Scenic design by dots. Costume design by David I. Reynoso. Lighting design by Jane Cox. Sound design by Brian Ronan. Intimacy coordinator Ann James. Choreography by Ani Taj. Direction by Sam Pinkleton. 2 hours including one intermission.

I suppose I should note, as director Sam Pinkleton did in his pre-curtain speech, that we saw the third-ever preview of the new Broadway revival of The Rocky Horror Show. A lot may have changed since we saw it nearly a month ago. To be blunt, I hope so. As it stood at the time, it was largely a boring mess of a show.

While I can appreciate the production's desire to return to the stage show's original campy over-the-top silliness and not all that comes along with the more successful cult history of the film, posting signs that say "don't be an asshole" and an essay in The New York Times detailing all the reasons why they don't really want the audience to participate does not foster much good will with audiences. At our performance, people called out with gusto at the start, but as the show progressed, it petered out until there was virtually none. How was this achieved? At first there were small pauses to allow for key lines to be shouted at the cast, then, increasingly, lines were delivered to cut us off until we collectively just gave up. I really enjoyed the 2001 revival, which not only embraced audience participation, they encouraged it! Between the narrator (the legendary Dick Cavett) admonishing us for not being loud enough, and the "props kit" they actually sold at the merch stand, an immersive experience made it a ton of fun. It also helped gloss over the shortcomings of Richard O'Brien's book and score. An interactive experience not only makes it less obvious just how bad it all is, it celebrates it!

A straightforward presentation lets everything show - the good, the bad, the ugly. The good news is that there were a few things that made the evening at least tolerable. First, there is the scenic design by dots, who have added elements to the hallowed walls of Studio 54, with string lights that cast the whole place in sickening green hue. There are long strands of construction ventilation tubing that snake around the walls and over the boxes where the orchestra is seated. This combination of rustic movie palace aesthetic (there is a false proscenium with broken statuary and fancy faded gold framing and a velvet curtain that has seen better days) and Frankenstein's laboratory fit both the framing device and sci-fi movie motif of the show. That said, the scenery revealed behind that curtain is somehow both too much and not enough, cheap looking but not in a purposeful way, but more like they ran out of money. Throughout the house and the entire performance, Jane Cox's lighting design is spot on and evocative, while David I. Reynoso's costume design manages to embrace what we've come to expect, while making it new and fresh. It works especially well in Frank-N-Furter's costumes that successfully distance this new take from the iconic outfits worn by Tim Curry. The most glaring and less successful change is in the costumes designed for Rocky, who now wears a wrestling singlet with dark lines that suggest he was pieced together instead of the provocative Speedo-like garment traditionally worn by the character. The new version is dramatically sound, but leaves one wondering why he isn't a little over the top sexy.

  

Realizing that at the point we saw it, it was still finding its footing, Pinkelton's direction is shocking in its relative conventionality (read: uninspired), there are a few moments that hint at what could have been. The sexual assault scenes between Frank and Brad and Frank and Janet are crazy, and dare I say fun??!! (Kudos to intimacy coordinator Ann James!) And Frank-N-Furter's entrance on a Studio 54 inspired set piece was hilarious and, well, inspired. To be completely honest, I only vaguely recall there being any real choreography (by Ani Taj), so that may be a good or bad thing depending on your point of view - A Chorus Line this isn't. On the other hand, "The Time Warp" should be something I remember vividly, right?

The best part of the evening was (most of) the cast, which included an ensemble of four "phantoms" who occasionally added to the attempted mayhem, but more often than not seemed in the way. Rachel Dratch used her deadpan Rachel Dratch persona to mixed effect as the narrator. One hopes as the run continues, she's allowed to loosen up just a tad and be a little more...Rachel Dratch. As Columbia, one of the assistants, Michaela Jai Rodriguez seems to be struggling with find her place in this, and is not aided at all by the shrill speaking and singing voice she's adopted for this. I was hoping for much more and better. Speaking of which, Harvey Guillén in the dual roles of Eddie and Dr. Scott, in both parts, his affected speaking styles render a good deal of his dialogue unintelligible, and he is the one actor I might say is too over the top. He is trying too hard, and he isn't doing us or himself any favors.

Much more successful is the scenery chewing fun that Juliette Lewis is having as Magenta, another assistant. She is quirky and funny, with just the right amount of danger. Even though she was ailing (her singing voice was a tad shaky), her performance was solid and well on its way to perfection. Similarly, the always amazing Amber Grey was a creepy riot as Riff Raff - loved the blonde braids and the stalking gait. I wish - as I always do with her - that she had more to do. As square peg Janet, Stephanie Hsu grew on me as the performance went on. At first, she seemed to be trying to get her footing, but as Janet became more...interesting, so did she. ("Touch-a, Touch-a, Touch Me" is a highlight.) I can only imagine how great she'll be now. The handsome Andrew Durand was pretty terrific as nerdy Brad, and reminded me of his turn in Head Over Heels as he becomes more aware of his characters' hidden sexuality. Like Hsu, I can only imagine how great he will be by opening night. (Also loved his blink-and-you'll-miss-it Dead Outlaw Easter egg!) As Rocky, Josh Rivera is fine, and does what he can with an under-directed role. He is unrecognizable from his most famous role, Chino in Spielberg's West Side Story.

The find of the production - and the only reason I'd ever consider seeing this again - is the glorious Broadway debut of Luke Evans, who as Frank-N-Furter, leads the company with the very best style and flair of any great leading man. He can sing, dance and deliver the zaniest of lines with such finesse you get lost in his performance. And boy can he make an entrance, which is a great thing since virtually every time he comes into a scene it is a star entrance! And everything you may have heard (or seen) about his finale costume is definitely not fake news! Let us all hope that this is just the first in a long (pardon the pun) line of Broadway performances. Bravo, sir!

More disappointing than satisfying, I had high hopes for a revival of a show I have such fond memories of, and directed by the "fun" director of the day. If only this revival was actually as fun as it could be.

📸: J. Marcus

Review: Beaches

Review of the Wednesday, April 8, 2026 matinee preview performance at the Majestic Theatre in New York City. Starring Jessica Vosk, Kelli Barrett, Samantha Schwartz, Joelle Gully, Sarah Bockel, Harper Burns, Ben Jacoby, Emma Ogea, Bailey Ryon, Brent Thiessen, Lael Van Keuren, and Zurin Villanueva. Book by Iris Rainer Dart and Thom Thomas. Music by Mike Stoller. Lyrics by Iris Rainer Dart. Based on the novel Beaches by Iris Rainer Dart. Scenic design by James Noone. Costume design by Tracy Christensen. Lighting design by Ken Billington. Projection design by David Bengali. Sound design by Kai Harada. Orchestrations by Charlie Rosen. Choreography by Jennifer Rias. Co-direction by Matt Cowart. Direction by Lonny Price. 2 hours 20 minutes including one intermission.

For me, Beaches has committed the worst sin in the musical theater. I didn't like it or hate it enough to care about it. It left me feeling nothing. And, frankly, that surprises me. Anyone who knows me knows I'm a crier. Happy events? Tears of joy. Overcoming a problem? Years of empathy and relief. And death of a sympathetic character? A dripping mess with an ugly cry face. For context, every time I hear the song "Wind Beneath My Wings" I get misty at the memory of the film. That's something when you consider that that movie came out in 1988!

Understand that everything and everyone involved in this new stage version is at least competent. But when you consider that this is a property with a wildly successful novel and two film versions, you'd think that all involved would bring their "A" game and really do something special with it, right? It is all the more stupefying when one considers that book writer/lyricist is Iris Rainer Dart, the same woman who wrote the novel. Instead, we get a script full of platitudes, sappy one-liners and a completely overused trope (more on that later). The music, largely pleasant, but completely forgettable is written by music legend Mike Stoller of "On Broadway" and Smokey Joe's Cafe fame. (Neither writer is associated with "Wind Beneath My Wings.") In short, the script and songs lack depth and even the tiniest bite to it. It isn't even good enough to be a Hallmark movie.

Obviously designed for its upcoming tour, the production looks cheap and way too little for the Majestic stage. The set (designed by James Noone) is mostly a series of panels that move on and off at quite a clip, not that you really need to look at it any more than necessary other than to register what at location we are.There is one baffling scenic element at the very last minute that would laughable if it wasn't so potentially dangerous to the conductor - I'm not spoiling that. David Bengali's uninspired projections are more reminiscent of Clip Art collages than anything Broadway caliber, which is a shame, as there was the potential for them to add something meaningful to this memory play musical. The costumes by Tracy Christensen are little more than functional, not revealing much beyond the esoteric traits of the characters. At one point, Little Cee Cee Bloom talks about making too much noise with her tap shoes. She isn't wearing taps. Why? The less said about the rest, the better. Kai Harada, as usual, has provided pristine sound design. It is no surprise that the one design element that is a step above the rest is the lighting, designed by ten-time Tony nominee (one time winner for Chicago) Ken Billington, whose color washes create more mood and feeling that rest of the production put together.

The small cast (a touring cost saving measure, I'm sure) features a few ensemblists in multiple roles, identifiable as different characters more by their by-the-numbers costumes than any remarkable acting. To be fair, the material they are given doesn't really allow for much remark-ability. 

The two male characters, gamely played by Ben Jacoby and Brent Thiessen, do the best they can with the thinly written husbands of the two ladies central to the story. Both are saddled with dialogue that teeters dangerously on the brink of misandry, and are little more than stereotypes. Thiesson did get the biggest reaction from the mostly female audience when he goes shirtless.

Dart's book (of the show) relies on what has become a trope in modern musicals - the central characters played by three actors at different stages of life, often appearing at the same time to add some sort of insight and/or emotional heft. It was done best by Fun Home, and only occasionally successfully since. Here, the teen Cee Cee and Bertie are around just enough to be noticeable, but not enough to be remotely necessary. Neither actress, Bailey Ryon and Emma Ogea, respectively, are to blame as they can only do what the script requires. More necessary and much better written, Little Cee Cee (Samantha Schwartz) and Little Bertie (Joelle Cully at our performance) have great chemistry and do an excellent job at not overplaying or being cloying child actors - the one emotional button this show doesn't try to push.

Both Jessica Vosk (Cee Cee) and Kelli Barrett (Bertie) are doing the very best they can with what they have been given, not to mention overcoming the inevitable comparisons to Bette Midler and Barbara Hershey. Neither Vosk nor Barrett are as good as their iconic predecessors, but it's not their fault, given the version they are working with. In fact, both are too good for this show.

That it took two people to direct this is maybe the biggest shock of the whole enterprise. Lonny Price and Matt Cowart offer little in the way of creativity or even a hint of emotional heft. You can tell the moments that are meant to tug at our hearts from a mile off, and yet none of them really register. And the staging itself is little more the walking on and walking off with a lot of standing around in between. The choreography by Jennifer Rias, such as it is, is more of the same but with running and hand holding. 

As for the big number everyone came to see, "Wind Beneath My Wings," it may be the biggest disappointment of the whole thing. Staged without any context (a drop suggests it is Cee Cee's TV show, but then the younger versions of Cee Cee start it and don't leave the stage, so who knows?) the song could have had much more impact. Why not have Cee Cee sing it to a dying Bertie, surrounded by all three ages of each character? That would have been at least interesting. As staged, it feels like it was tacked on to appease the fans of the film. 

I expected to be bawling at the end. Not a single tear. And judging by the lack of sniffles around me, I have to guess that I'm not the only one that was disappointed. 

📸: M. Franklin  

The JKTS Broadway Fan Playlist 2022 - 2023 Season

The JKTS Broadway Fan Playlist:

2022 - 2023 Season

The Playlist Revealed!

Thank you all for participating!  Here is your playlist (in order of their Broadway opening)!

"Moments in the Woods"

"Molasses to Rum"

"Morocco"

"Great Adventure"

"Roar"

"Amerika (Checkmate)"

"Forever In Blue Jeans"

"Let's Be Bad"

"This Is Not Over Yet"

"Sing! Sing! Sing!

"Only You, Lonely You"

"The Ballad of Sweeney Todd"

"Independently Owned"

"If Ever I Would Leave You"

"New York, New York"

Broadway Musical Logos: 2025-2026 Season: Schmigadoon!

 Broadway Musical Logos:

2025-2026 Season: 

Schmigadoon!

What I love about this logo is how true it is to the quaint Broadway traditions that Schmigadoon! so lovingly (bitingly?) sends up. It is bright and colorful. Heck, it's pretty!

The title, mounted on a ribbon banner, is in a font that immediately calls to mind the olden days - quaint turn of the last century. The yellow-orange color of the lettering, along with cream colored ribbon is definitely eye-catching, especially against the vibrant sky blue background.

The impossibly perfect background is augmented with fluffy, sun-tinged clouds over a perfectly manicured vibrant green grassy hill. And the key art's central image couldn't be more Americana if it tried! A picnic basket, complete with a red gingham napkin is about as wholesome as a Golden Age musical. 

It's the contents of that basket that intrigued and sells the show, though. Why would a modern day couple be running away from such an idyllic scene? A quaint town with the town folk gathered in the Square, the sun shining down, the bright white church looming large, dead center...and yet they are on the run!

Though I think the producers might be banking a little too heavily on the popularity of the title (Apple TV cancelled the show, and just how many of its 45 million subscribers want to shell out even more money for something they already paid to see?), enough theater lovers will probably help it get through its limited Broadway run.

The logo might just help, too.

Grade: A-

From Where We Sat: The Majestic Theatre

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The Majestic Theatre

The Theatre: 

• 247 W. 44th Street
• Current capacity: 1617 seats
• Orchestra, Front Mezzanine and Rear Mezzanine seating

What We Saw There:

• Beaches (review HERE)

Where We Sat: 

• We sat in Orchestra Left Row P, Seats 7 & 9. The seating in this theater has tighter leg room. The seats themselves are small, close together and moderately uncomfortable and in new condition.

What We Paid: 

• $100.00 (Show Discount) These seats, at the Box Office, are $149.00 each. 

The Location: 

• Upon entering the theater, we were directed straight ahead to Aisle 2. We entered in the middle of the orchestra section. There are seats down to the stage and up from that point. We had to go up 4 steps.
• Row P is the fourth row from the break aisle, and 16 rows from the stage.

Seat Amenities and Exiting the Theatre:

• These seats are still new since the renovation following Phantom's departure, and the seats themselves are comfortable. That said, they apparently went for seat quantity over patron comfort. They are very tight. Further, there is not much legroom.
• The rows of this part of the orchestra are stadium style and there was no trouble seeing in front of us. The seats are far enough back that the stage is fully visible.  
• Exiting the theatre is not the easiest, though it depends on how you choose to exit. One way would require going back the way you enter, though for part of that way you are going against the flow of traffic, which mostly seems intent on going the way we chose to exit. We opted to cut across an aisle all the way across to an open door onto 44th Street.  
• We were out of the theater and on our way in about 8-10 minutes post curtain call.

So how was the view*?

• The height of the deck is a non-issue from this point. 
• These seats were an excellent view, though when the actors were further upstage, facial expressions were less clear.
• Of note with this production as designed, people seated in the first few rows on the sides have an obstructed view, as there are sand dunes with sea grass on the sides and all the way down to the edge of the stage. Further, I have to imagine that all of the orchestra seating in the first 3 or 4 rows may have some trouble seeing all the way upstage - a fair amount of action takes place up there - as there is an "upper deck" to the stage, about 4 stair steps up. The stage itself is relatively high, too. I would not recommend sitting too close.

The bottom line:

• I would probably get these seats again. Slight discomfort in exchange for a full, unobstructed view is worth it. (I might not choose them for a show the length of Les Miserables or Angels in America.)

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The Majestic Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the lower orchestra section seating offers slightly more leg room, while the back part of the orchestra section offers a fuller view. The front mezzanine offers a full view that doesn't feel very far away. The drawback up there is the stairs going up. They are steep! The rear mezzanine offers a fair view, though it seems farther away mostly due to the rake of that seating section. They are, however, usually budget friendly.

 

Broadway Games: A Great State Fair

Broadway Games:

A Great State Fair 

Thirty years ago, the stage adaptation of Rodgers and Hammerstein's film State Fair opened on Broadway. It was a show I really enjoyed - the cast was amazing, the score was beautifully rendered, and the production was old-fashioned and lavish in all the right ways. How much do you know about this show?

1. What state fair is the subject of State Fair?

    A. Kansas    B. Nebraska    C. Ohio    D. Iowa

2. In what year does State Fair take place?

    A. 1846    B. 1946    C. 1996    D. 1876

3. What is the name of the family that goes to the state fair?

    A. Frakes    B. Williams    C. Franklin    D. Davidson

4. Margy hopes to get a prize for her...

    A. strawberry preserves    B. blueberry pie    

    C. canned peaches            D. pickles

5. The family has entered which animal in the fair for judging?

    A. Their prized cow        B. Their prized bull

    C. Their prized pig         D. Their prized horse

6. TRUE or FALSE: State Fair was considered a revival at the Tony Awards.

7. TRUE or FALSE: Rodgers and Hammerstein were nominated for a Best Score Tony Award.

8. Which original A Chorus Line star was a featured actress in State Fair?

    A. Donna McKechnie    B. Priscilla Lopez

    C. Kelly Bishop             D. Baayork Lee

9. The woman who played the mother in State Fair was married in real life to...

    A. Frank Sinatra            B. John Davidson

    C. Bing Crosby             D. Andy Williams

10. Ben Wright played the son in State Fair. What role is he probably best known for playing on Broadway?

    A. Young Buddy in the first revival of Follies

    B. Jack in Into the Woods

    C. Tobias in Sweeney Todd

    D. State Fair was his Broadway debut

11. Which song is from State Fair?

    A. "Younger Than Spring Time"

    B. "June is Bustin' Out All Over"

    C. "It Might As Well Be Spring"

    D. "The Lonely Goatherd"

12. The same season State Fair opened, all of these musicals opened EXCEPT:

    A. Rent    B. Swinging on a Star    C. Victor/Victoria    D. Big

13. State Fair played in which theater?

    A. The Barrymore        B. The Broadhurst

    C. The Music Box        D. The Imperial

14. One of the stars of State Fair was Andrea McArdle. She has appeared on Broadway in all of the following EXCEPT:

    A. Starlight Express        B. Cabaret

    D. Annie                           D. Beauty and the Beast

15. TRUE or FALSE: State Fair arrived on Broadway following a National Tour.

STOP SCROLLING!

(unless you are ready to see the answers!)

1. What state fair is the subject of State Fair?

    D. Iowa

2. In what year does State Fair take place?

    B. 1946

3. What is the name of the family that goes to the state fair?

    A. Frakes

4. Margy hopes to get a prize for her...

    D. pickles

5. The family has entered which animal in the fair for judging?

    C. Their prized pig

6. FALSE: State Fair was considered a revival at the Tony Awards.

7. TRUE: Rodgers and Hammerstein were nominated for a Best Score Tony Award.

8. Which original A Chorus Line star was a featured actress in State Fair?

    A. Donna McKechnie 

9. The woman who played the mother in State Fair was married in real life to...

    C. Bing Crosby

10. Ben Wright played the son in State Fair. What role is he probably best known for playing on Broadway?

    B. Jack in Into the Woods

11. Which song is from State Fair?

    C. "It Might As Well Be Spring"

12. The same season State Fair opened, all of these musicals opened EXCEPT:

   B. Swinging on a Star    

13. State Fair played in which theater?

    C. The Music Box      

14. One of the stars of State Fair was Andrea McArdle. She has appeared on Broadway in all of the following EXCEPT:

    B. Cabaret

15. TRUE: State Fair arrived on Broadway following a National Tour.

From Where We Sat: Studio 54

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

Studio 54

The Theatre: 

• 254 W. 54th Street
• Current capacity: 990 seats
• Orchestra, Front and Rear Mezzanine seating

What We Saw There:

• The Rocky Horror Show (review HERE)

Where We Sat: 

• We sat in Orchestra Right Row H, Seats 10 & 12. The seating in this theater has above average leg room. The seats themselves were comfortable and in average condition.

What We Paid: 

• $129.00 (Show Discount) These seats, at the Box Office, are $179.00 each. 

The Location: 

• Upon entering the theater, we were directed straight ahead to Aisle 3. Our seats were roughly two-thirds of the way down the far side aisle.
• Row H is the eighth row from the stage on the house right side section.

Seat Amenities and Exiting the Theatre:

• These seats are fairly well maintained for their age and are comfortable.
• The rows of the orchestra are on a fair rake, and it was not difficult to see in front of us. The seats are far enough back that the stage is fully visible.  
• Exiting the theatre is particularly easy and simple from here. Back up the aisle, a quick left, and immediately out onto 53rd Street.  
• We were out of the theater and on our way in less than 3 minutes post curtain call.

So how was the view*?

• The height of the deck is a non-issue as the stage is very low. 
• The seats in Row H allowed an excellent view, though I couldn't see the upstage left corner. I don't really feel I missed much there, as most of the action takes place downstage.

The bottom line:

• I would definitely get these seats again, though maybe a couple of seats over toward center.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at Studio 54:

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the orchestra section seating offers much more leg room, while even the back row of the rear mezzanine offers a full view that feels pretty far away. An advantage to the mezzanine is that the seats are virtually stadium style so seeing over and/or around people in front of you is mostly a non-issue. 
• The legroom in the rear mezzanine is literally painful. Those seats are more wallet-friendly. That said, the very first row of the rear mezzanine section is great: excellent view and plenty of legroom, with only a rail curtain in front of you. If I can't get decently priced orchestra seats, those are my favorites.