The Friday 5: Favorite Current Broadway Bit Players

5 Favorite Current Broadway Bit Players

They aren't above the title, and they aren't really supporting characters. But the shows they are in just wouldn't be the same without them! They are on. Then they are off. Then they blend back into the ensemble. Short time. Big impact. Here are 5 that we love that are currently brightening up the Broadway boards.

5. The Alien Showgirls from The Rocky Horror Show

Played by The Phantoms - What do you get when you cross a Vegas showgirl outfit with a one-eyed alien? A sign toting late night sci-fi hostess! They carry signs that warn us not to be assholes, and even told some audiences it was Knicks in 5! Just a first in a long line of zany costumes in a crazy revival. You may or may not agree with their signs say, but don't shoot the messenger!

4. Henry Ford from Ragtime

Played by Jason Forbach - He gets one of the catchier songs in the score - one of the few I wish was a bit longer. I love how it's the perfect sound for an assembly line, and has all the pompous bluster of an arrogant American. A small gem of a part, in a tapestry full of them.

3. The Sax Guy from The Lost Boys

Played by Cameron Loyal - This guy is an icon from the movie, and I can't imagine the musical without him. Thank goodness I didn't have to! The body, the oil, the smooth jazz... is it any wonder Sam has a sexual awakening when he sees him! And he sure can play!

2. Pete from Schmigadoon!

Played by Jess LeProtto - The goofy, clumsy guy who seems to appear in every Golden Age musical would naturally live in Schmigadoon, too, right? And in the hands of Jess, he's charming, sweet and pops up in fun and unexpected ways. For all his clumsiness, isn't it great that he can dance so well?

1. Sillabub from Cats: The Jellicle Ball

Played by Teddy Wilson, Jr. - This adaptation of the classic musical really clarified and deepened a lot of things in an otherwise light as a feather plot. One of the nicest surprises and most heartfelt things of that ilk is the sweet kitten Sillabub, who looks to Grizabella as a role model and mentor. Not only does it give the kitty more to do, but adds some weight to Grizabella's backstory; best of all is the deepening of Sillabub's verses in "Memory." Oh, how I'll miss this revival...

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

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.

Broadway Musical Logos: 2025-2026 Season: The Rocky Horror Show

 Broadway Musical Logos:

2025-2026 Season: 

The Rocky Horror Show

It's a shame when a beloved title like The Rocky Horror Show gets such uninspired treatment. It's even more of a shame when that title has so much potential to have really creative key art. I mean, let's be honest, Roundabout Theatre Company never really puts all that much effort into their show logos. Most call to mind early Word Art, and this is no exception.

I don't know that much about billing requirements, but in recent Broadway titular history, it seems that the classics get "re-titled" to include the author's name, i.e. Edward Albee's Three Tall Women and Athur Miller's All My Sons. But does this perennial flop deserve that kind of treatment? No disrespect to Mr. O'Brien, but with one show under his belt (and a flop at that), does he belong as part of the title? I'd say not. Perhaps it is just irony that I'm missing. At least I can understand having director Sam Pinkleton's name attached everywhere you see the logo. He is the current man of the quirky hour, what with Oh, Mary! still packing them in a few blocks away.

The title treatment, font-wise, is is no more than what one might expect. Blood red with drips on some of the letters, the most creative thing about the words is that they used a Word Art ripple effect on them. When the most interesting thing about the key art is the holey fishnet stockings back ground, you know something is seriously lacking. And even then, you'd need to know that the main character, Frank-N-Furter, wears fishnets for it to make sense.

There is something to be said, though, for the way the cast - when included with the logo - is pictured in a neon colorized series of head shots. I like that it makes them stand out and catches the eye. Otherwise, I probably wouldn't pay attention to it.

Grade: D-

Friday 5: 5 Female Performances to Look Forward to This Spring

5 Female Performances

to Look Forward to This Spring

Just like last week's picks for male performances (HERE), the hardest part of today's Friday 5 was narrowing down to just 5 performances! There's quite a mix here. A favorite performer, a couple of exciting debuts and a pair that I'm excited to finally see after years of missing them!

McKenzie Kurtz (Betsy - Schmigadoon!)

I absolutely adored her star turn as the meanest Heather in Heathers: The Musical. So I know she's terrific at dark humor and satire. Now I know exactly nothing about Schmigadoon! or her part in it, but if those crazy ads are any indication, it looks like she's great at parody and innuendo, too. I can't wait to find out!

Juliette Lewis (Magenta - The Rocky Horror Show)

I've been a fan of Ms. Lewis for years. She is a quirky queen! My favorite performance of hers was in the touching film, The Other Sister. I can only imagine how quirky and fun she will be as Magenta in Rocky Horror! I expect her to be fully committed and exciting in her Broadway debut!

Marla Mindelle (Celine Dion - Titanique)

It has been several years since I've enjoyed the comedy and musical stylings of Ms. Mindelle. Memorable in both Rodgers + Hammerstein's Cinderella (as a wicked step sister!) and Sister Act (as novice Mary Robert!), I'm excited to see her perform again, but I am so thrilled to see her acclaimed show as creator and writer of the show. It's wonderful when people you admire have all their dreams come true, isn't it?

"Tempress" Chastity Moore (Grizabella - Cats: The Jellicle Ball)

One of the great musical roles, Grizabella doesn't get much stage time, but what an impact! Some great ladies have taken on the Glamour Cat, and I have no doubt Ms. Moore will be brilliant! I'm especially looking forward to see how this kitty's fate will play out in this Ballroom take on the Broadway classic. And I hear "Tempress" is already an icon. We love an icon.

Jessica Vosk (Cee Cee Bloom - Beaches)

Ms. Vosk is one of those actresses I've heard about for years, but have somehow always managed to miss. For that reason alone, she belongs on this list. But what I'm looking forward to seeing is just how she will fill the shoes of the creator of the role, Bette Midler. It'll be tough - Midler was terrific - but I never underestimate the potential of a Broadway diva in the making!

Friday 5: 5 Male Musical Performances to Look Forward To This Spring

Male Performances

to Look Forward to This Spring

The wonderful things about this list is that I didn't have to really stretch to pick 5. In fact, I narrowed the list down from 15! The 5 I settled on includes a full range - from a Broadway debut and a young actor growing up in front of our eyes to an emsemblist now in a featured roles and a long time favorite back after a few years. (And no worries, the ladies will get their due next week.) 

Max Clayton (Danny Bailey - Schmigadoon!)

In a cast list that reads like a who's who of current Broadway regulars, Max stands out to me as a performer I've enjoyed many times in terrific ensembles (Moulin Rouge!, Hello, Dolly!), and is now creating a supporting characters all his own. (We missed him when he went on for Hugh Jackman in The Music Man.) I wish him well, and look forward to watching him shine in a spotlight all his own.

Luke Evans (Frank-N-Furter - The Rocky Horror Show)

Ever since he wowed me as Gaston in the live action Beauty and the Beast, I've been hoping to see this guy on the Broadway stage. Wishes come true! As he dons the fishnets of the iconic transsexual from Transylvania, it'll be fun to see him be a little crazy and let loose - at least I hope he will. No matter how it turns out, it's such an honor to be there when a performer makes their Broadway debut.

Sydney James Harcourt (Rum Tum Tugger - Cats: The Jellicle Ball)

Somehow, despite his being in a couple of Broadway's biggest shows - Hamilton, American Idiot - we have missed him. And now I'm extra excited to see him play one of mega musical's most iconic roles in a way it has never been played before. I know I'm not alone in being thrilled to see this curious cat strut his stuff!

Benjamin Pajak (Sam Emerson - The Lost Boys)

Every few years, a young kid really dazzles in their Broadway debut, as this young man did in The Music Man. He was natural and wonderfully endearing. And now, he's in a teen-angsty role in a teen-angsty horror musical. I'm guessing it's a far cry from River City! But the real excitement is watching him grow up before our eyes. Like Nicholas Barasch before him, Benjamin Pajak is on his way!

John Riddle (Cal Hockley - Titanique)

I've been smitten with this guy since the first time I saw him as Young Anton in The Visit. He has a variety of talents from leading man suavity and cruel villainy to male ingenue and what I hope will be a silliness that not only sends up the Titanic film villain as well as a send up of the roles he's famous for playing! Plus, he's so darned handsome!