The Rocky Horror Show – 22 April 2026

There are a lot of proud, queer musicals to choose from on Broadway right now, and Roundabout Theatre Company’s revival of The Rocky Horror Show is my favorite. In addition to the nostalgia, this show reimagines familiar characters in ways that move your heart and your body in time with the beat. The positivity was infectious and the atmosphere was electrifying, both for those familiar with the content and those experiencing it for the first time. Most notably, this production makes no effort to sanitize or erase language that might today be viewed as offensive (ex. transvestite, transsexual). Instead, it celebrates a story that exists outside of time and space, encapsulating the original journey such that it stands on its own. The Rocky Horror Show is already the full package—they don’t need to throw in modern references to engage a contemporary crowd, and unapologetically choose not to.

The brilliance of Sam Pinkleton’s direction is a huge part of how these words, dating back to 1972, still feel relevant despite the evolution of queer identities and knowledge. Scenic design (dots) uses the entire theater as a playing space, not just the stage, and it dazzles us with moments that are hyper-realistic and moments that are so surreal that they are truly out of this world. Costuming (David I. Reynoso) was sexy but tasteful, and left just the right amount up to imagination. Jane Cox’s lighting choices were poignant and felt, at times, like a character popping up to play games with the audience, teasing where to look and showering the space with glitz and glamour. Sound design (Brian Ronan) was crystal clear and struck the right balance between supporting the supernatural vibe and keeping the actors easy to understand. Wig and hair design (Alberto “Albee” Alvarado) coupled with make-up design (Sterling Tull) fulfill the otherworldly component of this show in ever changing looks throughout the performance that are truly amazing to behold.

The final component that elevates this show above many others are the magnificent, out-of-the-box casting choices by Carrie Gardner and Stephen Kopel. They re-envisioned these roles across gender, sexuality, race, and age in ways that made the content feel fresh and new. While watching the performance, it was unequivocally  clear that the cast was having fun, and it made a difference to have that kind of energy pulsing through the room. Many find it hard to imagine Amber Gray as Riff Raff or Harvey Guillén stepping into the shoes of Meatloaf—but these choices work and add an indescribable vivacity to The Rocky Horror Show. Everyone pulled their weight and brought something new to the table, most significantly Luke Evans, who brought a resounding level of dignity and respect to Frank-N-Furter that sparked a few tears in “I’m Going Home.”

The Rocky Horror Show is wild, outrageous, and over-the-top, but one of the many reasons it has succeeded in reaching such diverse audiences over the years is its message. “Don’t dream it, be it.” We only get to be on this earth for so long. Why shouldn’t we have pleasure in our lives? Why do we overthink the things we want? Why do so many of us struggle with taking steps to fulfill our dreams? Unlike other queer shows currently on Broadway, The Rocky Horror Show has a strong message that goes beyond celebrating queer culture—it has stood the test of time and been part of the genesis of queer culture, simply by asking us to imagine ourselves in another time, in another place where sexual desire was not shameful and we are free to be our truest selves. Instead of merely acknowledging where we are in the world, The Rocky Horror Show pushes us to enjoy it.

I attended this performance on a press pass from Polk & Co.