The Rocky Horror Show (Broadway) (2026)

Roundabout Theater's production of Rocky Horror at Studio 54 starts from the moment you walk in. The decor of the theater looks like a Spirit Halloween threw up all in there. There are these garish green lights all over. There are mannequins and castles and a working bathroom right next to the sage. It's all in such bad taste, it's the height of camp. It carries into the set and the costumes and everything but it had me snickering before the curtain even went up. 

Even though I wasn't particularly familiar myself, thankfully much of the audience belonged to the cult of Rocky Horror. It's interactive, with some call and response. They bring up audience members to dance the time warp. The show is a lot of fun, a nice reminder what a night at the theater can be. Luke Evans plays transvestite Frank-N-Furter; I didn't know he had it in him but he's fabulous. I know Stephanie Hsu from Everything Everywhere All At Once, but she's a great theatrical musical actress. Rachel Dratch plays the droll narrator in her characteristic way, similar to the maid she played in High Spirits. I really liked the unrecognizable but vocally distinct Amber Gray too. And Juliette Lewis's opening (and closing) number as Usherette is seductive.  The second act is wild nonsense but Dammit Janet, who cares when it's this fun.

Here We Are (The Shed) (2023)

Here We Are is Stephen Sondheim's final unfinished work. It is a long gestating adaptation of Luis Bunuel's The Discreet Charm of the Bourgeoisie (they can't eat) and The Exterminating Angel (they can't leave), a combination of two brilliant surrealist fantasies.  I think Sondheim knew he wasn't going to finish it. You can see it in Act II. There are scenes that clearly left room for a song. There's a little bit of under-scoring. But Act II is virtually a straight play. And supposedly the cop out is that the nature of The Exterminating Angel doesn't call for music because they're trapped in a room, but I don't really buy that excuse. He just didn't finish it and they left it that way. Act II though has a phenomenal set. And I actually quite like the simpler set in Act I too with the banquette/signs that descend from the ceiling to form makeshift restaurants, along with the cool virtual grass on the sides of the stage.

I don't remember such an explicit eat-the-rich bent to the movie, but it works here and I think makes it relevant and modern. The music in Act I is extremely Sondheim. The wordplay, rhythm, and music are all reminiscent of his classics. I think my favorite was the patter song sung by a fantastic Denis O'Hare at the first restaurant. I didn't know his name but I recognized him from The Good Wife/Fight, though not until I saw him up close. Before the play actually starts, O'Hare and Tracie Bennette in their maid and butler outfits tidy the immaculate stage walls and mirrors. The other standout for me was David Hyde Pierce who essentially plays Niles form Frasier and has just the type of one-liners. It's a star-studded cast of theater vets paying homage to the legend. 

Aside, in a rather quiet moment of Act II there was a loud disruptive noise coming from what I can only guess was the HVAC system. I thought maybe it was part of the show at first, as the actors briefly paused but the show went cause they're professionals. Though the sound went on for quite a while.