“The Rocky Horror Show” featuring a book, music and lyrics by Richard O’Brien, premiered at the Royal Court Theatre in 1973 and had its American debut in Los Angeles in 1974 where it ran for a successful nine months at several venues. It received a Broadway debut in 1975 at the Belasco Theatre but closed after three previews and forty-five performances. Then it was made into a film in 1975, subsequently titled “The Rocky Horror Picture Show”, which has gone on to become a popular cult phenomenon, shown in cinemas at midnight. The first Broadway revival occurred in October 2000 at Circle in the Square and ran until January 2002, when it closed due to poor attendance after 9/11. That production was well received and applauded for the encouragement of audience callbacks during the performance, even selling participation bags at the merchandise counter in the lobby. It attracted the films cult followers proving to be a successful crossover, with many audience members in attendance wearing outrageous costumes as a nod to their favorite characters. The second Broadway revival has arrived at Roundabout Studio 54 Theatre with a more reserved approach, warning audiences to curtail their callbacks in respect for other audience members. Whether this approach was a good idea is merely a matter of opinion.

The plot revolves around Brad (Andrew Durand) and Janet (Stephanie Hsu) who have just gotten engaged after attending their best friend’s wedding, and as the narrator explains, are on their way to see their former science tutor Dr. Everett Scott (Harvey Guillen). They drive into a rainstorm, get a flat tire, and walk to the nearest house to use a phone, which happens to be an old castle inhabited by Dr. Frank-N-Furter (Luke Evans). They are greeted by Riff Raff (Amber Gray), the live-in butler. Soon his sister Magenta (Juliette Lewis), appears with Columbia (Michaela Jae Ridriguez) discussing the unfortunate demise of a delivery boy Eddie (also played by Mr. Guillen). Brad and Janet want to leave but are stopped by the arrival of Dr. Frank-N-Furter, a pansexual, cross-dressing mad scientist. They are stripped down to their underwear and escorted to the laboratory where they witness the doctor’s muscular, male creation Rocky (Josh Rivera), come to life. Frank-N-Furter tricks Janet and Brad into separate sexual romps, Dr. Scott shows up, Rocky escapes, Janet is attracted to Rocky. Columbia, Frank-N-Furter and Rocky are killed with a laser gun and Brad, Janet and Dr. Scott leave the castle as Riff Raff and Magenta blast off in the castle to return to their home planet, Transylvania. It is not confusing, just a lot of antics and songs that explain the details of the story or add to the absurdity of the situation.

This current incarnation is a hit and miss with some exceptional performances and memorable moments, but the sensory overload at times clouds over the message. For decades thousands of outsiders and so-called misfits flocked to this show for acceptance, regardless of who they were, what they looked like or their sexual identity, which is personified in the somewhat anthem of the show, “Don’t Dream It-Be It.” The décor in the theatre and much of the scenic design by dots appears cheap and very DIY amateurish. The colorful costume design by David I Reynoso overpowers the characters and at times are cartoonish. Under Sam Pinkleton’s direction the production moves at “time warp” speed in the first act but tends to drag and lose its step in Act Two. The actors also face a conundrum of how much to acknowledge and engage with the audience during their callbacks, resulting in some awkward moments. Rachel Dratch as the narrator seems to handle this problem with ease and remarkable comedic response. Choreography by Ani Taj is somewhat chaotic and frantic, creating a “Time Warp” that resembles a wedding line dance rather than a sexual revelation.

This may not be the best production or interpretation of the material, but it is still a celebration of an important musical that has encouraged inclusion over segregation, diversity over homogeneity and a clear proclamation of sexual freedom. Over five decades it has empowered not merely a cult following, but a community of like-minded souls that may otherwise be lost. You are more than welcome to participate, applaud, laugh, engage and enjoy the music, but “Once In a While”, take to heart what a “Sweet Transvestite” has to say in a “Science Fiction Double Feature”. It may change the way you look at the world!