‘The Rocky Horror Show’ assessment: Broadway present’s acquired killer performances, however, dammit Janet, make it extra enjoyable

It’s only a bounce to the left. And then a step to the best.

Put your arms… over your mouths!

“You will not be seeing a film, but a live theatrical performance,” goes a lecturing preshow message on the revival of “The Rocky Horror Show,” which opened Thursday evening at Studio 54.

The quite patronizing announcement works, and the sexily carried out, well-sung manufacturing from “Oh, Mary!” director Sam Pinkleton for essentially the most half reverts again to the 1973 musical’s quieter origins earlier than superfans in fishnets started shouting again on the display screen and throwing rice at midnight film screenings down within the Village.

Callouts aren’t strictly prohibited on Broadway. There are nonetheless a number of. At the efficiency I attended, a dusting of ticketbuyers yelled “slut!” at Janet Weiss (Stephanie Hsu) and “assh–e!” at Brad Majors (Andrew Durand). The narrator, performed by Rachel Dratch, absorbs some extra, though they have been at instances so timidly expressed that Dratch needed to ask the solo screamers to repeat themselves. During “Science Fiction, Double Feature,” in disgrace I silently mouthed, “What the f–k’s a triffid?” for concern of being put in trip.

By intermission, the viewers interplay is just about over.

I dwell on this for a number of causes. Most apparently, the manufacturing’s indecisiveness on the foundations relating to a 50-year-old world custom that organically started proper right here in New York is awkward, and ticketbuyers shouldn’t be feeling wobbly at a present that preaches “give yourself over to absolute pleasure.”

Do it or don’t do it.

But in the event you don’t, brace your self for an inevitable vitality dip. While composer, author and authentic Riff Raff Richard O’Brien by no means supposed for his sci-fi horror rock musical to be mocked by costumed attendees in unison, the present additionally wasn’t designed to be in a 1,000-seat Broadway theater both. It began out decidedly subversive — enjoying London and LA rock golf equipment, deserted cinemas and tiny theaters.

Trying to dimension up, it proved a nasty match throughout its first go-around on the Great White Way in 1975, and closed a flop after 45 performances. As Jim Sharman, the director of the unique manufacturing and the cult-classic film, informed me final 12 months, “It only faltered once, when it went mainstream, on Broadway.”

There’s a lesson in that: It’s sensible to embrace what “Rocky Horror” is, or, within the case of the followers’ orgiastic outbursts, what it wondrously has develop into.

Still, there’s a lot to love, even adore, in Pinkleton’s revival — from its Fritz Lang-y metallic manikins to a darkish and seductive fort set that feels ripped from a Jim Steinman music video to 2 knockout performances from Luke Evans as Dr. Frank-N-Furter and Hsu as Janet. Yet when the plot virtually disappears halfway by Act 2, and the gang’s lips are zipped, you simply crave one thing extra, extra, extra.

You can’t do higher than “SNL” alum Dratch because the Narrator. A pompous hoot, she turns the Narrator into Professor Downer and takes us on the unusual journey of engaged younger lovebirds Brad and Janet.

Durand and Hsu make the best pair of sexually naive Goody Two-shoes that scamper into Dr. Frank’s spooky manse to make use of the telephone after their automobile breaks down solely to wind up in intercourse ed. class. If you noticed Durand in “Shucked” or “Dead Outlaw,” you recognize he’s born to be Brad.

Clutching their pearls earlier than eradicating their garments, B and J are greeted with “The Time Warp” by butler Riff Raff, who Amber Gray performs as a gremlin, and his bizarre sister Magenta (Juliette Lewis with a possessed vibe that’s refreshingly un-Broadway).

In an particularly wishy-washy second of pseudo-involvement, two viewers members go onstage to do the pelvic thrust whereas the opposite 998 stay politely seated.

We’re rocked again awake when that candy transvestite from Transylvania bursts in within the spectacular type of Evans.

To be frank, he’s a unbelievable Frank. The Welsh actor has Tim Curry’s simple lasciviousness and chesty voice, however he’s not so sinister — he’s extra mischievous and playful as he will get buttoned-up Brad and Janet to do some exploring. Evans’ his-and-her seduction scenes with Hsu and Durand are the liveliest components of this “Rocky Horror,” and every time Evans struts onstage, you may’t take your eyes off him.

Of course he vies for our peepers’ consideration with Josh Rivera as Frank’s manly monster Rocky. It’s good to see that Rivera isn’t the same old International Male kind that so usually performs the hunk-enstein, and he does properly with that Fifties pastiche toe-tapper “The Sword of Damocles.”

Eddie, the insurgent supply boy, is a rocky trip for anyone. When Meatloaf is the Eddie of report, his godlike vary is a tricky act to observe. Harvey Guillén, in contrast, isn’t a lot of a vocal powerhouse on “Hot Patootie, Bless My Soul” and it’s a fleeting diversion. He improves, nevertheless, when he switches into Dr. Scott after poor Eddie is sawed to items.

But, dammit Janet, what a complete wow Hsu is. The “Everything Everywhere All At Once” actress’ descent from virtuous to vixen is extra enjoyable and full-out than I’ve ever seen it. And her “Touch-a, Touch-a, Touch Me” vibrates with vivacity. She’s naughty, good and nuclear.

Also Hsu, thank Frank, lastly reacts shocked and offended when the gang calls her a “slut!” The tremendous humorous response comes as a giant aid within the unsure room and gives an attractive glimpse of what may need been.