THE ROCKY HORROR SHOW Previews- Page 7

[joevitus]

Posted: 4/3/26 at 6:31pm

Georgeanddot2 said: "A production of Rocky Horror should be messy and rowdy and opulent. This sounds like your Grandma's Rocky Horror. LAME."

Opulent? No. It should be threadbare and tacky.

[Rudy2]

Posted: 4/4/26 at 12:10am

Thank you!!

[iluvtheatertrash]

Posted: 4/4/26 at 4:54am

George in DC said: "
This is really ridiculous, IMO. Why do a show that has a callout culture ingrained in it that you don't want done? Especially after the last revival Embraced it. Very weird, and really makes me want to sell my tickets."

So don't go.

I think this is , considering how audiences are nowadays, perfect.

"

Yes. I said I was considering not going. Thank you for such worthwhile input.

[par3000]

Posted: 4/4/26 at 6:44am

It's 2026; your grandmother's Rocky Horror was the original.

[Jumpin_J]

Posted: 4/4/26 at 8:50am

Kad said: "I've heard that callouts are now actively discouraged and the production was really not prepared for the response they got at the first few performances."

 

How is that even remotely possible? It's like the programmers of the Roundabout never went to a midnight screening for the past 50 years. SMHD. 

 

[George in DC]

Posted: 4/4/26 at 12:22pm

iluvtheatertrash said: "George in DC said: "
This is really ridiculous, IMO. Why do a show that has a callout culture ingrained in it that you don't want done? Especially after the last revival Embraced it. Very weird, and really makes me want to sell my tickets."

So don't go.

I think this is , considering how audiences are nowadays, perfect.

"

Yes. I said I was considering not going. Thank you for such worthwhile input."

 

I gave my opinion that limiting, if not stopping audience call outs, considering how bad some audiences can be, was  a good idea. What's your problem?

 

[ColorTheHours048]

Posted: 4/4/26 at 12:39pm

I really don't understand the problem proponents of callouts are having. The midnight screenings with shadow casts are their own thing, and they're available to attend pretty much any time you want. The show is different and predates any of the callouts. Yes, the last revival encouraged it, but this is something else. The piece stands on its own; I'm not throwing toilet paper or yelling insults at my TV when I watch the movie at home by myself or with friends and it's still a great time.

Frankly - no pun intended - nothing sounds more like my "grandma's Rocky Horror" than a bunch of people screaming completely unrelated nonsense at live actors on a stage.

Updated On: 4/4/26 at 12:39 PM

[yyys]

Posted: 4/4/26 at 1:09pm

The call outs belong in a movie theater where people didn’t pay good money, IMO.

theres a thread on the Broadway reddit currently about a recent situation when a guy told a lady in his row to shut the f*ck up already…

[iluvtheatertrash]

Posted: 4/4/26 at 1:48pm

yyys said: "The call outs belong in a movie theater where people didn’t pay good money, IMO.

theres a thread on the Broadway reddit currently about a recent situation when a guy told a lady in his row to shut the f*ck upalready…"

The callouts were a part of the last revival and it was a blast every time I went. They "belonged" just fine then. 

If it works for folks, cool. I just have some great memories of that production and one (live not shadow) I worked on for years on Long Island. I like the callouts and want to see Rocky with them. That's all. 

[Jordan Catalano]

Posted: 4/4/26 at 2:28pm

People come at this show from such vastly different perspectives and I can't think of any other piece of theater that even remotely causes people to do that. "Rocky Horror" has been a large part of my life since I was 10 years old and that was *mumbles* years ago, so long long time. I don't know a world where this musical is performed (on screen or on stage) without some level of audience participation. The audience is as much a part of it as the character of Frank, they don't work at all without each other. Don't think for one second that this revival would even be happening if it weren't for fans of the film taking it and developing the participation with it. After decades of seeing the film well into quadruple digits, one of my favorite memories of seeing it was actually in 2021, in London. It was Halloween and I went to an afternoon screening of the film at the Odeon that used to be close to the Shaftesbury Theatre (if anyone knows it). It was me and one other guy in there and neither of us said anything until I said that first "Assh*le" and then I remember he turned quickly with a smile and said the "Slut"! and then for the next 100 minutes, these two strangers, one American and one Brit just shared this thing we loved. 

Look, my opinion is my own but if you care so deeply about being able to see this show done in a completely quiet theater, then it's just not the show for you. Almost like saying you really want to go to the circus but hate animals so they better not have any for the showtime you're there. All of this from the production proves that it was (again, my opinion) the wrong director, the absolute wrong venue and the wrong company to put it on. Now, I'm not going to sell my other tickets that I have for it, I'm still going to go because I'm curious to see how it's evolved from the first preview but it's not a thing I'll be trying to see dozens of times like I had thought I would be. But I can't imagine this revival creating more life long fans of the property that'll keep it going for another 50 years. 

[Broadway61004]

Posted: 4/4/26 at 2:55pm

One really interesting thing lost in all this: Roundabout's new artistic director is Chris Ashley, who directed the 2000 revival. Now, he doesn't officially start until this summer, but I can't imagine he hasn't had quite a bit of influence on this season and its productions. So, my point being: If the 2000 revival was all about callbacks and that kind of atmosphere and now this new version is actively trying to shut that all down--perhaps there's a link? Perhaps Ashley was not a fan of how audiences reacted to that last revival? (Not saying he wasn't, but just something to consider).

[Georgeanddot2]

Posted: 4/4/26 at 3:21pm

joevitus said: "Georgeanddot2 said: "A production of Rocky Horror should be messy and rowdy and opulent. This sounds like your Grandma's Rocky Horror. LAME."

Opulent? No. It should be threadbare and tacky."

Threadbare? No. Not at Broadway prices. It should be tacky, but opulent. I remember that the 2000 revival was pretty grand in its own way.

I think you're seeing a clash between the demographic that the show is created for (fun queer freaks) and the demographic that can afford these tickets (rich gay male conservative liberals). In regards to the call-out issue, I suspect the later will win out. This will be the stuffiest production of Rocky Horror ever. A community theatre production of Rocky Horror in Idaho would probably be a greater celebration of queer life.

 

[Daisy Crumpler]

Posted: 4/4/26 at 3:39pm

The world of 2026 is a much different place than 2000. Hell, the last revival took place before MySpace much less the rise of social media or phones with video recording. There is a real lack of common courtesy and the social contract (remember that article from a year or two ago noting how ushers and house staff dealing with unruly post-Lockdown audiences).

With something like the Rocky Horror callbacks (which I've sometimes found annoying even during a midnight viewing) are seen not only as a distraction but as a way for audience members to be "a part of the show." I'm not saying this is the case for ALL who want to shout out, but some. But also... it's The Rocky Horror Show. Maybe they should do specific performances during the week that are geared more for the audience participation?

I do not think there is a way to present the piece without people shouting at the stage, buuuuut maybe without some of the good old fashioned lighthearted misogyny? Think Alice Ripley even commented that she could only get catcalled "SLUT!" so often before it started getting to her in the earlier Roundabout production.

Updated On: 4/4/26 at 03:39 PM

[ColorTheHours048]

Posted: 4/4/26 at 4:10pm

I don’t think it needs to be as black and white as “all callbacks allowed” and “dead silent theater.” I haven’t seen this production yet, but I think it can feel electric and responsive without being literally disruptive to others around you. I’m personally perfectly capable of feeling stimulated by theatre without engaging vocally in it. I’ve seen Rocky Horror in the silence of my living room, with rowdy friends, at midnight showings, and in a traditional theatrical setting with no call-and-response - it worked for me each time in different ways. As to whether this revival achieves that, clearly, mileage varies.

Obviously, this is a particular piece of pop culture that comes with all sorts of personal baggage and nostalgia and expectations - more so than almost any other theatrical property I can think of - so I get why the production outright discouraging callbacks can feel a little like a slap in the face to the fans who continue to drive its relevance. But I find the notion of throwing the baby out with the bath water just because of that silly. Meet the show where it’s at.

[theatergoer3]

Posted: 4/4/26 at 6:06pm

This afternoon, there were still plenty of callouts (the more common ones were louder, the others got stifled sometimes) but they weren’t overwhelming the show.

Dratch played off one at the top of act 2 and Evans seemed thrown for a loop by one a little while later but admittedly it came out of the blue. It seems he’s worked in the iconic callback in Sweet Transvestite or at least he’s playing off of it. 

I had a lot of fun. Evans is great in a very Tim Curry vein. It’s definitely still working itself out but for having never seen the stage show before, I think it captures a lot of the movie. There’s also a few times a bit drags but I assume that’ll get cleared up. 
 

[quizking101]

Posted: 4/4/26 at 6:37pm

All the controversy on callbacks here just makes me think about how CATS pretty much nailed the concept of audience engagement. The preshow announcement (live!) from Junior makes clear that you can be conservative if you want, but it’s a BALL, DAHLING! and claps, emotes, and getting your life will happen around you until you become part of it,

ROCKY HORROR is always going to be a tricky animal. I’m curious as to where it will evolve to when I take my parents (classic ROCKY callers) to see it. Signage won’t do anything. I know a preshow announcement might help things a bit but who knows?

[darquegk]

Posted: 4/4/26 at 7:42pm

How big is the house? That could be a huge impact on the difference between the huge response ones (say it say it say it) and the more niche but classic ones (fee fi fo fum; somebody say “my” fourteen times, etc.).

[Idiot]

Posted: 4/5/26 at 1:26am

Jordan Catalano said: "It was me and one other guy in there and neither of us said anything until I said that first "Assh*le" and then I remember he turned quickly with a smile and said the "Slut"! and then for the next 100 minutes, these two strangers, one American and one Brit just shared this thing we loved."

This made my night. 

 

[CoffeeBreak]

Posted: 4/5/26 at 3:49am

LUKE EVANS.   That's all.   Best lead in a musical this season.  He makes this production.

[WldKingdomHM]

Posted: 4/5/26 at 6:56am

CoffeeBreak said: "LUKE EVANS. That's all. Best lead in a musical this season. He makes this production."

I don’t get the Sam P hype as a director or even Michael Arden 

[SteveSanders]

Posted: 4/5/26 at 8:29am

CoffeeBreak said: "LUKE EVANS. That's all. Best lead in a musical this season. He makes this production."

And to think, earlier in this thread his casting was dismissed or criticized.

 

[MezzA101]

Posted: 4/7/26 at 7:43am

You Don’t Yell at a Broadway Show. But What if It’s ‘Rocky Horror’?

https://www.nytimes.com/2026/04/07/theater/rocky-horror-show-broadway-audience.html?unlocked_article_code=1.ZFA.xK0n.NqhYtJkDx0zt&smid=nytcore-android-share

[RexInLights]

Posted: 4/8/26 at 12:06am

I saw the show tonight. First of all, Luke Evans was out. Sam came on before the performance and said that Luke was sick. They debated cancelling but decided the show must go on and thus they rehearsed all day so Paul Soileau could go on as Frank. All things considered, he was pretty good in the part. Commanding, menacing, fun. 
 

That being said, I simply did not care for this production. And that upsets me. The whole thing feels slightly misguided. Like there was no real vision. The last thing Rocky Horror should be is boring! The direction feels clunky and confused, and thus the tone is all over the place. I love camp, but it all felt so try hard instead of as part of a piece. Some of the cast is good (Dratch, Hsu) but most feel miscast, or simply cast because of their name recognition. It never felt like a company, but rather lots of people on different wavelengths doing their own thing. This leads to a distinct lack of energy, and coupled with the weak staging and choreo… this rock musical does not rock at all. 

Updated On: 4/8/26 at 12:06 AM

[Candice Malkin]

Posted: 4/8/26 at 8:19am

I was there last night too. I  mostly agree with you but

not really about Janet and Narrator. Maybe everyone was off because of understudy - who I will say tried very hard.  Full house!

 

[Sauja]

Posted: 4/8/26 at 8:25am

Also caught it last night. A bit devastated to miss Evans, but Soileau was terrific in his first outing as Frank. 
 

Overall, I was mixed on the cast. Dratch, Durand, and Rivera, I found terrific. Lewis and Rodriguez, both of whom I quite like, were less effective for me. 
 

It’s an enjoyable production. Will I spend serious bucks to go back and try to catch Evans? Possible, though I’m not certain. Will say that the callouts were moderate last night. Dratch received the most, and she can absolutely volley. Durand was also able to playfully engage with them. I confess that I worried about just how many there would be and was pleased with the level of engagement. It was in good fun and (all things considered) respectful.

 

All in all, a good time, if not a great time.