The Rocky Horror Show musical revival currently at Studio 54 through July 19 is minus “picture” in the title. Why? The production directed by Sam Pinkleton is live theater at its best. The laughs and antics morph nightly depending upon the craziness of the audience, inspired and provoked to scream out comments by Rachel Dratch in the role of the Narrator. With irony, fierce looks and raised eyebrows Dratch attempts to “keep a lid on” by actually stirring the pot to a boil to incite hilarity. Joining Dratch are the stellar cast which include Drama Desk nominated Luke Evans and Stephanie Hsu, with over-the-top performances by Andrew Durand (Shucked), Amber Grey (Hadestown) and Juliette Lewis in her Broadway debut, this unforgettable revival is making its mark.

Thus far, the revival directed by Sam Pinkleton has taken Richard O’Brien’s book, music and lyrics to heights not seen before. As a result, The Rocky Horror Show has been nominated for six Drama Desks, 2 Outer Critics Circle Awards and 4 Drama League Awards. This madcap genre journey through every wild meme you can imagine except placid paradise is a romp into the past and future and everything in between since the show first opened and flopped in 1975 at the Belasco Theatre, then succeeded as a cult film classic screening at midnight in 1975. Some form of “Rocky Horror” has been gyrating into the heavenlies ever since.

Luke Evans in the role of Frank-N-Furter (Drama Desk nomination), is gloriously gorgeous, hyper-sensualized in his attractiveness, appealing to men, women, aliens and other carbon life forms. Sporting his incredible body in black fishnets, chest-exposing corset, hyper-toned derriere, he is grace, elegance and anointed velvet combined. With his glistening long hair which he tosses occasionally at jealous infatuated servant/assistants, Columbia (Machaeela a Rodriguez), Magenta (Juliete Lewis) and Riff Raff (an unrecognizable Amber Grey in changing make-up, costumes and wig) Evans artfully moves in heels at a pace and comfort which, if attempted by the average female, would send her to the hospital. His seduction scenes with Durand’s Brad and Hsu’s Janet, the innocent couple who seek refuge on a rainy night wandering into his gothic-vampiric-sci-fi castle, meld sexy with funny. His “hot” is hot, not wacko, weirdo, psycho EWW.

Most probably that is because Pinkleton’s emphasis is on humor, fun, authenticity and reverence for the opportunity to collaborate on this iconic material that helped change cultural consciousness, making diversity of genders acceptable.

Pinkleton’s admiration keeps the tone and pacing perfect and strangely innocent and refreshing. The gay mayhem and drag, once eye-opening (50 years ago) have been softened by the lurid Epstein files. Under his thoughtful, joyful direction, this Rocky Horror Show revival represents a throwback to a time when hopeful cultural revolution was in the air and “change” and “liberal” meant positive evolution and equality. The words weren’t “filthy,” “hateful” concepts as today, truly lurid MAGA politicos make them out to be. Irony of ironies, Richard O’Brien’s book, music and lyrics have been displaced by current political, global horrors into the realm of nostalgia and sweetness. Songs like “Sweet Transvestite,” “I Can Make You a Man,” “Touch-A Touch-A Touch-Me” delight and entertain. Indeed, Pinkleton’s vision of fun and mashup inspires unity, and a dissolution of the generational divide.

dots scenic design is a combination of striking glitz and gothic beauty, and shining, wacky, D.I.Y. whimsy. As Brad and Janet drive in the gothic rainstorm, a miniature greenish-glow white plastic castle emerges from the box upper audience left. Onstage, the improvised car: the actors hold the headlights with others holding a windshield wiper and inch forward. Yet from this makeshift style emerges the gloriously lighted castle interior entrance with a long staircase where Magenta’s Juliette Lewis prances surrounded by a profusion of candles and candelabra dimly lighting a paneled background. Jane Cox’s lighting design exceeds expectations and Brian Ronan’s sound design moderates the songs with the quieter dialogue with expert balance.Touché

Looking up at the box section audience right were huge silvery tubes, steam punk style, like you’d expect to be used to conduct hot air when a heating system has broken down. Also, placed in the adjacent box are robotic, sci-fi-looking silvery manikins that open and shut their jaws for an introductory song. On the backs of some audience seats are black and silver decorative tape. The Studio 54 venue couldn’t be more appropriate. The show is not only onstage, but in the audience if they break free and dance to “The Time Warp.”

The atmosphere conveyed is out-there fun heightened by the costume design by David I. Reynoso who places the men and women in intimate apparel revealing phenomenal bodies. The tall Boy Radio who covered for Josh Rivera in the role of Rocky-Frank’s created Frankenstein monster was tall and beautiful, the perfect male match for Frank with garter belts holding up fishnets. The phantoms wore various outfits, sometimes loose fitting tuxedos. Even the rolly-polly Dr. Scott ends up exposed in a hysterical moment. The only one who attempts to maintain her cool and decorum is Dratch’s narrator, dressed in a lovely sedate tuxedo as she keeps the vignettes together and advances how the couple loses their innocence and everything else but their lives, led by the well-meaning Frank who counsels “Don’t dream it, be it,” the classic refrain.

Every vignette and song holds its moments. One striking, unforgettable scene occurs at the end when Frank sings “I’m Going Home.”Evans’ Frank knowing the inevitable sings with heartfelt passion. The mood change is somber and soulful as he puts off the “persona” of Frank, removes his eyelashes and wig and composes himself for the end. The transformation reveals Evan’s prodigious talents on “top of the fact” that during the production he reached high notes with ease He is just gobsmacking. With Kris Kukul’s music supervision and Ani Tai’s energetic dancing, what’s not to love about this revival of Richard O’Brian’s The Rocky Horror Show at Studio 54.

The Rocky Horror Show runs 1 hour 50 minutes at Studio 54 through July 19. roundabouttheatre.org.