Review: THE ROCKY HORROR SHOW at Gaslight-Baker Theatre

From October 10-31, Gaslight-Baker Theatre presents THE ROCKY HORROR SHOW, sponsored by Carolyn Bryant, CPA., as part of their 2025 season. Written by Richard O’Brien, THE ROCKY HORROR SHOW is a campy, cult-classic rock musical that parodies science fiction and horror B-movies. It tells the story of a seemingly straight-laced couple Brad and Janet, whose car breaks down during a storm. This leads them to seek shelter in the bizarre mansion of Dr. Frank-N-Furter, a flamboyant, cross-dressing scientist from the planet Transsexual in the galaxy of Transylvania. Over the course of one wild night, Brad and Janet are drawn into a world of sexual liberation, mad science, and outrageous spectacle as Frank unveils his latest creation: a muscular “perfect man” named Rocky. Blending catchy rock songs, dark humor, and a celebration of self-expression, the show is joyful, a delightful send-up of conformity, and a love letter to those who live outside the norm.

Director Doug DeGirolamo and Assistant Director Billie Guffey have assembled a talented cast for THE ROCKY HORROR SHOW, creating a production that’s equal parts daring, polished, and deliciously chaotic. Leading the charge is Justin Whitley as Dr. Frank-N-Furter, who is fantastic. Their vocal performance is spot-on, rich with power and nuance, and their stage presence commands attention the moment they appear. Whitley fully inhabits the role, oozing sensuality and self-assured mischief while balancing humor and danger. It’s a performance that’s magnetic and unrestrained, and yes, they strut confidently in heels most of us could never dream of managing.

Brendan Thomas and Kaitlin Deeb bring both humor and heart to their portrayals of Brad Majors and Janet Weiss. Thomas plays Brad with a convincingly stiff, buttoned-up energy in the early scenes, gradually unraveling into something looser and more liberated as the story progresses. By Act II, especially in the bedroom scenes, he shows real comedic and emotional growth. Deeb’s Janet, meanwhile, is delightfully clever. Her initial innocence is layered with hints of curiosity that bloom into full-blown desire as the night wears on. Her transformation feels demi-organic, believable, and thoroughly entertaining. Together, they capture the show’s playful tension between repression and release.

Bex Smootz opens the show with undeniable flair as the Usherette, instantly captivating the audience with a magnetic stage presence and confident wink of flirtation. Her “Science Fiction/Double Feature” sets the perfect tone, both nostalgic and knowing. Smootz plays the role with just the right blend of charm and mystery, pulling the audience into the strange, shimmering world of the show. Her smooth, powerful alto voice adds depth and texture to every moment she’s onstage, making her both narrator and seductress rolled into one.

Kirk Kelso and Alye Lombard make a dynamic duo as Riff Raff and Magenta, bringing precision and charisma to their eerie partnership. Kelso, a seasoned Austin actor with an impressive range, delivers a Riff Raff that’s perfectly pitched: creepy, sharp, and vocally masterful. His ability to slide between sinister and sardonic makes his performance mesmerizing. Lombard matches him, exuding sly confidence and smoky allure. Her vocal strength and character work complement Kelso’s beautifully, making their scenes together electric.

The rest of the ensemble rounds out the cast with talent and energy to spare. Kaley Bared shines as Columbia, carefully balancing humor, heartbreak, and sheer enthusiasm, with her voice and presence every bit as powerful as Kelso’s and Lombard’s. Wade Smith’s Rocky is full of charm and physical comedy, a lively creation come to life with both innocence and swagger. although a bit thin for "muscle-bound", which is another delightful tease. Xander Bien brings the house down as Eddie, delivering one of the night’s standout musical numbers with raw, rock ‘n’ roll energy. Mike D’Alonzo’s Dr. Scott provides a solid anchor, even if a bit understated amid the show’s wild chaos. And the Phantoms—Diego Arriga, Harmony Austin, Laomai Cherry, Mikhail Garvey, Melissa Hardaway, Rose Ruiz Jones, Denise Riendeau, Roy Ruiz, Ashley Rose, Artemis Sonder, Samantha Whitehead, and Dana Yarger—deserve applause for their commitment, movement, and atmosphere. They form the pulsing, ever-present heartbeat of the production, ensuring that every scene feels alive, otherworldly, and perfectly over the top.

THE ROCKY HORROR SHOW makes full use of every inch of its performance space, from the traditional proscenium to the apron, an elevated stage encircling the live band, and even a second-story platform that expands the visual and spatial storytelling. Jess Decelle’s set design is wonderfully inventive and versatile, supporting the show’s quick scene changes and chaotic energy without ever feeling cluttered. The multiple levels create opportunities for dynamic staging and surprise entrances, while the movable pieces keep the pace lively and seamless. The inclusion of a projection screen showing bedroom scenes and other video-monitored places of the show's world, adds a cinematic flair and fills a production need, bridging the world of the cult film with the immediacy of live theatre. Credit also goes to Sara Lee Hughes as Charge Artist, whose detailed work brings depth and polish to Decelle’s creative vision: grimy, glittery, and gloriously strange in all the right ways.

Sarah Mills’ choreography is brimming with personality and precision, filling the stage with movement that is both stylistically cohesive and delightfully unrestrained. Each number captures the irreverent heart of Rocky Horror: from the iconic “Time Warp” to Frank-N-Furter’s seductive showpieces, the choreography invites both cast and audience to give in to the rhythm and chaos. Mills smartly tailors her movement vocabulary to the varied skill levels of the ensemble, ensuring that every performer contributes to the spectacle. The result is choreography that feels spontaneous and electric.

Jaimie Couch’s work as Vocal Music Director deserves high praise. The cast’s harmonies are balanced and clear, diction crisp and intelligible even amid wild stage antics. Couch’s understanding of the score shines in how well each song suits its performer’s voice; nothing feels forced or out of range. The vocal performances maintain the rock essence of the show while still honoring the musical theater roots that make THE ROCKY HORROR SHOW endure. Meanwhile, Ben Cook’s direction of the live band keeps the energy pulsing throughout the performance. Backed by Michael Vybiral on lead guitar, Robyn Gammill on bass, Carl Childs on guitar, Estevan Gonzalez on drums and percussion, and Josh West on reeds, the band captures the gritty glam-rock sound that defines THE ROCKY HORROR SHOW. Their musicianship drives the show forward, giving each number a vibrant, authentic edge.

Josh Schaefer’s sound design helps set the tone before the show even begins, with a pre-show playlist that draws the audience into the world of THE ROCKY HORROR SHOW before curtain. His mixing of dialogue, underscoring, and effects demonstrates a thoughtful ear for atmosphere. While there are moments when the band overpowers the vocals, an understandable challenge in a live rock musical, the overall balance holds well, and the design enhances rather than distracts from the performance. 

Mo Burton’s lighting design contributes beautifully to the production, adding dimension without overwhelming the stage. The lighting underscores mood changes with precision: moody blues for tension, hot pinks and reds for decadence, always serving the story rather than competing with it.

Though not specifically credited in the program, the costume and makeup designers deserve enthusiastic recognition for their outstanding work. The looks are bold, inventive, and true to the spirit of THE ROCKY HORROR SHOW: a dazzling blend of sci-fi kitsch, cabaret glamour, and punk rock rebellion. From Frank-N-Furter’s corset and pearls to Magenta’s glorious wig and Columbia’s detailed ensemble, each costume contributes to the world-building and character identity. The makeup design complements the costuming perfectly: expressive, exaggerated, and unapologetically theatrical. Together, they help define the visual personality of the production and amplify its joyful absurdity.

Finally, a well-earned shout-out to Emma Utzinger, the Stage Manager, whose steady hand keeps the organized chaos running smoothly. In a show as technically and physically demanding as THE ROCKY HORROR SHOW, her coordination is no small feat. From lighting and sound cues to set shifts and prop placements, every detail reflects a strong backstage team led by Utzinger’s calm and capable direction. Her work ensures that the audience experiences the seamless magic of the performance without ever glimpsing the controlled frenzy behind the curtain.

Gaslight-Baker Theatre’s production of THE ROCKY HORROR SHOW is a wild, glittering, and gloriously unrestrained night of theatre that shouldn’t be missed. It’s campy, chaotic, and full of the kind of energy that only live performance can deliver. With its skilled cast, live band, and clever staging, this show is a love letter to misfits, music, and midnight movies. The final performance on Halloween night promises to be an unforgettable experience, complete with audience participation, laughter, and a few delightful shocks. That said, it’s best suited for mature audiences: the humor, language, and suggestive content may not be appropriate for younger viewers. If you’re looking for a spirited, slightly subversive way to spend Halloween, grab a ticket and do the “Time Warp” one more time before the curtain falls.

THE ROCKY HORROR SHOW

Written by Richard O’Brien

Theater Company: Gaslight-Baker Theatre

Venue: 216 South Main Street, Lockhart, Texas 78644

October 10-31, Fridays and Saturdays at 7:30 p.m., Sundays at 2:00 p.m.

Running Time: 2 hrs, with one 15-min intermission

Tickets: $10-25

Austin Awards - Live Stats

Best Musical - Top 3

1. MATILDA: THE MUSICAL (Gaslight-Baker Theatre)

16.8% of votes

2. SISTER ACT (Bastrop Opera House)

6.1% of votes

3. SHREK (Broke Thespians Theatre Company)

5.6% of votes

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