Newly engaged and on their way home from a wedding reception (along with the audience), sweethearts Brad and Janet find themselves stranded in a storm in the middle of nowhere. Seeking help, they stumble upon the strange mansion of Dr. Frank-N-Furter — a flamboyant and eccentric alien scientist from the planet Transsexual in the galaxy of Transylvania — that is filled with an equally eclectic cast of characters. As Brad and Janet are invited (or rather tempted) deeper inside, all notions of love, sex(uality), and identity are transformed, and nothing is as it seems. A wonderfully irreverent musical by Richard O’Brien, The Rocky Horror Show directed by Kimberly Kemp for the Rooftop Productions at the ARTfactory is an outrageously rock-n-roll, campy, sci-fi goth comedy that demands your audience participation, your nonconformity, and that you have a wickedly good time. The production’s buttoned-up Brad Majors and Janet Weiss were played by the marvelously stiff and rapidly “corrupted” Zach Burgess and Meghan Bentley. The very picture of 1950s America in the beginning with modest language (“Damn It, Janet”) and all their clothes still on, they soon are seduced by and then lustfully join a wild world of subversion and desire. Heckled by the audience the most throughout, Burgess’ Brad most notably wrestled with control in “Once in Awhile” and played well with the production’s phantoms. Meanwhile Bentley’s Janet had vocal control for days and self-control for seconds — in the very best way. Her facial expressions throughout (innocent, tempted, giving in, seduced) were spectacular, and her power in “Touch-A Touch-A Touch Me” alone shook the rafters (and the bed posts a little later). Brad (Zach Burgess), Frank (Muggs Leone), and Janet (Meghan Bentley) in ‘The Rocky Horror Show.’ Photo by Kimberly Kemp. Responsible for much of the evening’s temptation was Dr. Frank-N-Furter played by Muggs Leone. His performance was nothing short of a masterful from start to finish, and you could not take your eyes off them. Stage presence, check. Confidence, check. Pipes, check. Allure, double check. It was impossible not to fall instantly in love — or lust or envy — with Leone’s Frank. Standout moments were absolutely “Sweet Transvestite” and “I’m Going Home,” but I also very much enjoyed the balance their performance carried between iconic moments of Tim Curry from the 1975 cult classic film version and more modern cultural touchstones of Drag Race and drag culture. Thrilled by the provocative chaos of it all were Magenta, played by Anastasia Hanchak, and Columbia, played by Talya Conroy. From the beginning with “Science Fiction Double Feature,” these two were quirkily strong character threads, lurking in corners and staring with wide, knowing but empty eyes. For Columbia in particular, “Eddie’s Teddy” showcased her stellar comedic timing and impressive vocal styling. Another sublime thread was the production’s narrator, played by Chris Maulden. Getting the already enthusiastic crowd ready for a raucous evening of debauchery and liberation, Maulden was mysterious, sassy, and in command of the whole chaotic tale. Not to miss out on the pandemonium were the steampunk-inspired Riff Raff, played by James Maxted; the chiseled Rocky just built for temptation, played by Patrick Bell; the increasingly deceased Eddie, played by Zach Walsh; the secretive Dr. Scott played by Richard Pollington (also a Phantom); and the wacky gaggle of phantoms: Sarah Allbrant, Ahryel Tinker, Shelby Cody-Jones, Wyatt Underwood, and Caroline Battle. With over-the-top performances and wonderfully garish costumes, this troupe didn’t believe in the fourth wall and shattered it with every chance they got. Columbia (Talya Conroy), Riff Raff (James Maxted), and Magenta (Anastasia Hanchak) in ‘The Rocky Horror Show.’ Photo by Kimberly Kemp. Further building out this helter-skelter world of seduction, betrayal, and power was an excellent creative team. Starting with the direction by Kimberly Kemp and choreography by Kimberly Geipel, this production cleverly used every inch of the ARTfactory and surrounded the audience with a Rocky Horror Show unlike anything I’ve seen — all to great effect. The costume design by Jenn Durham and makeup design by Talya Conroy were magnificently flashy, alien, and effortlessly cool. Set design by Jimmy Conroy, prop design by Lissa Unrue, and lighting design by Allie Lefon-Fogleson created a surreal playground. And the orchestra conducted by Musical Director Pam Gordet (in particular the killer saxophone playing by Justin Baughman) brought the whole campy, cheeky production to another planet. Loud, unapologetic, and still the definition of rebellion against conformity, The Rocky Horror Show holds a special place in the American musical theater’s history. Whether you’re looking to do the Time Warp again or to kick off spooky season with a marvelously naughty plunge into self-love and individually, The Rocky Horror Show by Rooftop Productions is required viewing. Grab your fishnets, start stretching out those hips, and dive into this saucy exploration of — and more importantly, celebration of — who we are and what we desire. Running Time: Approximately two hours, including two 15-minute intermissions. The Rocky Horror Show plays through October 5, 2024 (Fridays and Saturdays at 7:30 PM and Sundays at 2 PM), presented by Rooftop Productions performing in the Wind River Chimes Theater (3rd floor) at the ARTfactory, 9419 Battle Street, Manassas, VA. Tickets ($25–$55) are available online or through the box office at 703-330-2787, Monday to Saturday, 10 am to 5 pm. The program for The Rocky Horror Show is online here. COVID Safety: Masks optional.