AUGUSTA, Mich.–We first see him from the back rising out of the pit donning ripped thigh-high fishnets, a bustier, buckled garter belt, six-inch platforms and glittery make-up that would make Ziggy Stardust jealous. Yes, it turns out he’s a rapist, a murderer, a cannibal, a mad scientist who concocts his very own sex slave. But damn if he isn’t sexy as all get out.

Made all the hotter for the fact that this lanky, swaggering, seductive, whip-wielding pansexual, both masculine and feminine, dominant and submissive embodiment of the world’s favorite “sweet transvestite” Dr. Frank-N-Furter beautifully played an earnest suffering Jesus just one month ago in The Barn’s riveting Jesus Christ Superstar.

Jay Poff is at least equally captivating as the lead in this season’s long-anticipated Rocky Horror Show. It’s his first time in this role at The Barn, where they’ve been teasing and delighting devoted dressed-up audiences with this show since 1990, and his performance is pleasing to even the most die-hard Tim Curry fans.

The audiences, including those full of folks dressed in sparkles, boas, fishnets as well as those with “virgin” scrawled on their backs among others unfamiliar with the campy cult classic, will effectively influence and change the show from night to night with their interactive participation born of midnight showings of the 1975 film adaptation based on the 1973 musical. Its creator, Richard O’Brien, who played the original Riff Raff, credits the popularity and longevity of the show to the fact that “[it] taps into the most primal story of western civilization: the fall of man. Brad and Janet are Adam and Eve, and Frank-n-Furter is the serpent,” he’s quoted as saying in The Guardian.

The dark rock and roll musical comedy pays homage to sci-fi and horror B-movies (as well as humanity’s various shadow sides) and spoofs Frankenstein with this story of a newly engaged naive young couple who stumble upon a castle full of twisted characters who introduce them to the pleasures of fulfilling their deepest unexplored desires. (“There’s no crime in giving yourself over to pleasure,” Frank says. “There is in Augusta,” retorts savvy audience members.) Frank has created a magnificent half-brained Adonis for his own titillation, but instead Janet performs her own successful seduction. Meanwhile, a former delivery boy is murdered, and creepy servants Riff Raff and Magenta reveal themselves to be aliens who plan to return to their home planet Transexual in the galaxy Transylvania, and provide the ultimate plot-twist and denouement.

Even for those somehow unfamiliar with the musical, at least some of the music is happily recognizable. Numbers run the gamut of inspiration from sweet ‘50s pop to ‘70s glam rock to funky bow-chika-wow-wow porno grooves, and Music Director Matt Shabala (on stage with his terrific band) has fun with it all while also putting on a terrific interactive performance himself. The Barn company excels at singing this kind of classic rock, and Eric Parker as a ghoulish Riff-Raff and Penelope Alex as a sharply sinister Magenta are especially stunning in their roles and with these songs, “Science Fiction Double Feature” and “The Time Warp” among them.

Sarah Lazar and Cody Stiglich are sweetly convincing deer in headlights as Janet and Brad with terrific voices and capacity to show character development. Her “Touch-A, Touch-A, Touch Me” is particularly fun.

Jamey Grisham is a magnificent golden-bronzed, chiseled creature to behold. Though Rocky is limited in speech and movement, his grunts and flat-footed bourree in gold booties to match his shimmering loincloth are a scream.

John Jay Espino plays especially well with the audience as the stodgy old narrator; Kasady Kwiatkowska is a squeaky, appropriately annoying and energetic Columbia; Patrick Hunter gives Meatloaf a run for his money as Eddie; and Charlie King is a terrific Dr. Scott.

The entire ensemble of Transylvanians/Royalty are fantastic characters; dressed in bedazzled tailcoats, torn fishnets, and hats of all varieties by Carly Heathcote, they high kick, pelvic thrust, and otherwise “do the Time Warp” among other suggestive well-choreographed movement by Jamey Grisham.

An impressive two-tiered eclectic set by Michael Wilson Morgan; lights, including a fantastic opening video montage of B-movie images choreographed to “Science Fiction Double Feature” by Molly Lamperis; and sound by Michael McShane all beautifully support the success of Director Brendan Ragotzy’s overall concept.

From (just before the) start to finish, this Rocky Horror, the eleventh time produced at The Barn, is clearly in the hands of masters: a director in his element with a company in the autumn of a long summer stock season having a ball, playing with a responsive, hungry audience. And in a world that has arguably become more gender and queer savvy in the past four decades, this show is still amusingly shocking and absolutely holds up. It’s an experience not to be missed.