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Evil Dead: The Musical
Book and Lyrics by George Reinblatt
Music by Frank Cipolla, Christopher Bond, Melissa Morris, George Reinblatt
Music Supervision by Frank Cipolla, Additional Lyrics by Christopher Bond
Directed by Justin Been
Choreographed by Sam Gaitsch
Stray Dog Theatre
October 11, 2018

Christen Ringhausen, Jennelle Gilreath, Stephen Henley, Dawn Schmid, Riley Dunn
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s newest production is Evil Dead: The Musical. Now, if you’re reading this and that title excites you, you will probably love this show. Otherwise, though, I’m not so sure. As is usual with this theatre company, the show is well cast, enthusiastically staged, and musically strong. Still, it’s an extremely niche-appeal show, and if you love the Evil Dead franchise and/or the slasher/horror genre generally, this is your kind of show. There isn’t much here, though, for those for whom that genre doesn’t appeal.

Story-wise, the plot is essentially a combination of the first two Evil Dead films with a few nods to the third one thrown in for good measure. The opening number “Cabin In the Woods” sets up the premise–a Spring Break excursion to a secluded cabin by a group of five young adults–Ash (Riley Dunn), his girlfriend Linda (Dawn Schmid) and younger sister Cheryl (Christen Ringhausen), along with his best friend Scott (Stephen Henley) and his latest fling Shelly (Jennelle Gilreath), whom Scott has recently picked up at a bar. The five expect to have a typical (but unauthorized) “party” week at the cabin, but they soon find out that this is no ordinary cabin. There are evil spirits here, which inhabit not only the cabin but the trees that surround it. Other characters soon become involved, including the tape-recorded voice of Professor Knowby (Kevin O’Brien), the owner of the cabin, who has discovered an ancient book with incantation that will awaken the “Candarian demons”. There’s also the professor’s daughter, Annie (Maria Bartolotta) and geeky research assistant Ed (Corey Fraine), who return to her father’s cabin along with local resident Jake (Josh Douglas) and find the uninvited Ash, his friends, and lots of trouble.

The main focus here is on humor and gore, and there are certainly some funny moments, with the cast seeming to have a great time hamming it up for all its worth. It’s a strong cast all around, with Dunn’s swaggering hero Ash and Ringhausen’s initially clueless but eventually bloodthirsty Cheryl being standouts, along with Bartolotta who leads the show’s most memorable musical number, the hilariously titled “All the Men In My Life Keep Getting Killed By Candarian Demons”. Douglas also has some fun moments in his dual role as Jake and as a singing Moose head. It’s a strong cast all around, though, with their enthusiasm adding a great deal of energy to this show.

Visually, the production values are excellent, as is usual for SDT. Josh Smith’s set brings the iconic “cabin in the woods” to life with vivid detail, and Tyler Duenow’s lighting adds a suitably creepy effect. Eileen Engel’s colorful costumes and  Sarah Castelli’s eerie horror-style makeup contribute to the overall comic-horror atmosphere. There’s also a great band, led by musical director Jennifer Buchheit. There’s also, as advertised, lots and lots of stage blood, but it is so over-the-top in its use that the overall effect is more humorous than scary, and I think that’s the intention.

As I already wrote in my recent review of The Zombies of Penzance at New Line, shows about zombies are generally not my cup of tea, even though I know the genre is extremely popular and I try my best to see its appeal. Evil Dead isn’t exactly a typical “zombie” story, although it features zombie-like “Deadites”. Still, it’s even more out of my comfort zone than Zombies.. Evil Dead, as an unapologetic homage to the movie series on which it is based, as well as other horror/slasher type movies, isn’t trying to re-imagine anything or be deep or profound. It’s just a straight-up R-rated comedy horror show with lots of crude humor, gore and stage blood, and an advertised “splatter zone” appealing to audience members who want the interactive experience of being splattered with fake blood and guts. Again, if this concept sounds appealing to you, you will probably love it. If it doesn’t sound interesting, though, you might have trouble seeing the appeal. Still, it’s a well-staged production and the cast and crew seem to be having a whole lot of fun. For fans of horror/gore-related comedy and the Evil Dead franchise in particular, this is sure to be a hit.

Riley Dunn (Center) and Cast
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Evil Dead: The Musical at Tower Grove Abbey until October 27, 2018

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Spring Awakening
Book and Lyrics by Steven Sater, Music by Duncan Sheik
Based on the Play by Frank Wedekind
Directed by Justin Been
Choreographed by Sam Gaitsch
Stray Dog Theatre
October 6, 2017

Allison Arana, Riley Dunn
Photo by John Lamb
Stray Dog Theatre

Spring Awakening is that edgy musical from 2006 based on an even edgier (for its day) German play from 100 years earlier. The musical has become quite popular with regional theatres over the last decade or so, and this is actually the second time Stray Dog Theatre is producing it. Their first production was five years ago, though, and although I’ve heard good things about it, I didn’t see it. Actually, I hadn’t seen the show at all before this latest SDT presentation, although I had heard some of the music. Still, having read about the show and listening to the music doesn’t entirely prepare someone for seeing it live. On stage at SDT now, Spring Awakening is daring, shocking, extremely well-cast, and overall just plain excellent.

The story here is essentially an object lesson for adults in “how not to teach (or not teach) your kids about the facts of life”. It’s not all about sex, but that’s an important focus of the plot. It takes place in Germany in the 19th Century, in a rigid society where there are expectations for proper behavior, and for proper education, and that’s different for boys and for girls. The girls, like Wendla (Allison Arana), are expected to be “good” and eventually grow up and be a good wife and mother, although they’re not expected to know exactly where the babies come from. Wendla’s mother (Jan Niehoff, who plays all the adult women) isn’t much help, and so her daughter is dangerously naive when she eventually finds herself in a growing flirtation with young student Melchior (Riley Dunn). The other girls gossip and swoon over the boys and wonder about their futures, while the boys are in school learning how to be upstanding members of society. They’re drilled in Latin, math, and other subjects by their strict schoolmaster (Ben Ritchie, who plays all the adult male characters), and they are not expected to question authority. The boys are stressed out about their classes and expectations, but they’re also discovering their sexuality as well, which especially confuses Melchior’s friend Moritz (Stephen Henley), who is so distracted by certain thoughts that he can’t study, and the teachers determine he’s just not fit for school. As the play goes on, Wendla, Melchior, Moritz, and their friends deal with the strictness and evasion of the adults and society in different ways, with distressing and even tragic results. There are also other stories involving Wendla’s friend Martha (Brigid Buckley), who doesn’t want to share the full story about how badly her father treats her, and also Ilse (Dawn Schmidt), who ran away from a similar situation to live a more free-spirited life as a model at an artists’ colony, although she’s still gossiped about by her childhood friends. There are also Hanschen (Luke Steingruby) and Ernst (Jackson Buhr), who discover an attraction to one another. Without giving too much away, let’s just say that things turn out better for some and worse for others, but generally, the rigid rules and strict expectations of this society don’t mesh well with the passions and desires of youth.  There’s little effort for actual communication–just dictation and evasion from the adults and confusion and impulsive reactions with sometimes devastating consequences for the youthful characters.

There’s a lot of story here, but it’s told well, and Ducan Sheik’s rock-influenced score augments the story especially well, with its frank and confrontational treatment of sexuality, among other subjects. The music works to tell the story well, from quieter, plaintive moments (“The Word of Your Body”) to full-on adolescent rage (“The Bitch of Living” and the riotous, spectacularly staged “Totally Fucked”). It’s a memorable score, and the staging here, with dynamic choreography and synchronized movement, adds much to the overall feeling of the production. The cast manages to get the whole performance area in Tower Grove Abbey shaking at one point. The casting is excellent as well, with Arana ideally cast as the innocent, bewildered Wendla well-matched with Dunn as the skeptical, would-be iconoclast Melchior. These two display strong, halting chemistry as well. There are also strong performances from Henley as the conflicted Moritz, and by Schmid, who displays a great deal of presence as the somewhat mysterious Ilse. Steingruby and Buhr, as Hanschen and Ernst, are also excellent, as are Ritchie and Niehoff in the adult roles, Buckley as the haunted Martha, and the entire ensemble (Angela Bubash, Kevin Corpuz, Tristan Davis, Annie Heartney, and Jacob Schalk).  It’s a confrontational show in a lot of ways, but it’s also a human show, and the wonderful cast does an excellent job of portraying the humanity of these teenagers with all their hopes, dreams, and flaws.

The stage is set minimally, with Robert M. Kepeller’s set consisting of a few wooden set pieces that frame the action more than establishing a concrete scene. The excellent band, led by music director Jennifer Buchheit, is right on stage with the actors, as well, blending the music into the environment in a thoroughly immersive way. There are also superb costumes by Eileen Engel and striking lighting by Tyler Duenow to help realize this richly portrayed world.

Spring Awakening is an important show in portraying the dangers of an overly rigid society and especially lack of true communication and essential education for growing teenagers to the point of stifling and even denying their basic humanity. It’s a timeless message despite the 19th century setting, and blend of the modern music with this setting helps to augment the universality of some of its themes. There’s some difficult and sometimes downright brutal subject matter here, but there is also hope, especially personified in the dazzling final scene and “The Song of Purple Summer”. As someone who hadn’t seen this musical before, I think  SDT has done the show about as well as I can imagine it being performed. It’s absolutely worth seeing while you have the chance.

Cast of Spring Awakening
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Spring Awakening at the Tower Grove Abbey until October 21, 2017.

 

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