Blood, Buffoonery and Brainless Burlesque

Evil Dead the Musical – Black Button Eyes Productions

There’s so many reasons to recommend this show that it’s difficult to know where to begin. But first, this definitely isn’t a musical for everyone. The more conservative audience member who prefers the classics of Theatre’s Golden Age may be put off by this show. Besides being a cleverly written satire of a B-level, cult supernatural horror film (which is itself a satire of the genre), the musical is filled with over-the-top characters, raucous rock songs, a plethora of profanity and gallons of guts and gore. Nowhere in sight is there a surrey with the fringe on top.

But Ed Rutherford’s new production is a bonafide winner. Not only is the show cleverly and dynamically directed, it features seven gifted young triple threats and an army of backstage artists, who bust their collective butts to make this musical as wildly entertaining as possible. To their credit, neither the cast or crew ever take this show seriously, yet the actors are always true to their respective characters. The world of the Evil Dead demons and zombies is played with devilish tongue-in-cheek devotion; and the musical teems with talent, energy and a melodramatic acting style that’s appropriate for this piece. 

The musical sports a book and lyrics by George Reinblatt that nicely spoofs the original 1981 Sam Raimi horror movie. It also parodies the entire series of “Evil Dead” films, with lots of references to the sequels. The eager “Evil Dead” fans will, no doubt, recognize these allusions and familiar one-liners. The music by Reinblatt, Frank Cipolla, Christopher Bond and Melissa Morris ranges from okay to pretty darn good. The Time Warp wannabe, “Do the Necronomicon” is a catchy and fun highlight, particularly as choreographed by Derek Van Barham. The musical is musically directed by keyboardist Oliver Townsend, who conducts his talented backstage band.

The story is about five college kids hoping to spend a romantic getaway weekend in a cottage in the woods. Accidentally an evil spirit is unleashed from the cellar and things begin to go awry. A subplot features a young woman and her boyfriend who are trying find the remote cabin where her late, archaeologist father lived his final days. He had been dabbling in the dark arts and had found a Book of the Dead. Not so coincidentally, the cabin where daddy died turns out to be the same cottage where the college kids are cavorting. The structure of the play is reminiscent of the more popular and mainstream “Little Shop of Horrors,” but with much more blood and body parts thrown about the stage. There’s even a plastic covered “splatter zone” for theatergoers who enjoy becoming part of the action. Those who laugh at the black humor of schlocky decapitations, severing of limbs and impalements, with the requisite squirting blood, will also find humor in the bounty of sophomoric sexual jokes.

Rachel Sypniewski’s imaginative costumes work especially well and provide several breakaway pieces, such as Annie’s safari garb that gradually converts almost to a bikini. Her talking trees are a particular hoot, as are all the demonic adornments. Jeremiah Barr’s multilevel set, detailed props (with assistance provided by Melanie Thompson) and humorous puppet designs add much to this storefront production, helping keep everything up close and personal. Liz Cooper’s lighting is sometimes moody, sometimes concert-level bright, both appropriate for this kind of show. Robert Hornbostel adds another level of drama with his frightening sound design. And Jon Beal brings his expertise as fight choreographer and gore consultant to Rutherford’s phenomenal production.

The aforementioned top-notch cast stars handsome Jordan Dell Harris as the macho hero, Ash. Mr. Harris has impressed in Pride Films & Plays’ “HOMOS or Everyone in America” and Boho’s “A Little Night Music,” to name just a few of his other Chicago productions. The young man can sing, has boyishly good looks and knows how to deliver dialogue with a knowing wink. The always wonderful Caitlin Jackson is hilarious as his bookish sister Cheryl. She’s not only funny but handles her transformation between human and devil doll with finesse. She’s another comic actor whose gifted musical ability has been appreciated in dozens of area productions. 

A renowned Hell in a Handbag company member, Stevie Love has brought sniggers and style to everything undertaken. Here, Stevie plays two drag roles, doing double duty as buxom, blond bimbo, Shelly and sexy, fatherless femme fatal, Annie. Once again the actor brings polished professionalism to her iconic roles. Josh Kemper, seen as part of this company’s recent production of “Shockheaded Peter,” is campy, crass and generally appropriately annoying as Scott. The actor truly shines in all the Act II musical and choreographed numbers. 

Robert Quintanilla’s nerdy Ed blossoms when he becomes a demon and proves, as in past shows like “Yank!,” that he’s a musical theatre actor to be taken seriously. Shane Roberie, as Jake, mines every ounce of humor possible from this role and proves that his musical talent is formidable. Kirby Gibson makes the most of ingenue role, Linda, but, like her cast mates, truly shines in the choreographed numbers. An always welcome face, multitalented David Lipschutz has the distinction of portraying Fake Shemp, among other memorable ensemble roles.

A musical satirizing a film that already parodies its genre may be overkill (pardon the pun), but this storefront production is absolutely sublime. Staged in the perfect venue, the movie at which it pokes fun, the story, the props, the cheap special effects—indeed, the entire style of the show—is pure perfection. There’s so much talent involved in this production. It’s a musical that should be remounted annually in this theatre space, particularly around Halloween. From a talented, creative director to a gifted, hard-working cast and crew, who pull out all the stops, this is an entertainment dripping with blood, buffoonery and brainless burlesque. Liberal, open-minded audiences won’t find a more entertaining evening of theatre. 

Highly Recommended

Reviewed by Colin Douglas

Presented January 11-February 16 by Black Button Eyes Productions at The Broadway (the Pride Arts Center), 4139 N. Broadway, Chicago.

Tickets are available at the box office or by going to either www.blackbuttoneyes.com or evildeadchicago.brownpapertickets.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.