Look who’s evil now!! Wait— no— they’ve always been evil. Evil Dead: The Musical, that is. Deer In The Spotlight Productions returns for its annual Charm City tradition of bathing audiences in blood, blasting music and guts (quite literally) all over their Deadite-fan-groupies, and a hellishly good time guaranteed.* Directed by Bob Denton with Musical Direction by Shane Jensen, and choreography shambled, re-animated, and assembled by Tigga Smaller, Parker Bailey Steven, and Lanoree Blake, Evil Dead: The Musical will have you joining them before you even realize you’re drenched in blood.
A word of caution if you’re more of the “I don’t wish to be drenched in blood” variety (please see the guarantee note at the bottom if you fall into this category of theatergoer), the ‘driest’ seats in the house are against the back wall flanking either side of the tech-op booth. There’s a splash-n-splatter zone, which results in a ‘Carrie at the prom’ aesthetic and there’s a ‘just-about-everywhere-else’ which looks like spin-art set loose on humans, only in blood. And then there’s a few coveted seats on the back walls near the tec-op booth. Choose wisely.
This is the show that has its own cult following— and I don’t mean just Bruce Campbell’s cult-following from the movie. The DITS (Deer in the Spotlight) team comes back year after year with supporting fans drooling for blood, Kandarian Demons, and good old reliable Jake, amongst other things. The DITS production of Evil Dead: The Musical has become the Halloween horror-staple of Charm City, the way The Rocky Horror Show was to the masses decades ago. It’s campy, high-octane shenanigans, and is laugh-a-minute tomfoolery with a lot of crude humor, foul language, and a damn-good, good-old-fashioned comedic good time in store.
Director and Scenic Master Bob Denton, working with Lighting Designer Tyler “Danger” Bristow, has crafted the ultimate spooky stage with more hydraulics than a water treatment plant, more moving parts than an Ikea-built lazy-Susan, and more intricately sketchy detail than one could ever dream of. Skeletons dance— hell, in the prelude/overture style opening (new this year with screened projections and 3D glasses) there’s even a skeleton twerkin’ it— and moose heads yammer; and there is a veritable array of gory special effects that will have heads rolling in the aisles. Too good, too fierce, and too bloody for words, it can simply be said that one must bow down to these masters of campy high-end horror nonsense. (Seriously though, the level of hydraulics is unprecedented in Baltimore Theatre.) “Danger”, the lighting designer and show running person, becomes this wildly semi-inclusive character who the audience is screaming for, chanting at, and just loving (Bristow brings a few props on and off throughout the performance in a very visible, high-camp manner, complete with total apathy and disdain. It’s a scream.)
Musically these kids are belting and blasting their hearts and faces out, just having a grand old time with the nonsense that is this show. Musical Director Shane Jensen ensures good sounds while not taking the production too seriously (it’s like the anti-Les Mis for pity’s sake.) Jensen even gets a very popping moment where he explodes from the tech-op booth during “All of the Men in my Life Keep Getting Killed by Kandarian Demons.” Between Jensen’s vocal work and the choreographic amalgamation of Tigga Smaller, Lanoree Blake, and Parker Bailey Steven, the big flashy dance number- “Do The Necronomicon” is a real thriller of a hit. Of course you can catch some of the SSB (Smaller, Steven, Blake) choreo chaos during “What The F**k Was That?” a wild and torrid tango featuring Scotty and Ash, arguably one of the second most hilarious nonsense numbers in the show.
The aforementioned Tigga Smaller shows up on stage as well (everyone turns up for “The Necronomicon” of course) in the credited role of ‘Fake Shemp.’ Whereas Matt Wolffe shows up as ‘Shemp’ and of course the Moose. You know when the evil spreads to the forest and the trees come to life and try to eat you? Smaller and Wolffe at your service! Just one of the many hysterical hijinx featured in this production. There are so many things one could talk about— like the bloody ‘eggplant’ insignia that gets painted on the back of Annie once her costume *finally* falls to shreds, or the never-ending trail of entrails seen on— well, that would be a spoiler. Sort of. It’s a must-see, hands down.
Because there’s poor, pitiful Ed (Matthew Peterson), the loveable but overlooked character, who even gets, well, part of a solo number called “Bit Part Demon” in the second act. Peterson has the pitiable expressions, the ho-hum melancholy of forever living in the shadows of obscurity, hell, he’s even wearing a red cardigan-sweater thing marking his character as expendable. (Star Trek, anyone?) Don’t let his woeful path fool you, though, Peterson is an integral and fantastical part of the production, whom we simply could not live without.
Doubling up this year as first the super slutty Shelly (you know, the one that Scotty literally picked up at the gas station like the day before this trip got under way?) and then the academically inclined Annie, Mary Elizabeth Gipe showcases two versatile performances, so much so that you don’t realize it’s the same actress playing both parts until the end when you’re doing a body count. I mean people count. You get a really lovely doo-wop style 50’s number out of her in the second act, “All The Men in my Life Keep Getting Killed by Kandarian Demons” and it’s just hilarious and well-sung. The facial expressions that Gipe makes as Shelly are priceless and perfectly parlay the vapid wind-tunnel that serves as the canal between the character’s ears.
Well it’s Good Old Reliable Jake (Steve Flickinger) to the…rescue is a strong and mostly inaccurate word to use here, but it sounds good. And good old reliable Jake will tell you he’s both those things. And while we don’t want to get— ahem— ahead of ourselves when it comes to whacking off the many virtues of good old reliable Jake, it can easily be said that Flickinger has honed the role into something so delightfully comical that it’s basically comedic gold. And the things that come out of his mouth will wash over the audience like a fountain. Metaphorically and literally. You get Flickinger at his finest during his character’s eponymous number “Good Old Reliable Jake.” Challenge yourself not to laugh during this song. Bet you’ll fail!
Ever crude, growing cruder and ruder every year this show gets underway— and this year the crudity seems to have spread like a certain virus and infected a whole bunch of little moments previously so sappy and pure that they almost felt like they didn’t belong in the show (think Linda and Ash having their ‘moments’ together and even later with Annie and Ash and the whole demon-doggie-down-summoning thing) — is the derelict, degenerate Scotty (Rance Denton.) Elvis’ pelvis looks like a creaky old antique compared to the pop-thrusts Denton has got going on. Doing his demonic best to vocally and physically lead the cast through “Do The Necronomicon”, Denton puts it all out there and really gets those Deadites to get their freak on! His tango and panic during “What The F**ck Was That?” is pricelessly hilarious and in generally Denton is just a wild ride from start to end. To end.
Hold up— record scratch-squeal— did we forget to talk about all the insane costumes? Probably, because they’re so seamlessly amazing that they meld right into the blood and guts and gore of the set. But that wouldn’t be doing Sartorial Sage Lithia Knopp any justice whatsoever. Between the striking and fear-inspiring Deadite masks, the S-Mart shirts, Jägermooster in-show promo logo, and all of the gore-stained, blood-soaked couture that gets featured throughout, Knopp could be one of those SFX-Costume masters from Universal Studios. The breakaway costume for Annie is particularly impressive too. All hail Costume Mistress and marvelous queen of couture, Lithia Knopp.
Our super nerdy, prudish, very naïvely stereotypical “kid sister” archetype comes to us by way of Cheryl (Lanoree Blake) whose cutesy ways turns fowl in a furious hurry once she turns demon. Blasting Ash and the others with horrifically punny-dad-jokes (you know you’ve matured into dad joke territory when your jokes become apparent.) and popping up and down like demonic whack-a-mole, she’s a real scream in this role. Blake turns sweet to sour in the blink of an eye and its hysterical. And when she bounces around and belts out for “Look Who’s Evil Now?” it’s just astonishing in indescribable ways.
Lovely Linda (Parker Bailey Steven) is yet another horror movie trope— the loving girlfriend, though with Steven’s rendition, you’re getting a hint more of the saucy, the sexy, and the smutty and it’s fabulous. With a glorious voice to melt its way through the duet Ash and Linda share— “Housewares Employee”, Steven is equal parts charming and cheesy as well as cheeky and sleezy; it’s a wild new hybrid never before experienced in the Linda character. Steven goes rogue-wild once she flips to Deadite and lets just say she’s getting— ahead of herself— if she thinks her delightful charm will save her from the fate of all Deadites.
The savior, the ruler, the man with THE BOOMSTICK! He’s got it all, including a chainsaw for an arm, and a crazed look in his eye. Playing half naïve George Bailey-style and half rogue-assassin who has had enough of your shit, the role of Ash (as played by Mike Bliss, as played by Dorian Gray because that man does not age— it’s been six years since ED: TM got under way with Bliss in the leading role of Ash and his face looks younger. Seriously, once Demon Cheryl gets out of that basement trap-door someone go check for a picture of Bliss moldering away covered in Deadite blood…) is what has the audience screaming themselves hoarse. (Well that and this year the unadulterated fan-girling over “Danger” when he sets up props and the like.) Bliss, as Ash, is like Bruce Campbell but better. And when his hand turns on him? (It’s a thing; go with it.) The ‘fight choreo’ between Bliss and…himself…is side-splittingly hilarious and strikingly well done. Bliss has a BOOMSTICK of a voice too, particularly when bellowing out “Die diiiiiiiie!” at the end of Act I and the top of Act II. You get a real quality performance out of this ageless man and it a rare treat that he continues on in this role. (May he forever do so.)
So get your hazmat suits or don’t, depending on how much you like blood (it totally washes off.) And get your tickets to Baltimore’s premiere Deadite experience, the only Deadite experience in town. It’s a real crazy and charming Charm-City tradition! Don’t wait until it’s too late! Get your freak on— and do the Necronomicon with these crazies!
Running Time: Approximately 2 hours and 30 minutes with one intermission (and multiple blood baths.)
Evil Dead: The Musical— a Baltimore City tradition with Deer in the Spotlight Productions, plays through October 29, 2022 at Motor House Baltimore— 120 W. North Avenue in the Station North Arts District of Baltimore, MD. Tickets are available at the door (do not take this chance; several performances are already sold-out) and in advance online (a much better way to guarantee your ticket.)
*Hellish good time guaranteed is guaranteed only if being destroyed by Kandarian demons, getting soaked with blood like Carrie at the prom, and insanely campy musical numbers are your thing. And if these are not your things, then what the f**ck are you doing here?
