Displaying items by tag: Halloween

‘Jekyll & Hyde’ returns to Chicago for the first time in over 15 years. Kokandy Productions follows their recent hit ‘Amelie’ with a much-anticipated revival of the 90s cult horror pop opera. Director Derek Van Barham brings his stylish vision to life with a cast of scary good voices.

Kokandy Productions has long established themselves as a theatre company that specializes in “misfit toys” musicals. In that regard ‘Jekyll & Hyde’ seems like a perfect show for their distinct niche. Though the original Broadway production was by all accounts a hit and ran for almost four years, critics were divided. Originally produced in Houston in 1990, it would take 7 years and a national tour before it would open on Broadway. The original Broadway production is perhaps most notable for casting David Hasselhoff in its final run.

‘Jekyll & Hyde’ has since become a fan favorite among those with an affinity for shows like ‘Phantom of the Opera’ and ‘Sweeney Todd’. Van Barham thankfully lifts the source material out of the gauche 1990s-style of overblown period piece musicals. Instead, his version is entirely contemporary with thrilling lighting and steam punk costuming.

One reason ‘Jekyll & Hyde’ isn’t revived often is that you need a really good cast of singers as this show is mostly sung-through. Kokandy’s cast is stacked with amazing vocalists starting with David Moreland in the dual role of Jekyll and Hyde. His powerful voice sways naturally between the darkness of Hyde and the fading goodness of Jekyll. It’s also a rare experience for a press night audience to hold for close to a minute for applause, but Ava Lane Stovall as wayward Lucy is this production’s secret weapon. Her stirring rendition of ‘Someone Like You’ brings Act I to a standstill of roaring applause. Throughout the show Ava Lane Stovall’s incredible voice brings the tragic character of Lucy to life in vivid detail. Her name may not be in the title, but with a voice like that, this is certainly a Justice-for-Lucy production.

Fans of 1990s era musicals are well aware of the cringy costumes and over-the-top staging that often overshadowed quality. ‘Jekyll & Hyde’ is surely a product of its time. Perhaps better off forgotten in some ways. However, Derek Van Barham treats this show like it’s brand new. Kokandy’s ‘Jekyll & Hyde’ can’t necessarily hide the meaninglessness of its lyrics, but it puts so much gloss on the production that lyrics feel incidental. This is a show about incredible voices and stylish staging.

Lighting design by G “Max” Maxin IV is genuinely striking. Faces are bathed in deep reds and cool blues, casting eerie shadows about the Chopin Theatre. The tightly drawn set by designer Sotirios Livaditis captures all the soaring voices and beautiful harmonies with such simplicity proving less is often more.

Halloween season is drawing to a close, but Kokandy’s ‘Jekyll & Hyde’ is here for the winter. Their near-perfect production breathes new life into a show many know but few have seen. If you missed out on this Blockbuster in the 90s, now is your chance to see an elevated revival. Go now or risk waiting another 15 years.

Extended through January 10th at Kokandy Productions at Chopin Theatre. 1543 W Division St. 773-278-1500

Lou (Cher Álvarez) and James (Patrick Heusinger) are in their bedroom. They are so focused on each other that they don’t notice the flashing light in the bedroom down the hall. The catch? Lou and James are the only ones in the house. So that leaves the question – who is controlling the flashing lights?

Many of us are familiar with this moment in a horror film. The first scare is crucial and sets us up for what we are about to experience. We may not know exactly what is happening, but we do know that this simple game with the lights suggests that all is not quite normal in this house. Lou and James are not alone, and whether or not we are ready, we are soon going to learn what is keeping them company.

However, this is not a film. This is a horror play, and while the moment provides a similar purpose, you might find that the experience is quite different. Gasps could be heard across the house at this particular performance. Looking around, folks were pointing to fellow audience members – making sure that they too took in the flashing lights. Whispers could be heard, and suddenly, it felt like we were part of the performance. As the scares grew over the course of the piece, reactions only intensified. Audience members shouted, screamed, and even at times tried to warn the characters of what they were clearly missing. Director Felix Barrett and his design team skillfully create what might feel like an immersive experience. As the tension on stage grew, I personally could feel the same happening to the audience surrounding me. To put it simply – we were hooked, and there was no escape until we finally got our answers.

Writing by Levi Holloway, Paranormal Activity follows married couple James and Lou who move from Chicago to London to escape their dark past. We slowly learn that their previous home was haunted, and they assumed that a full ocean could make that go away. However, they soon discover that it’s not always a place that is haunted. Sometimes it’s people, and whether or not they are ready, it’s time to confront their past before it’s too late.

That which truly pushes the experience over the top is the work of Illusions Designer Chris Fisher – along with the collaboration of Associate Illusions Designer Daniel Weissglass and Illusions Consultant Skylar Fox. The stage magic is often hard to grasp with how authentic it feels, and you may find yourself wondering if you even believe what is in front of you – much like the characters on stage.

We witness the couple at the center slowly unravel – particularly James. As with so many horror stories, he begins as a non-believer. As the ghostly interactions become harsher and harder to avoid, we see him question everything he ever knew. Both Álvarez and Heusinger perform quite a feat. As we witness their marriage completely fall apart at the mercy of the hauntings, you might find yourself feeling sorry for the genuine relationship they so clearly set up at the beginning.

With haunting stage magic and a story that takes no prisoners, Paranormal Activity is not just a play – this is an event. Fans of the horror genre will not be disappointed. This is an experience that keeps you guessing from the moment the curtain rises to the last glimmer of light at its conclusion.

HIGHLY RECOMMENDED

Run Time: 2 hours, with intermission

Paranormal Activity runs through November 2 at Chicago Shakespeare Theater – 800 E. Grand Avenue.

More than a haunted house and not quite a play, the House of the Exquisite Corpse series lives somewhere between immersive theater and a live-action episode of Black Mirror.

For the fifth year in a row, Rough House Theater Co. is haunting Steppenwolf's Merle Reskin Garage Theatre with House of the Exquisite Corpse V: BLOOD & PUPPETS. This production-experience hybrid is unsettling, uncanny, and unlike anything else running in Chicago this Halloween season.

The show consists of six puppet performances, each roughly five minutes long, staged in dark, enclosed rooms. Positioned more as voyeurs than viewers, the audience observes each performance through peepholes cut in the room’s walls and listens through headphones. It’s an experience like no other, immersing you in a world entirely, even as you watch it from the outside.

LETTING -Creators Nina D'Angier & Madigan Burke Puppetteer Amandatron 5000.

Although you may be tempted, as I was, to take this year’s blood-and-puppets theme literally, expecting guts and gore, co-directors Felix Mayes and Corey Smith encouraged artists to explore “blood” more metaphorically. The results are striking. Across the six rooms, blood takes many forms: as a symbol of life, decay, lineage, legacy, intimacy, and rupture. Each room also offers a radically different world. One might transport you to the cluttered lab of a deranged scientist, another to a barren, surveilled interior, another to an eerily windswept desert.

The artistry on display is staggering, extending far beyond set design. Each vignette – created by a different team of artists – interprets the theme in personal and provocative ways, resulting in a thrilling range of styles and techniques. The puppetry alone shifts dramatically from room to room, moving from delicate shadow work to oversized, wearable creatures and full-body figures that act like natural extensions of the performer’s body. Some rooms tell tight, plot-driven stories; others are impressionistic and mood-driven, favoring feeling over narrative. Across the board, the performances are intriguing and deeply theatrical – you might come for the scares, but you’ll stay for the craft.

Of course, none of this would be possible without the collective effort of the full production team. The co-directors have built more than a series of puppet shows: they’ve created a platform for experimentation. Puppetry, an art form that’s far too often dismissed and infantilized, takes center stage in House of the Exquisite Corpse, revealing its full expressive range. A space where this kind of work is possible is rare, and Rough House has built one where artists can be unapologetically weird, bold, and free – a testament to what independent theater can be when creators are trusted to follow their wildest ideas.

Whether you're a horror fan, a regular theatergoer, or just looking for something truly unique to do this spooky season, House of the Exquisite Corpse delivers. It may not make you scream, but it will definitely make you squirm.

House of the Exquisite Corpse V: BLOOD & PUPPETS is haunting The Merle at Steppenwolf Thursdays, Fridays, and Saturdays through November 1. Tickets are available at https://roughhousetheater.com/house-of-the-exquisite-corpse

Before you go, please note that the experience requires walking and standing for extended periods, as well as the use of over-ear headphones. Rough House is committed to accessibility and has made detailed information and request forms available at https://roughhousetheater.com/accessibility.

*This review is also shared on https://www.theatreinchicago.com/!  

Brightside Theatre’s rendition of Bram Stoker’s Dracula, adapted by Stephen Dietz, captivates from the opening scene to its climactic finale. Ever since the 1992 Francis Ford Coppola film with Gary Oldman, Bram Stoker’s Dracula has fascinated me. It was a delight to see Brightside Theatre’s cast and crew brilliantly capture the excitement, romance, and terror of this classic tale. Each professional performer brought their unique talents to the show, creating an unforgettable experience.

Bram Stoker’s Dracula is a gothic horror story that follows Jonathan Harker, a young lawyer, who travels to Transylvania to help Count Dracula purchase a London estate. Harker soon discovers that Dracula is a vampire intent on spreading his undead curse to England. Meanwhile, Dracula's sinister influence spreads, threatening Harker's fiancée Mina and her friend Lucy. While Renfield eagerly awaits his master’s arrival, a group led by Professor Van Helsing joins forces to thwart Dracula's plans, resulting in a thrilling battle between good and evil. The tale explores themes of fear, seduction, and the clash between modernity and ancient evil.

Lucy (Julia Hope Budd) and Seward (Adam Boczar) in Dracula

The entire cast is excellent. Greg Kolack shines as Renfield, bringing immense energy and pathos to the role of Dracula's insane, bloodthirsty slave. Caitlin Wolfe captures Mina's innocent charm with a thoughtful and intelligent grace, making her the perfect target for Dracula's dark desires. Brady McNeil delivers a compelling performance as Jonathan Harker, convincingly portraying his transition from a rational businessman visiting Dracula's castle to a broken, mentally disturbed soul after enduring the bloody, sexual rituals of Dracula’s vixens. Julia Hope Budd delivers an exceptional and multifaceted performance as Lucy, the innocent victim who succumbs to Dracula's bloodthirst and transforms into a vampire. Budd lights up the stage with her sensuality and humor in scenes where she's pursued by suitors. As she transforms into a vampire, she remains equally compelling and thrilling to watch.

Also delivering a strong performance is Mike Boyna, who excels as Van Helsing, bringing a mature presence and delivering words of wisdom that resonate deeply with the audience in Steven Dietz's well-written adaptation. Seward is superbly played by Adam Boczar. His deep love for Lucy is clear, despite her referring to him as a "true friend." Seward's love and respect for Lucy is palpable, especially in the way he gently touches her wrist to take her temperature, as if overcome with emotion at the honor.

Of course, Danny Parrott excels as Dracula, bringing a spooky energy to the role. Parrot's strong, graceful, and sensual portrayal as he stalks his victims showcases both sides of Dracula—the powerful, commanding seducer and the violent, selfish monster capable of great cruelty and murder.

The vixens, portrayed by Erica Harrington, Daria Koon, and Kirstin Palatinus, were each sensuous and frightening, draped in beautiful silk robes.

The cast of Bram Stoker's Dracula

Throughout the play the production's lighting and sound effects, crafted by set designer Jeff Sand, Jay Fontanetta, and Kurt Ottinger, were exceptional, including its clever use of multimedia. I also thoroughly enjoyed Cheryl Newman's well-fitting and multilayered period costumes. Each outfit perfectly suited both the actors and the era, particularly the women's intricate, corseted silk ensembles.

During the play’s intermission, I spoke with Jeffrey Cass, Brightside’s Artistic Director, and Julie Ann Kornak, the company’s Executive Director and co-founder, praising their excellent work in creating the space—a delightfully intimate three-quarter thrust theater with comfortable seating, great sight lines, and effective special effects lighting. I was thrilled to learn that their upcoming season will feature more exciting productions like Dracula, including Jekyll and Hyde the Musical, the ever-romantic Midsummer Night’s Dream, and the uplifting musical comedy Pippin!

Skillfully directed by Jay Fontanetta, this thrilling, scary, and sensual production of Dracula is a must-see for audiences of all ages. It's the perfect Halloween treat for adults looking to celebrate the holiday without the usual haunted house fare!

Dracula is being performed at Brightside Theatre in Naperville through November 3rd. For tickets and/or more show information, click HERE.

How many times have you heard someone say they went to see a western/zombie play? Most people would dismiss the idea of a western/zombie story especially one being played out on a stage. The two genres don’t seem to mesh well together when you put them in the same sentence. The western is a genre of post-Civil War America. The genre comes with a bravado similar to Arthurian mythology. The zombie genre has mostly been a contemporary tale. Usually a terrifying result of some wacky science experiment. Since The Walking Dead or Zombieland, the genre has seen a resurgence. We enjoy playing with the idea of “what if". The zombie and/ or zombie invasion has become a way to study relationships when love ones die and resurrect into a dangerous, poisonous being. Bill Daniel’s Hell Followed With Her attacks this study and blends it with drama you can only find in a well-written Western.

Willow Parker is a hardened bounty hunter out for revenge. For the two years, she’s travel far and wide to locate a man named Glanton, who muredered her family after escaping prison. She finds him in Dodge, Texas, along with a few other shady characters in a dimpy lit saloon. The zombie invasion starts of as subtle, with the town’s doctor mulling over the unusual bite marks he discovered from the last thirteen patients. As tensions skyrocket, the disease spread all over Dodge, and the sick have their sights set on the saloon where they can hear gunshots being fired.

Later, Willow Parker reveals that the disease has been following her throughout her journey for revenge. Every town she passed by is swallowed by the disease, which brings the two genres together in an interesting way. Though the origin of the disease is never revealed nor is there any explanation in the connection between the disease and Willow Parker’s revenge, the parallel adds an excitement foreign to the Western genre. An excitement that the genre could use (except for stuff like that 2011 film Cowboys and Aliens. That movie should cover the alien invasion angle). Without explanation, the audience can understand that the disease is a manifestation of Parker’s revenge. Where some revenge stories glorify the idea for an eye for an eye, Hell Followed With Her examines the revenge story as a dark passage that comes with heavy consequences when traveled.

Sophia Rosado gives a reserve performance as Willow Parker that works well with the cold-hearted character, but Krista D’Agostino, as Dr. Haxton is magnificent. Laying it all out on the stage, you feel her confusion, her sorrow, and panic. Out of all of the tough and rough characters in the play, hers is the most relatable. The intellectual trying to make sense of something supernatural.

The first half rolls along and ends on a high note that leaves the audience anxiously waiting for the outcome. But when the second half comes along it's stuffed with two flashbacks. One detailing a time when Willow Parker and another infamous bounty hunter Cole White met in Mexico. The other Glanton describes the night he murdered Parker’s parents. The play drags for the last fifteen minutes. A dice game is used as an attempt to intensify the moment but end up being unnecessary along with a shaky fight scene and long pauses in between lines. By the time the ending finally arrives, it ends the same it began with a song written by Bill Daniel called Willow’s Song. Sophia’s silky smooth voice almost makes up for the second half, but one may still leave their seat wishing there was smoother road to the end.

Despite the second-half’s length, Hell Followed With Her brings a different kind of story to the stage that blends well with the Halloween season. I challenge anyone that questions the idea of a western/zombie play being any good to see this show. It will shock you, make you laugh, and possibly change your mind on what’s possible and what’s not.

Through November 9th, 2019 at The Den Theater.

Here comes Halloween, one of my favorite holidays of all and, of course, the incomparable Artistic Director David Cerda of Hell in a Handbag Productions along with composer Andrew Milliken have created a Halloween camp extravaganza that is sure to satisfy even the blood/laugh thirstiest of Handbag's extensive loyal fan base. 

This time the much beloved TV show The Facts of Life has been crossbred with the TV movie Satan's School for Girls to create a colorful, musical, and hilarious, spot-on spoof!! As always Ed Jones steals most of his scenes this time as school headmaster, Edna Garrett. Jones is a superbly talented character actor and never fails to capture and mimic the juiciest and funniest quirks of the character in such a way that the audience can see and hear the original he is seemingly channeling throughout. Jones never drops the voice or tics for even a second and it sheer pleasure to watch and re-experience the humor of that time period revamped with sexy humor for today.

Madison Smith (whose acting work I also love) does a smash up job as director of this large, multi-talented cast. Stevie Love (who looked especially beautiful opening night BTW) did an amazing job on the super fun choreography. 

David Cerda also slays the room with his dry delivery and long legs in a lush auburn trussed wig with every entrance as Claudia, "a young boarding school student" going undercover to discover the mysteries of Satan worship that is lurking behind closed doors at Eastland. 

The lovely and gifted Graham Heacock makes a beautiful, and scary Blair come to life while Alexa Castelvecchi totally rocks the part of deadpan, butch "Jo" and gets to display her amazing singing voice.  

The whole cast is a delight as Handbag regular, Robert Williams, plays an adorable, goofy Tootie, while newcomer to Handbag - Brenna L. Watkins boldly brings back the character of Natalie.

I won't go too deep into the plotline because that's half the fun of a NEW Hell in a Handbag spoof! I like to just let the twists and turns unfold and surprise you as they wash over your brain with unexpected humor and joy. Highly recommended for old and NEW fans of Hell in a Handbag's productions at Mary’s Attic where you can relax in an intimate yet lively and rowdy theater environment, have dinner or drinks and just let the comedic memories of the shows they revive and also make fun of - energize your heart with laughter for the future! 

The Facts of Life: Satan’s School for Girls is being performed at Mary’s Attic in Andersonville through November 2nd.

This Halloween season the Rough House Theater brings a very different haunted house experience to the Chopin Theatre. Written by Mark Maxwell and Clara Saxe, under the direction of Mike Oleon, The Silence in Harrow House is an updated version of last year’s production called The Walls of Harrow House, but with new puppets and new stories. 

The creators of the show take us on a self-guided tour of the house of a reclusive architect Milton Harrow, who has some bizarre experimental ideas of the world and what it should look like. His house is inhabited by hideously disfigured life-size mutants. They lurk in corners and tiny enclosures, slowly making their appearances; they make scary sounds and communicate messages to visitors (the audience), who are encouraged to wander around the space and interact with the creatures. All of the residents of the house, including the host, are portrayed by monstrous puppets animated by the actors (puppet design by Grace Needlman). Masked and dressed in all black, the puppeteers are nearly invisible, but for the sake of entertainment, it’s helpful to completely ignore them during the show.  

The show starts out pretty mellow, but the intensity does pick up half-way through, as the music gets creepier and creatures’ loud screams and banning get louder. Cool music and awesome sound effects (sound design by Corey Smith) intensify to unnerving levels at times, and prove a great tool that could’ve been utilized even more, as it has great potential to frighten the audience. I wouldn’t mind, really, it is a haunted house after all! But it is a fun show, and definitely worth checking out. With stunning puppet crafting by Vincent Adler, Anna Ogilvie and Severed Hand and masterful puppeteering by Felix Mayesand Lucia Mier, The Silence in Harrow House is being performed at Chopin Theatre through November 10th.  

Just in time for Halloween comes Hell in a Handbag’s The Golden Girls: Bea Afraid! The play’s name itself probably tips most off that audiences will be in for one helluva ride. Handbag found much success in the past couple of years creating their own hysterical episodes of The Golden Girls, Vol 1 was extended twice and moved to a larger theater while Vol 2 also made waves. So, a Halloween special featuring our four favorite seniors – why not?

Artistic Director David Cerda and company are working double time right now performing in Artificial Jungle at 7:30 p.m. (through October 28th) followed by Bea Afraid! at 10:30 p.m. To say this theatre company works hard is an understatement. And one thing is for sure – there’s a whole lot of funny in each production.

Bea Afraid! gives us two Halloweeny episodes, the first a clever whodunit that gets sillier by the second (that’s a good thing) followed by a demon possession that you will never forget. As laughter-filled as the second episode was, my friend walked away saying, “That actually kind of scared me.” So, laughs and scares – the best of both worlds – the treat followed by the trick. Between scenes Golden Girls trivia is held and tongue-and-cheek prizes are handed over to the lucky winners, such as the lady who sat in front of me that was handed a tube of anti-itch crème. How well do you know the gals?

Cerda returns as Dorothy displaying the same dominance over the role that helped make Vol 1 such a smash hit while Ed Jones reprises his role as Rose and commands a laugh just about every time a line is delivered. Adrian Hadlock also rejoins the cast and again nails the role of Dorothy’s razor-sharp witted mother, Sophia. Grant Drager is ever so saucy as our beloved, loose-legged, Blanche, a role that AJ Wright played so well in the first of the hilarious franchise. The cast is rounded out by such brilliantly humorous talents as Chazie Bly, Michael S. Miller, Michael Rashad, Duane W. Taylor, Robert Williams and Maureen SanDiego, who stars as the evening’s hostess.

Created by David Cerda and directed by Becca Holloway, this is a Halloween show not to be missed. Handbag gets another feather in their cap for yet another hysterical production, leaving us to eagerly await the next Golden Girls adventures - please say there will be more!

The Golden Girls: Bea Afraid! Is being performed at Stage 773 through November 2nd. For tickets and/or more show information visit www.handbagproductions.org.

It’s that spooky time of year when we crave cheap candy and scary movies, and when deserted storefronts suddenly pop their doors open to sell Halloween costumes. Strawdog Theatre Company launches its 31st season with the world premiere of Masque Macabre, a Halloween-y show inspired by the works of Edgar Allan Poe. Written by ensemble members Aly Greaves Amidei and John Henry Roberts and company member Cara Beth Heath and directed by Co-Artistic Director Anderson Lawfer, Janet Howe and Eli Newell, Masque Macabre is an immersive theatre experience.

The play seems like quite an ambitious undertaking. Strawdog Theatre has converted its entire space into a colorful house (scenic design by Tom Burch, props design by Lacie Hexom), set as a farewell party for a young filthy rich entrepreneur. Every room has a purpose: there’s one with a mad alchemist mixing colorful liquids and talking to a creature in a fish bowl, an antique bath tub perfect for storing a dead body, a room with dozens of human skulls made of glass. It sounds like fun.

Before the show even starts, the actors and audience hang out in the theatre lobby. Like with many haunted houses the audience is asked to sign non-disclosure waivers but are then shown a short video/ introduction and given masks to wear. We are encouraged to move around the house, following the drama that unfolds in real time. It starts out with a great promise of fun and there are a few rules to follow (“don’t touch anything’, “only speak when spoken to”, etc). There are fourteen horror stories to follow and many scary conversations to eavesdrop on. Actors dress as party guests (great costumes by Virginia Varland!) move between various rooms and closets enacting scenarios of revenge, murder, and other drama, occasionally engaging audience members in small talk and tasks, like holding a flash light.

In my opinion, immersive theatre, if done right, is the most exciting theatre entertainment there is. Plays like [last year’s] For One and [this year’s returning] Madness of Edgar Allan Poe: A Love Story are wonderfully creative and intense, and truly are an unforgettable experience. Unfortunately, Strawdog’s Masque Macabre lacked both the intensity and substance; there’re really no cohesive stories to follow, most dialogues are confusing, and actors seem to be at a loss for words a lot of times. And, most disappointing of all: it’s not even remotely scary, and that’s the real crime. In short, Strawdog’s Masque Macabre still needs to live up to its full potential in order to be the great immersive theatre experience we have come to expect from so much talent behind this production’s team. This production just never really comes together like one would hope. Lots of potential here. The idea is there, but it’s not quite ready. Strawdog has put forth many strong shows over the years, but I wouldn't be so quick to add this one to the list quite yet. 

Masque Macabre is being performed at Strawdog Theatre through Halloween. For more info on this production visit https://strawdog.org.

Most people are aware of the movie Carrie, starring the haunting Sissy Spacek as the picked on teenaged outsider who uses her telekinetic powers to burn down her high school with most of her attackers in it, but few know there was a sequel made in the 90's where her long lost sister ends up using the same powers to avenge her and her best friend’s mistreatment. The sequel is appropriately titled Carrie 2: The Rage. 

Writer/composer Preston Max Allen does an amazing job of using the movie sequel as his starting point in Carrie 2: The Rage (An Unauthorized Musical Parody), writing many very funny and well-crafted parody songs and scenes to fill out the play. 

Rachel Lang, the lead played solidly by Demi Zaino, finds out that the reason her best friend committed suicide the day after happily losing her virginity to one of the boys on the football team is a cruel game that the boys are playing with young girl's minds by judging their looks with a point system for the football player who "bangs them". The boys then and then dump the girls who are considered "coyote's,” not really the ugly girls just the sensitive, nerdy vulnerable ones. 

Then to make things worse Rachel ends up stealing the heart of the only nice football player that the head cheerleader is in love with and thereby invites the wrath of the cheerleaders and the team when she tries to prove the team were at fault for her friend’s death. As revenge, the team and cheerleaders gang up on Rachel and orchestrate the video taping of her having sex with the nice football player named Jesse. After viewing herself having sex and being laughed at by everyone invited to a private party, Rachel unleashes her inherited telekinetic rage powers to kill everyone much the same way Carrie did nearly two decades earlier. 

Although the plot of Carrie 2: The Rage seems like a perfect warning tale about bullying, it is also a terrifying reminder of the damage caused by sexual harassment and rape.

First of all, it is terrifying to grow up in an age where your immature teenage peers can make a sex tape of you and show it to everyone you know. Also, it shows that Rachel's virginal friend is actually thrilled to have "become a woman" with what she thinks is her new boyfriend - until he breaks up with her the very next day because his friends call her a "coyote".

The way she is broken up with is worse than the act of sex itself because it means that the act of sex itself was a vengeful act to him, not the beautiful loving experience she had been conned into thinking it was. 

All three cheerleaders are played with perfect camp, each having their own unique brand of snotty mean girl-ness that is very funny and well played. But two character actresses really steal the show in the roles of Rachel's mentally ill mother, Annie Pfohl and the high school counselor, who witnessed the first destruction of the high school with Carrie at the helm played by Sue Snell. Both Snell and Pfohl play the crazy in their roles with fantastic realism and comic timing which takes the play to a whole new level of both humor and spookiness. Sam Button-Harrison is also tremendously funny as the play’s lead bully.

You really feel for these beleaguered women who are trying desperately to forget and prevent the tragedy that has ruined their lives as well as Carrie, and now poor Rachel's, at the hands of some of the meanest boys and girls the musical comedy stage has ever seen. 

Eric Luchen, designs a set in the tiny Arkham space that seems to expand and contract with each number in marvelous ways. Choreographer Maggie Robinson and co-directors Rachel Elise Johnson and Isaac Loomer each do a wonderful job bringing this nice sized cast to life with full out dance numbers and great lighting and sound effects that move along quickly and seemed to be unfolding in a much larger space. 

I really laughed at, and thoroughly enjoyed, this well played, musical wild ride through the early nineties (right down to Rachel’s torn jeans, army boots and plaid shirt tied around her waist). The Rage is filled with gore, laughs and a moral - "People shouldn't suck so much!" Just in time for Halloween! 

Underscore Theatre’s Carrie: The Rage (An Unauthorized Musical Parody) is being performed at The Arkham through November 19th. For more show information visit http://www.underscoretheatre.org/.