Chris Ritchie

Cryptid ‘Evil Dead’ a big mess – just how we like it

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By John Lyle Belden

Why am I even writing this?

Oh, right. They let us in for free. Got thoroughly doused with wet, cold, red, gelatin-fortified fake blood – right in the face, torso, and thoroughly in the crotch – at no charge.

However, if you are reading this, wishing to enjoy the same macabre shower, and you don’t have a ticket to Cryptid Entertainment’s production of “Evil Dead: The Musical,” well, you are pretty much out of luck. Every seat in the IF Theatre’s Basile main stage is covered in gore sold out, every show, except – possibly – the added final performance at midnight on Halloween.

Let me reassure you, though, if you are bothered by wild horror-based humor, R-rated hijinks, nasty words, near-nudity, horny trees, and FUN, then you have (metaphorically) dodged the bullet (and for-real a lot of wet ickiness). Dakota Jones and company can provide you more wholesome entertainment next month.

Since you are likely to miss it, I could frankly write anything here: that Chris Ritchie as Ash truly commits to the role by actually cutting off his hand every night (they sew it back on; these people are professionals!) or that Kylie Schweikarth intensely studied the Mike Rowe “crawlspace” commercials to perfect her lurking in the basement, or that Payton Ullman keeps an exorcist on speed-dial, or that Jess Hackenberg is so method that she took three and a half semesters of the Lost Enochian language to better evoke the Necronomicon, or that Suraj Choudhary managed to memorize the line “stupid b*tch” in Guiness World Record Time (look it up), or even that Tony Schaab’s passionate portrayal of the Moose was so moving the audience could not stay in their seats. And Jonathan Young’s Jake was indeed reliable, we just can’t publicly say at what.

Oh, but you do have a ticket and was just wondering what to expect? If I told you it was awful, would you give up your seats, because I’ve got these friends, and…

All, right, I’ll admit it. It was awesome.

Like “The Rocky Horror Show,” it’s a fully immersive theatre experience – but instead of the audience messing with the actors, the cast and crew mess with you! And it does get messy, reaching well into the seating. Don’t wear anything too delicate. The musical takes on the plots of “Evil Dead” and “Evil Dead 2: Dead by Dawn” with lots of nods to “Army of Darkness,” featuring Ritchie at his most Bruce Campbell-est and the others all camping it up, including songs and a zombie dance number. Unfamiliar with the films? It’s not a hard plot to follow.

And that Moose – give him the Tony!  

Find out more at indyfringe.org or the Cryptid Entertainment page on Facebook.

Straight dope from the Cryptid crew

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By John Lyle Belden

Before you read any further, please go to IndyFringe.org and get your tickets for Cryptid Entertainment’s production of “Reefer Madness: The Musical,” this and next weekend (May 2-4 and 9-11) at IF Theatre, and quickly, as performances have been selling out.

Did you score some of this good stuff? Awesome. Here’s what you can expect.

It was high time this campy cult hit – based on the “informative” film from 1936 – returned to Indy, years after its 2007 debut at a venue that has since changed its name (coincidence?). The victim of that production, a young Tony Schaab, has recovered from his habit of wearing strange furry suits to lead the Cryptid cast as the valiant Lecturer, warning us all of the dangers of…

MARIJUANA!

With the help of wholesome young actors, he relates the fateful story of The Harper Affair, in which Jimmy Harper (Chris Ritchie) forsakes his girlfriend Mary Lane (Melissa Mellinger) and the innocence of the Five and Dime soda fountain for the sweet temptations inside the Reefer Den run by Jack Stone (Justin Klein) and his stoned lady Mae (Jessica Hawkins). There, college dropout Ralph Wiley (Daniel Draves) can’t wait to hook more teens and seductress Sally (Addi Koehler) adds carnal pleasures to the mix.

Schaab also watches events unfold as friendly soda jerk Mr. Poppy. Other endangered youths are played by Cameron Hicks, Drake Smith, Kelly Hutchings, Kennedy Wilson, Kylie Schweikarth, and Linda Thompson. As it turns out, the pull of the pot is so strong that perhaps not even Jesus himself (Klein) can help. Only death and destruction – and a bizarre chase scene – can be the result.

From time to time, Abby Morris carries informative placards, including one that says, “REEFER MAKES YOU GIGGLE FOR NO GOOD REASON.” Fortunately, with this cast, under the direction of Bradley Allan Lowe, we have many good reasons to laugh. Music is by the two-person orchestra of Billy Scharfenberger and Elliott Smith. The incredible set is by Dakota Lumley.

Within the badly-made moralizing ‘30s film and the book and songs of the 1998 musical by Kevin Murphy and Dan Studney, there is a cautionary tale (exaggerated as it is) that letting yourself get drawn into addictive behavior can lead to a downward spiral of bad consequences. It could also be noted that the issue with destructive habits isn’t the substance – one could get in these kinds of trouble with legal gambling or alcohol, or whatever consumes your time and attention – but how much we understand the true dangers, and that the desire by some to control you won’t necessarily stop with that one “bad” thing.

Or… never mind – just laugh yourself silly at this over-the-top musical adventure with the most dangerous weed since that Little Shop play that was in town last year.

Big thanks to Cryptid artistic director Dakota Jones for bringing “Reefer” back to Indy, and to stage manager Ariel Laukins for helping me get the info for this review.

Wow… Can you imagine what it would be like if The Stuff actually became legal? Like in maybe about half the U.S. states in one form or another, including all the ones that border this one? *[exhales]* Uh-oh.  

‘Sweeney’ stalks Westfield

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By John Lyle Belden

The spooky season has begun, and it’s not just the change in the weather.

Main Street Productions presents “Sweeney Todd: The Demon Barber of Fleet Street” at the Basile Westfield Playhouse. With other local stagings in recent years, the popular film version, and today’s buzz about the Broadway revival with Josh Groban, most folks know this assures a ghoulish good time.

Inspired by 19th-century British “penny dreadfuls” with book by Hugh Wheeler and songs by Stephen Sondheim, attend the tale: Todd (Mike Lipphardt), who had been wrongly “transported” on a prison ship, returns to London to seek his revenge on Judge Turpin (John Parks Whitaker). He arrives with the wistful young sailor Anthony Hope (Nate Moore), who had saved Todd’s life at sea. Sweeney finds at his former home a shop where Mrs. Lovett (Claire Slaven) sells “the Worst Pies in London.” He learns his wife had taken poison and the Judge took his daughter Johanna (Lizzie Schultz) as ward. Coincidentally, Anthony finds Johanna at her balcony and seeks to woo her. Turpin’s will, and local law, are enforced by The Beadle Bamford (Bailey Hunt).

After eliminating the competition, Señor Pirelli (Chris Ritchie), Sweeney opens his barber service just above the pie shop where Lovett’s cooking suddenly gets a whole lot better. In the process, she takes on Pirelli’s former assistant Tobias (Alex Bast) as her own.

In addition, there’s a pesky Beggar Woman (Tessa Gibbons) about. Also, from the dozen-member chorus, Aidan Morris takes the brief role of madhouse-keeper Jonas Fogg.

Some would say the star of the show is the infamous barber chair in which Todd dispatches his victims. I was informed this one was reconditioned from use in the Footlite Musicals production. However, Jay Ganz and Mason Odle designed and built a splendid set around it.

Directed by Andrea Odle, Lipphardt gives us a nearly perfect presentation of Mr. Todd – undying grudge, creepy vocal tone, powerful singing, dead-eyed stare, and all. Slaven wickedly matches him as the ever-plotting Lovett. To the other extreme, Moore and Schultz are ever charming. Bast, in one of the more complex roles, turns in an excellent performance as well.

Perhaps the most interesting was Hunt’s cartoonishly odd Beadle. With his eccentric style and strutting walk, he looks like he escaped from a British “Panto,” yet somehow fits right in this setting. Likewise, Gibbons puts a little more effort than expected in her role, to great effect.

Perhaps the best scene is the entire cast’s enactment of Lovett’s fantasy during “By the Sea,” a surreal bit worthy of some award on its own.

Musical director is Laura Hicks. Dwayne Lewis is stage manager.

Little pies (not meat, though) are sold as souvenir refreshments before and during the show. Greet autumn with this macabre classic, with performances Thursday through Sunday (Sept. 28-Oct. 1) at 220 N. Union St., downtown Westfield. Get info and tickets at westfieldplayhouse.org.