The Evil Dead Musical

Big Jobs seems to have come of age. There was a self-indulgence to earlier shows. They were great, but they were clearly a bunch of young people having a rollicking time with the invitation for an audience to watch. Big Jobs is still a bunch of young people having a rollicking time, but The Evil Dead is much more assured. The merely crude has given way to the considered and clever. The comedic timing is on point, the choreography is tight, the fight coordination is masterful; it is still low budget stuff but with a cast, crew and creatives who know what they are doing.  It is going to make a great biography one day and we will be proud to say “I knew them when…”

I knew Hamish Chilcott when he seemed destined to play the quirky side-kick. Chilcott has moved into leading man territory having acquired charisma and presence not usually associated with gingers of modest stature.  He sings and moves very well, and his comic timing is impeccable. The Evil Hand song was an absolute treat. Andrew Casey’s choreography and Chilcott’s execution were mesmerising. When Ash (Chilcott) severs his own hand with a chainsaw, the chocolate sauce bloodbath begins.

The whole cast is strong. Davina Cox (Cheryl) has a lovely voice but demonstrates she can act and move with energy. Sophie Henderson (Shelly) parodies the blonde cheerleader, with energetic dancing and deadpan cluelessness. Eli Horne (Linda) is another charming voice and versatile performer who demonstrates they know how to get freaky.  The synergy between Joseph Mione (Ed) and Melania Alice Shoobridge (Annie) is excellent. Mione is a joy to watch. He maintains what looks like a lesser part (but isn’t) and gets his moment in the spotlight (eventually). Shoobridge is a powerhouse. Oliver Thomas is perfectly cast as Jake. Scott (Andreas Tsiakis) is an objectionable character but is played as ironically offensive (which must have been challenging). Tsiakis also brings all the goods. Rounding out the cast is Tommy Howard in a cameo, eschewing OTT execution for the understated but seriously funny.

The show is technically challenging and supported by an excellent backstage team. There is puppetry, SFX (spot on), quick costume/make up changes and much much blood. The lighting is very good. The auditorium floor and side doors are used for outdoor/other settings and the woodsy ambience is effective. The sound balance was a little off for someone sitting under a speaker so some of the witty lyrics were lost during ensemble numbers. The audience was captured from the first moments by the energetic characters and choreography in the “car”. The Necromonium dance was another ensemble highlight. 

Tommy Howard and Elise Bagorski have done an excellent job marshalling (restraining?) these talents. The season sold out prior to opening but if you have a ticket, bring a plastic tablecloth. The “splash zone” is a notional idea.

Anne Blythe-Cooper

Photo Credits: Millie Crouch