Elmer McCurdy was an ambitious, turn-of-the-20th-century outlaw whose death at the hands of a Western posse ended a life of failed crime and alcoholism and began a brilliant career as a mummified side-show attraction that travelled the USA for decades. By the time this journey ended, his name had been forgotten and his desiccated body was hanging in a house-of-horrors ride at an amusement park in Southern California, spray-painted a day-glo orange. Then one day, a grip for the “Six-Million Dollar Man” TV show jostled what he thought was “just a dummy” and an arm fell off, revealing a human bone and beginning a hunt for the origins of this enigma.
Dead Outlaw is one of those unthinkably unwieldy-sounding ideas that turns out—in the right hands—to make a rip-roarin’ bullseye of a new-style musical. A wider stage space, and a larger house where the excellent band can be modulated, will make it even better. Scattered seats are still available for the already extended run, if you act quick. We’ll look forward to seeing the show again, hopefully with this cast and band, in its next guise.
It would be easy to exploit Elmer’s story, to play it entirely for laughs. “Dead Outlaw” has lots of those, as well as a healthy sense of absurdity. But if it forgot Elmer’s humanity — and it never does — it would lose its soul.
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