Review: EVIL DEAD: THE MUSICAL at Central Florida Vocal Arts

I have said more than once that not everything needs to be a musical, and certainly not every movie needs to be adapted into one. Every now and then, however, a creative team gets it exactly right. That is certainly the case with Evil Dead: The Musical.

I am not a horror fan by any means. I do not hate Halloween, but I would not call it my favorite holiday either. Dressing up in costume? Absolutely. That's pure theater-kid energy. Being chased around by someone wielding a chainsaw? Not so much. I am already anxious enough without spending an evening wondering when something is going to jump out and scare me. That said, Evil Dead: The Musical may be the perfect Halloween show for people who do not actually enjoy being scared. While it is based on the cult horror film of the same name, the title and basic premise are about all the two versions truly have in common.

Presented by Opera del Sol, a division of Central Florida Vocal Arts, Evil Dead: The Musical is a show that never takes itself seriously, which is one of its greatest strengths. Having attended the company's opera production the previous evening, I can confidently say these two experiences could not have been more different. From the moment the curtain rose, this production embraced complete and utter chaos. I finally had the opportunity to meet Central Florida Vocal Arts Executive Director Theresa Smith-Levin, and the first thing I told her was, "This show is so stupid, but in the absolute best way possible." That sentiment perfectly captures the spirit of the production.

For those unfamiliar with the source material, the story follows five college students who head to a remote cabin in the woods for a vacation. After discovering a mysterious book, they accidentally release demonic forces. Chaos quickly ensues as characters become possessed, are killed, or spend the rest of the show trying to survive and defeat the demons.

One of my favorite aspects of covering local theater is seeing familiar performers return in different productions, and Evil Dead was no exception. Armon Flukers, who plays Ash, previously impressed me in Central Florida Vocal Arts' production of Songs for a New World. Hannah McGinley LeMasters, who portrays Annie, is another performer I have had the opportunity to see multiple times over the past year. Felicia Thornsbury, who plays Linda, was also familiar from American Idiot. There is something rewarding about watching performers continue to grow and tackle vastly different roles.

What surprised me most was the level of physicality required from the cast. While the show is intentionally ridiculous, the demands placed on the performers are anything but. Because the story revolves around battling demons, there is a significant amount of stage combat throughout the production. The choreography, by Amanda Macon, was far more extensive than I anticipated. One early ballad even incorporated multiple lifts and partner work, all while the performers maintained their vocal performances.

Another particularly effective creative choice involved the trees. Rather than relying on traditional set pieces, actors physically embodied the trees surrounding the cabin. In many productions, a choice like this could feel awkward or distracting. Here, it fit perfectly within the show's campy aesthetic and added another layer of absurdity. Much of this success can be credited to director Michael Knight, who clearly understood the tone of the material.

The set design was relatively simple but highly functional. A projection screen provided a forest backdrop, with lighting changes helping to establish different moods and settings. Credit goes to lighting designer Kylee Taylor and assistant lighting designer Brea Denno for making a straightforward design feel dynamic. Four panels represented the cabin's interior walls: a front door, a window, a wall adorned with a moose head and family photos, and a counter space. Additional pieces, including a couch and a cellar door, completed the environment without overcrowding the stage.

Costuming followed a similarly practical approach. The contemporary clothing grounded the characters, while several costumes had to be duplicated to accommodate the show's considerable amount of blood. In true Evil Dead fashion, there was a noticeable distinction between the "before blood" and "after blood" versions.

The demons themselves were represented through masks rather than elaborate makeup effects. While some productions might pursue a more realistic look, the masks worked well here because they leaned into the show's intentionally exaggerated style. The production also featured a recurring joke involving a footbridge. The bridge itself was comically tiny, looked as though it were made out of Styrofoam, and became funnier each time it appeared. It is difficult to explain why the gag works, but it absolutely does.

Near the end of the show comes what can only be described as the "big boss battle." My husband attended another production of Evil Dead: The Musical several years ago that featured a splash zone, where audience members could be sprayed with fake blood. During this production, however, a performer appeared carrying a series of hand-written signs explaining why that effect was absent. The punchline was that the Dr. Phillips Center would not allow it. It was another clever moment of self-awareness that fit seamlessly into the show's comedic style.

This was the second Central Florida Vocal Arts production I have attended. While I appreciated the emotional storytelling and strong performances in Songs for a New World, it was not my favorite show simply because I tend to prioritize entertainment when I go to the theater. That production told a meaningful and poignant story exceptionally well. Evil Dead: The Musical, on the other hand, delivered two hours of pure entertainment. Was it the most profound or emotionally moving story ever told? Certainly not. But was it one of the most fun nights I have had at the theater this year? Absolutely.

Central Florida Vocal Arts continues to demonstrate an impressive range in the productions it chooses to present, and if Evil Dead: The Musical is any indication, I look forward to seeing what they tackle next.

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