Displaying items by tag: Ed Rutherford

City Lit Theatre is currently bringing the swordplay world of Scaramouche to vivid life, offering audiences a rare chance to experience this spirited tale of wit, rebellion, and theatrical daring onstage. With its blend of political intrigue, romance, and commedia‑dell’arte flair, City Lit’s production captures the adventurous sweep of the story while showcasing the company’s signature literary focus. It’s a lively, sharply drawn staging that reintroduces a classic hero to modern audiences with style and verve.

Scaramouche tells the story of André‑Louis Moreau, a quick‑witted young lawyer in pre‑Revolutionary France whose life is shattered when his closest friend is killed in a duel by an untouchable aristocrat. Forced into hiding, André‑Louis slips into a traveling commedia dell’arte troupe as an out‑of‑work actor, where - thanks to the help of Pierre Binet, who immediately takes a liking to him - he quickly rises to lead the company. Donning the mask of Scaramouche, the nimble, sharp‑tongued clown whose satire cuts deeper than any blade, he begins crafting and performing daring political farces that transform him from fugitive to folk hero. His journey winds through romance, duels, disguises, and the rising tide of revolution, all while he uncovers long‑buried truths about his own identity.

Though the story is best known from Rafael Sabatini’s 1921 novel, its most significant early-stage incarnation came through Jean Sibelius’s ballet‑pantomime Scaramouche, written between 1912 and 1913. Sibelius’s adaptation brought the mischievous commedia figure to life through music and movement rather than spoken dialogue, emphasizing the character’s blend of humor, danger, and political bite. The work premiered on May 12, 1922, at the Royal Danish Theatre in Copenhagen, marking the first major performance of Scaramouche as a fully staged ensemble-shaped piece.

A century later, City Lit Theatre’s stage version captures the heart of the tale with clarity and affection, leaning into the story’s text‑centered expressiveness, wit, and emotional undercurrents rather than its spectacle. True to the company’s long‑standing mission of elevating literary works for the stage, City Lit approaches Scaramouche with a storyteller’s precision - honoring Sabatini’s narrative sweep while foregrounding the character‑driven humor and humanity that make the piece endure. Their production bridges the novel’s adventurous spirit and Sibelius’s expressive theatricality, reminding audiences why Scaramouche remains one of literature and theatre’s most enduring trickster heroes - “born with the gift of laughter and a sense that the world was mad,” and destined to turn both into his greatest weapons.

City Lit’s Scaramouche marks a genuine world premiere as a full musical, and what’s remarkable is just how naturally the saga takes to the form. Though Sabatini’s tale has lived for a century in novels, films, plays, and even Sibelius’s ballet pantomime, it has never before been realized as a traditional book musical with a sung score. City Lit recognized that the story’s imaginative DNA - its commedia dell’arte roots, its heightened characters, its blend of satire, romance, and political danger - was already begging for musical expression. That insight became the foundation for this adaptation, with music and lyrics by City Lit Artistic Associate Kingsley Day and book by Day and James Glossman, shaping André Louis’s journey with straightforwardness, wit, and story-forward verve. The result is a surprisingly seamless transformation, one that feels less like an experiment and more like the form the adventure had been waiting for.

What truly sells the concept is the sheer musical ambition of the production. With 30 musical numbers, the show fully commits to musical theatre, using songs to heighten character, hone satire, and propel André‑Louis from out‑of‑work actor to revolutionary folk hero. And the cast meets that challenge with uniformly excellent vocal performances. Ensemble members shift effortlessly between comedic patter, heartfelt ballads, and rousing ensemble pieces, giving the score a richness and variety that continually surprises. The vocal work is strong, expressive, character‑driven, and emotionally grounded, the kind of singing that makes the musical form feel not only justified but essential. City Lit’s gamble pays off: Scaramouche thrives as a musical.

Ethan Smith and Laura Michele Erle in CIty Lit Theatre's Scaramouche.

Ethan Smith anchors Scaramouche with a performance that is as nimble as it is commanding, capturing André‑Louis Moreau’s evolution from wounded idealist to razor‑sharp revolutionary with remarkable definition and charisma. Smith moves through the character’s many transformations - lawyer, fugitive, actor, firebrand - with an ease that makes the journey feel inevitable, even thrilling. His wit lands on point, his emotional beats resonate, and he carries the production with the kind of presence that makes it impossible to look anywhere else. It’s a standout turn that gives the tale its pulse.

Henry Michael Odum brings rich texture to each of the Manager/Gavrillac/Pierre Binet, shifting between roles with a grounded authority that deepens the world around André‑Louis. Laura Michele Erle offers a luminous, heartfelt Aline, playing her with a sincerity that makes her scenes glow. She balances innocence with quiet resolve, giving Aline a sense of inner life that elevates every moment she’s onstage. Conor Ripperger’s Phillipe (among other characters) is equally compelling - earnest, principled, and deeply sympathetic. His early scenes with Smith establish the emotional stakes of the structural arc, and Ripperger’s performance makes Phillipe’s fate feel genuinely affecting. Kent Joseph delivers a taut, formidable De La Tour, embodying the character’s aristocratic menace with razor precision and a chilling sense of entitlement.

The supporting ensemble adds color, humor, and texture throughout. Alicia Berneche brings elegance and sly intelligence to Madame de Sautron (and how she can sing!), shaping each moment with a knowing touch. Shea Lee’s Columbine sparkles with playful charm, her physicality and timing giving the commedia sequences real lift. Ed Rutherford makes Chapelier delightfully sharp‑edged, grounding the satire with controlled delivery. India Huy’s Climene is vibrant and expressive, adding a burst of stage-driven flair whenever she steps into the spotlight. Rushil Byatnal rounds out the troupe with a wonderfully nimble Pierrot, blending innocence and mischief in a way that feels perfectly tuned to the world of the play.

Together, this ensemble creates a dynamic, fully inhabited world - one where satire, romance, and revolution collide with irresistible spirit of invention.

Beth Wolf, a two‑time Jeff nominee, leads the production with a deft, imaginative hand, weaving together its comedy, romance, and revolutionary spirit with remarkable ease. Her direction gives the piece a vibrant pulse that carries through every scene.

City Lit Theatre has spent the past several seasons reaffirming its reputation as Chicago’s home for smart, text‑centered storytelling, offering audiences everything from tightly rendered literary adaptations to rediscovered gems that rarely see the stage. Their recent productions have leaned into that mission with renewed confidence, showcasing the company’s knack for transforming complex narratives into intimate, actor‑driven theatre. In that context, Scaramouche feels like an inspired and perfectly aligned choice - a swashbuckling tale rooted in literature, rich with political intrigue, theatricality, and character depth. It gives City Lit the chance to flex its strengths: crisp ensemble work, narrative coherence, and a love of stories that balance adventure with ideas. As part of their ongoing commitment to bringing literary worlds to life, Scaramouche fits not just well, but exceptionally well.

City Lit’s production is elevated by a design team working in striking harmony to evoke the texture and artistic boldness of late‑18th‑century France. Jennifer Mohr’s costumes - supported by her expertise as a commedia consultant - bring a vivid blend of historical detail and playful character expression, while Meg X. McGrath’s props add tactile richness to every corner of the stage. Jackson Mikkelsen’s lighting sculpts the world with warmth and shadow, shifting effortlessly between intimate moments and broader swashes of adventure. Scenic designer Trevor Dotson provides a flexible, purpose‑built environment that lets the action unfold with clarity and momentum, and Music Director Kevin Zhou does an impressive amount with a limited‑sized band. Maureen Yasko’s violence and intimacy design adds yet another essential layer, shaping moments of danger and vulnerability with precision, safety, and emotional truth. Together, they craft a world that feels cohesive, imaginative, and wonderfully alive.

City Lit’s Scaramouche is an easy production to recommend - a smart, spirited world‑premiere musical that embraces the adventure, satire, and dramatic flair of Sabatini’s plotline with real imagination. The company’s intimate Edgewater home adds to the charm, though audiences should know that parking in the neighborhood can be challenging, especially on weekend evenings. The theatre itself is located on the second floor of the Edgewater Presbyterian Church and is fully ADA accessible via elevator, making the space welcoming to all. For anyone who loves literary adaptations, new musicals, or simply a night of inventive storytelling, Scaramouche is absolutely worth the trip.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

George Sidney, the prolific 20^th Century movie director who helmed the 1952 movie version of Rafael Sabatini's 1921 novel SCARAMOUCHE as well as Hollywood musicals from SHOW BOAT to VIVA LAS VEGAS, is reported to have said, "I always thought SCARAMOUCHE should be a musical." And now it is. The world premiere musical adaptation of SCARAMOUCHE, with music and lyrics by City Lit Artistic Associate Kingsley Day and book by Day and James Glossman, will close City Lit's 45^th season, playing from May 1 to June 14. The classic adventure story follows the exploits of a sardonic provincial lawyer who is radicalized by his friend's brutal murder on the eve of the French Revolution. He repeatedly evades disaster by taking on a series of new identities—first as an insurgent orator, then a traveling comic actor, and finally a master swordsman. Beth Wolf, recently named one of New City's "Players 2026: 50 People Who Really Perform for Chicago," will direct this full-scale, swashbuckling musical that will take audiences to 18^th Century France with such visual delights as sword fighting, Commedia dell'arte, projections, and costumes of the French elite and peasantry. A score of some 30 musical numbers will be performed by a 10-person cast with extensive musical theater credits from across the Chicagoland areas, accompanied by a three-piece pit band. 

 
Cast in the title role as Andre-Louis Moreau, the young lawyer from Britanny who assumes a secret identity as Scaramouche, will be Ethan Smith, seen recently in Music Theater Works' GODSPELL. The story will be told by a troupe of players, led by their Manager, who will be played by Actors' Equity member Henry Michael Odum. Odum has played such iconic musical theater roles as Fagin in OLIVER! (Citadel Theatre) and The Narrator/Mysterious Man in INTO THE WOODS (Porchlight). Odum will additionally play Gavrillac, Moreau's godfather – a man who many believe is secretly Moreau's father. Gavrillac's orphaned niece Aline will be played by Laura Michele Erle, who earlier this year was Mina in Lazy Susan's DRACULA: A COMEDY OF TERRORS. Erle's character Aline is betrothed to the powerful nobleman Marquis de la Tour, who challenges Moreau's best friend, the idealistic Phillipe (Conor Ripperger of GODSPELL, PIPPIN and LEGALLY BLONDE with Music Theater Works), to an outrageously lopsided dual, killing him. De la Tour will be played by Kent Joseph, who is experienced in playing French villains, having been cast twice as Frollo in THE HUNCHBACK OF NOTRE DAME (Music Theater Works and Metropolis Arts Center). 

The cast also includes Alicia Berneche (Penelope Pennywise in URINETOWN for Theo Ubique) as Madame de Sautron, Shea Lee (THE CONDUCTORS, Lifeline) as Columbine, Ed Rutherford (Pseudolus in A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, Madkap Productions) as Chapelier, India Huy (URINETOWN, Theo Ubique) as Climene, and Rushil Byatnal (THE UNKNOWN VARIABLE, Momentary Theatre) as Pierrot. Understudies are Ryan Smetana (u/s Moreau), Brian James (u/s Manager, Gavrillac), Matthew Benenson Cruz (u/s Marquis de la Tour), Will Ehrlich (u/s Philippe), Alex Stetkevich (u/s Aline), and Emma Jean Eastlund (u/s Madame de Sautron).

Kingsley Day's many musical theater works include the one-act musical "Text Me," produced at City Lit in 2024; and with Philip LaZebnik, the musicals SUMMER STOCK MURDER and STATE STREET (the latter produced at City Lit in 2012). Co-Bookwriter James Glossman enjoyed a two-decade-long collaboration with author and journalist Jim Lehrer that included the plays KICK THE CAN, THE SPECIAL PRISONER, and FLYING CROWS. More recently, he collaborated with actor Tom Hanks on the plays SAFE HOME and THIS WORLD OF TOMORROW. SCARAMOUCHE will be directed by Beth Wolf, two-time Jeff nominee for Direction (for OUTSIDE MULLINGAR and SILENT SKY at Citadel Theatre) and Founding Artistic Director of Midsommer Flight. SCARAMOUCHE will open to the press on Saturday, May 9 at 7:30 pm, following previews from May 1 and will play through June 14, 2026.

The designers who will bring the look of late 18^th Century France to City Lit's stage in Edgewater are Trevor Dotson (Scenic Designer), Jackson Mikkelsen (Lighting Designer), Jennifer Mohr (Costume Designer, Commedia Consultant), Meg X. McGrath (Props Designer), Kevin Zhou (Music Director), Tyeese Braslavsky (Assistant Music Director), DJ Douglass (Projections Designer), Maureen Yasko (Violence and Intimacy Design), Ray Post (Assistant Director). The production team also includes Grace Elizabeth Mealey (Stage Manager), Dylan Hirt (Assistant Stage Manager), Alexa Berkowitz (Production Manager), Becca Holloway (Casting Director), Teseela Sokolin-Maimon (Technical Director), Sara Johnson (Production Electrician), Bruce Bennett (Scenic Charge), and Aubrey Pierce (Production Carpenter).

Tickets to SCARAMOUCHE are priced at $37 for previews and $45 for regular performances and may be ordered online at www.citylit.org or purchased over the phone by calling 773-293-3682. Senior prices are $5.00 off regular prices. Students and military are $22.00 for all performances.

MadKap Production’s A Funny Thing Happened on the Way to the Forum bursts onto the Skokie Theatre stage with rollicking energy and infectious chaos, blending sharp wit with rapid-fire comedy. Featuring the unforgettable music and lyrics of Stephen Sondheim and a book by Burt Shevelove and Larry Gelbart, this timeless gem premiered on Broadway in 1962, echoing the mischievous spirit of ancient Roman playwright Plautus.

At the center of the story is Pseudolus (Ed Rutherford), a crafty Roman slave with one goal: to earn his freedom. His scheme? Help his lovestruck young master, Hero (Tyler Lord), win over Philia (Emily Lewis) - a sweet but scatterbrained courtesan. But things get complicated fast when Philia is revealed to be promised to the bombastic soldier Miles Gloriosus (Max Perkel), unleashing a torrent of mix-ups, slapstick mayhem, and frenzied farce that barrels forward with dizzying speed.

The musical opens with the vibrant anthem “Comedy Tonight,” setting a lively tone of vaudevillian mischief and fast-paced fun. What follows is a cavalcade of quirky characters—nervous Hysterium (Andrew Buel), domineering Domina (Erin Renee Baumrucker), and perpetually lost Erronius (Gayle Starr) - each fueling the frantic, farcical momentum with their own brand of comic mayhem.

The show’s lasting popularity has sparked numerous revivals and a 1966 film adaptation featuring Zero Mostel, reprising his iconic role as Pseudolus. Decades later, the musical continues to charm audiences, treasured for its clever humor, classic slapstick, and vibrant theatricality – and now here we are at Skokie Theatre. Afterall, Forum is considered by many as one of the funniest farces ever written.

Though A Funny Thing Happened on the Way to the Forum doesn’t wear its politics on its sleeve, it’s laced with sly irony that lampoons authority and societal conventions. Drawing from Roman farce and vaudeville traditions, the musical uses exaggerated characters and absurd scenarios to expose the folly of rigid hierarchies and cultural norms.

Despite its ancient Roman setting, the musical cleverly reflects the quirks of modern life - its historical backdrop offering just enough distance to satirize familiar themes like corruption, vanity, and societal nonsense without striking too close to home. The production perhaps strikes a different chord with today’s audiences than it did in the 1960s, when it was embraced as a bold and playful revival of Vaudevillian farce. Back then, its irreverent humor and exaggerated characters were celebrated largely for their entertainment value, with little pushback on the underlying themes.

While the show is clearly satirical in nature, modern viewers are more likely attuned to the implications behind its comedic treatment of slavery and the commodification of women. These elements, once played simply for laughs, are now seen through a more critical lens informed by evolving cultural conversations around representation, consent, and power dynamics.

As a result, portrayals of enslaved characters and, in this case, the Courtesans dealt by Marcus Lycus (Daniel Leahy), often prompt deeper discussions about historical context and theatrical intent. This contemporary production tends to lean into the satire rather than soften it, using exaggerated staging and bold casting choices to spotlight the absurdity of outdated social norms.

By doing so, Director Wayne Mell reframes the humor as subversive rather than regressive - honoring the show’s chaotic spirit while acknowledging its problematic aspects. This approach allows Forum to remain a vibrant piece of theatrical history while adapting to the sensibilities of modern audiences.

Skillfully directed, this production masterfully bridges generations of comedy. Mell guides a youthful cast in capturing the sharp, vaudeville-inspired humor that defined the original in the 1960s and ’70s, making it feel fresh and relevant for audiences in 2025. The result? A flat-out hilarious production that hits every sardonic beat envisioned by its creators over six decades ago.

Kudos to Wayne Mell and Producer Wendy Kaplan for breathing new life into this theatrical gem and bringing its timeless wit back to a Chicago stage.

Ed Rutherford is a standout as Pseudolus, delivering rapid-fire humor and showcasing sharp comedic instincts that keep the audience laughing throughout. His portrayal of the fast-talking, quick-thinking slave is both dynamic and crowd-pleasing and he sets the pace well. Paired with Andrew Buel, the two form a well-matched scheming duo, adapting on the fly as their ever-evolving plan meets one hilarious obstacle after another. Their chemistry drives much of the show’s momentum and mischief. Tyler Lord also has his moment in the sun with a beautiful rendition of “Love, I Hear.”

Among a cast filled with talented actors, the trio of Aidan Espinosa, Owen Espinosa, and Mitchell Shaw steal the spotlight with their uproarious turns as eunuchs and Roman soldiers. Their sharp timing, outrageous antics, and expertly executed physical comedy keep the audience in stitches, consistently igniting laughter and applause throughout. They don’t just land their jokes - they launch them.

MadKap Productions really enjoys bringing back the classics (as they did so well with last season’s South Pacific). Look for later popular hits from yesteryear to hit the stage later this season like Pippin, Deathtrap and Company – and why not, they bring them to life so well. 

With plenty of hilarious moments and big song numbers like “Free,” “That Dirty Old Man,” “That’ll Show Him” and “Love, I Hear,’ I highly recommend this theatrical event as a great way to enjoy a “comedy tonight - and speak of tragedy tomorrow” as a soaring musical sure to tickle your funny bone.

MadKap’s A Funny Thing Happened on the Way to the Forum is playing at Skokie Theatre through August 3^rd. For tickets and/or more show information, click here. 

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

With their usual care and commitment, Black Button Eyes Productions is introducing ‘Whisper House’, a musical ghost story about loss, love and not giving up, to Chicago. The premise is promising. A young boy loses his Airman father in the Pacific during WWII, a loss that his mother cannot handle. He is sent to live with his aunt Lily in a lighthouse in Maine that she tends with the assistance of a Japanese immigrant who somehow got stranded there on his way to find his future. There’s a law-and-order sheriff who may have feelings for Lily. Or not. And there are the tunefully malignant and omnipresent ghosts, who frequently opine that everyone would be better off dead. The pedigree of the musical is impressive, with music and lyrics by Duncan Sheik of Spring Awakening fame and book and additional lyrics by Kyle Jarrow (‘Spongebob Squarepants Musical’). Unfortunately, the plot is predictable, the music bland, and the ghostly sirens quickly grow tiresome—why they want everyone to be miserable or dead is not entirely clear. It is thanks to director Ed Rutherford’s well-paced and elegant staging, and the sincerity of the talented cast, that ‘Whisper House’ is an engaging and ultimately moving love story. Though the resolution, when it comes, is wholly anticipated (except for those Ghosts, whose denouement surprises even them, as the lyrics acknowledge), it is surprisingly affecting. ‘Whisper House’ as a musical is a mess—it feels incomplete and prosaic, like the suspended ambitions of its characters—but the strong Black Button Eyes ensemble reveals the heart that no doubt drew them to this imperfect rumination on the need for love and the ways that humans push it away.

Most of the problems with ‘Whisper House’ stem from the musical’s transparently thin plot and mostly forgettable (with the occasional catchy hook) score. The trite lyrics channel pop psychology via Edward Gorey. The narrative conveniently brings together characters who are bound to mistrust one another: Christopher is sent to the last place on Earth he wants to be to live with an aunt he never met after the death of his father in a firefight with Japanese pilots. A Japanese caretaker helps Lily with household chores she cannot easily do (because of her limp), as well as offering companionship. Also looking in periodically is Charles, a flag-waving law enforcement officer. Christopher is immediately distrustful of Yasuhiro and the rabidly nationalistic Charles is just looking for a reason to get rid of him. Lily is haunted both literally and figuratively by the memory of a yacht that sank 20 years earlier, leading her to mistrust herself even when her instincts are sound. The stage is set for a claustrophobic clash of characters and cultures. And then, there are the ghosts of two stylish drowning victims. It’s hard to tell whether the creators wanted the ghosts to serve as metaphors for the living characters’ hurtful instincts or as actual characters. To the credit of director Ed Rutherford and his team of collaborators, he is able to keep a hold on the humanity of the characters and the genuine good will of the plot to deliver a slight, but entertainingly moving yarn. Rutherford could have done more to flesh out purpose and through-line for the ghostly narrators, and, despite a valiant effort by the design team, the smallish stage makes it difficult to portray multiple locations, including the ocean and an adjoining lighthouse, while also accommodating an onstage backing band. However, the care that was invested in the staging ultimately pays off. Set designer Nikolaj Sorensen focuses on the kitchen of the lighthouse and keeps the space open enough to convey the other locations, albeit with efficient but clunky scene changes (which the occasionally corporeal and accommodating ghosts incorporate into Derek Van Barham’s 1920’s-inspired choreography). With the addition of the color-saturated lighting design of Liz Cooper, nifty period props by Adrian Hadlock, and creaky-spooky sound effects by Robert Hornbostel, the design team effectively creates the gloomy, desolate backdrop the story requires. Costume designer Rachel M. Sypniewski further adds to the effect, with simple, drab costumes for the humans who have no one to dress for (except for the Sheriff, whose uniform is his mask) and stylish Jazz Age formal wear for the ghosts, though, in keeping with their tragic fate, they dress in funereal white and black. Much credit also goes to musical director/conductor/musician Micky York and the other members of the six-piece ensemble, who create a spectrum of musical backdrops for the narrative and generally maintain the right balance with the vocals—not easy in a space of this size and configuration.

At the outset, we are introduced to the characters that in the ghosts believe would be better off dead. The guilt-ridden Christopher wants to care for his mother as he promised but is instead sent to stay with his father’s estranged sister. Leo Spiegel impressively captures Christopher’s grief, outrage and sense of powerlessness, though he does seem to take the omnipresence of ghosts in the lighthouse too much in stride (if ghosts told me I should be afraid, I would take their advice). Kate Nawrocki is the show’s anchor as Christopher’s aunt, who requests that he avoid addressing her as Ma’am or Aunt, insisting on Miss Lily. Pragmatic to the point of being cold, Nawrocki’s Lily nevertheless allows a sly sense of humor and genuine compassion to temper her bone-dry delivery. The growing connection between Spiegel’s needy and impudent Christopher and Nawrocki’s equally needy and uncompromising Lily is a high point in the show. Also living on the lighthouse property is Yasuhiro, who has forged a quiet but strong camaraderie with Lily. It is clear from the start that Lily and Yasuhiro share a bond, but misgivings about their different backgrounds, coupled with ghostly interference and the implementation of Executive Order 9066, keep them from acknowledging this. Karmann Bajuyo fortunately sidesteps the potential for melodrama in his character, offering a quietly self-deprecating and warmly humorous portrayal that provides a softer counterpoint to the flinty Lily. As Charles, the local sheriff who fully embraces the jingoistic and xenophobic patriotism that characterized some of America’s home front response to WWII, T.J. Anderson is cast against type. Lacking the hulking physical presence that one would expect of this stereotypical bully, Anderson tries to create a more complex character than the writing can support, coming across as a nice guy hiding behind toxic attitudes and braggadocio. This attempt at depth throws too much light on the two-dimensional writing and makes one wish for a more conventional bad guy. Anderson’s Charles also is no match for either Lily or Yasuhiro, which means he must rely solely on his badge and gun to intimidate (which violence designer Brendan Hutt wisely acknowledges when Charles’ racism inevitably—and unnecessarily—leads to violence). Mikaela Sullivan and Kevin Webb, as the waterlogged victims of 20-year-old shipwreck, play their roles with macabre relish. They have the voices and musical acumen to move easily through the various pop genres of the score, and beguilingly address both audience and the living characters they torment. Despite thoroughly enjoyable performances, one is still left wondering exactly what these two ghosts need or want (the reason given for their presence does not adequately explain their behavior): revenge? connection? company? all of the above? With these questions left unanswered, it can be occasionally frustrating to watch the spirits alternately charm, comfort, frighten, and belittle the living, often magnifying their most self-destructive musings.

This ghost story would be better off without its ghosts (despite charming and tuneful portrayals by Mikaela Sullivan and Kevin Webb), who mostly meddle in the living characters’ lives by amplifying their fears, misjudgments and self-doubts. They don’t need ghosts to do that for them. And, as much of the musical portion of the musical belongs to the ghostly interlopers, the predictable but ultimately moving story of a family thrown together by blood and circumstance is nearly drowned out by synth-pop hauntings. The balance is so off that it seems touch and go whether the excellent ensemble—with Kate Nawrocki, Karmann Bayuyo and Leo Spiegel as reluctant allies who need to learn trust at its heart—can land the emotional cargo. They do, and there is no denying that this is a good time for a reminder that compassion, and love can heal both a wounded heart and a wounded world. ‘Whisper House’ is decidedly not great theater, but as a musical curiosity it is mostly innocuous and entertaining, and Ed Rutherford’s cast ensures surely propels the plot to a satisfying and emotional conclusion, though a true resolution does not materialize. 

‘Whisper House’ runs through February 15 at the Athenaeum Theatre, 2936 N. Southport Avenue, Chicago. Tickets are available at athenaeumtheatre.org, by calling (773)935-6875 or in person at the Athenaeum Theatre Box Office.

Droll, knowing, and surprisingly good, Evil Dead: The Musical, transforms the campy self-aware horror-comedy movie franchise into something wickedly fun.

Even those who haven’t seen the Evil Dead movie series in awhile – or ever – will enjoy this show. It's laced with irony, just like the original, and doubling as a send-up of the scary films genre. It's producers Black Button Eyes Productions specializes in obscure works and plays with elements of fantasy, such as 2014’s Coraline and Nightmares and Nightcaps: The Stories of John Collier – a British author along the lines of Ray Bradbury or Neil Gaiman. Evil Dead has bee crisscrossing small theater groups around the country. 

Evil Dead – The Musical parodies Sam Raimi’s classic Evil Dead films – it's an amalgam of Evil Dead I & II – with a nod to Army of Darkness, third in the series. All three starred the square-jawed Bruce Campbell. It’s a prototypical story of teens who vacation at a deserted cabin the woods - only to be dismembered and possessed by evil forces that lie in wait.

In the films and this staged musical, one by one the teens succumb to Kanderean Demons, called from the cellar due to an inadvertent recitation of passages from ancient books written in blood and bound in human flesh, of course. Resisting these forces of evil as the story progresses is Ash (Jordan Dell Harris perfectly captures the swaggering heartthrob played in the films by Bruce Campbell.)

And like the films, Ash transforms into that iconic character we know and love, along the way replacing his left hand with a prosthetic chainsaw, wielding a double-barreled shotgun in his other, battling those Kandereans who inhabit the trees in the woods, the cellar, and even the bodies of his former friends.

All that, and singing and dancing, too – with some infectious tunes by a quartet of writers (Christopher Bond, Frank Cipolla, Melissa Morris and George Reinblatt are credited – and Oliver Townsend gets the credit as musical director.) The book by Reinblatt is funny – he is clearly an Evil Dead Head - though lyrics falter at times. Among the bigger standouts are the opening number as the group of five teens take off on their weekend getaway – and a number with some dancing trees. (Choreography is by Derek Van Barham.) Also charming is a duet by Ash and his girlfriend Linda (Kirby Gibson) about falling in love at S-Mart. 

The cabin itself also becomes possessed before the end, and an animatronic moosehead, squirrel and other figures, join the fun. Set, props and puppetry are by Jeremiah Barr.

Aficionados will recall that the original films Evil Dead and Evil Dead 2 didn’t have much in the way of continuity. Evil Dead 2 was a reboot, the first half retelling and modifying the story of the original and the second half breaking new ground. But the movies were grounded in a sense of horror/humor that has not been lost in translation, and distilled into this amalgam the musical version gives us the true heart of the films. (My resident Evil Dead expert Kyran Esler provided exegisis on the show's film origins.)

Along with Jordan Dell Harris as Ash, the cast is strikingly good: Josh Kemper as the ever randy Scott; Kirby Gibson as Ash’s girlfriend Linda (eventually beheaded), Stevie Love in dual roles as Shelly and Annie. For an over-the-top performance Caitlin Jackson gets a shout-out – she is wonderful and it is a performance not to be missed. Recommended. Evil Dead: The Musical runs through February 16 at Pride Arts Center.