[NEohioPAL] Review of "The Texas Chainsaw Musical" at Blank Canvas Theatre

[Bob Abelman]

'Chainsaw Musical' a case of been-there, done-that done well

 

Bob Abelman

 

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the Times papers on 1/26/12

 

Patrick Ciamacco's plan was to open his brand new Blank Canvas Theatre, located in the 78th Street Studios in Cleveland, with something local audiences have not seen before.  Mission partially accomplished.

 

True, "The Texas Chainsaw Musical" has not ventured outside of a few west coast venues, including its premiere at the 2009 San Francisco Fringe Festival.  And, true, even those familiar with the 1974 horror film "The Texas Chainsaw Massacre" will not recognize this musical, for it shares only the cult classic's title and protagonist-a mask-donning, chainsaw-slinging serial killer.

 

In this parody, Eddy Gee has been tormenting the residents and wildlife of Plainfield, Texas since he was a child.  After killing his mother over a slight philosophical difference-she saw the world as being better off with him dead and he disagreed-Eddy realizes his true calling and goes on a killing rampage.  After falling in love with one of his intended victims, our hero from hell is forced to reevaluate his favorite pastime and make a life-changing decision. 

 

Although local audiences have not seen this show before, they have most certainly seen shows just like it, including "Evil Dead: The Musical" (most recently at Beck Center), "The Rocky Horror Show" (most recently at the Chagrin Valley Little Theatre), and "Little Shop of Horrors" (everywhere). 

 

As with these other musical parodies of low-budget horror films, "The Texas Chainsaw Musical" has its tongue planted firmly in cheek, employs over-the-top humor and broad presentation to produce a groan-'cause-it's-so-bad-it's-good reaction, and features wonderfully cheesy special effects.  It is a giddily sophomoric enterprise by conventional theater standards, which is precisely its point and its primary appeal.

 

Unfortunately "The Texas Chainsaw Musical" is also a lesser work by comparison, created by a playwright and composer with limited credentials.  Christopher t. Minori and his old high school buddy Cory Bytof have written a play that lacks much of the campiness, wit, and self-aware intelligence found in other musical parodies and offers little innovation of its own.  The story plods along without much dramatic arch or humorous underpinnings, and the songs-overly wordy affairs that surface without cause and resemble but do not really embrace a variety of music styles-contribute little to the storytelling.  

 

Thankfully, Ciamacco has put together a phenomenal cast and crew who make so much more out of the material.  The result is a fun-filled evening for those with an affinity for the eerily asinine.

 

Perren Hedderson is a beguilingly disturbed Eddy, doing more with a facial expression and a tilt of his head than anything the script has to offer.  And, as is the case with all the members in this ensemble, he has a wonderful singing voice and well-honed comic instinct, which keep this show from dissolving into just another silly knock-off production.   

 

Also turning in superb, well-rounded performances are Kate Leigh Michalski as Lucretia, Eddy's dark and deranged playmate; Eric Thomas Francher as Steven, the self-described "pantywaist runt;" Kimberly Bush playing Eddy's mom as well as Steven's mom; and Leslie Andrews as the Nun, who's "The Gospel According to Steven" is the show's best musical number.

 

Rounding out this great cast is Neely Gevaart as Kristy, the scantily clad victim who got away; Betsy Kahl as the scantily clad victim who didn't; Curt Arnold in an assortment of increasingly creepy roles; and Antoinette Kula, Keith Cavey, and Pat Miller.

 

Prominently featured in this production is the special effects handiwork of P.J. Toomey and James Lenahan, who manage to spray gallons of gore from every imaginable direction, from the most unlikely of sources, and at every conceivable opportunity.  

 

The show features a very talented three-piece band under Jordan Cooper's direction, but the sound system is a work in progress.  The music tends to drown out anything sung in the lower octaves despite an intimate 16' by 16' stage and arena seating in this small theater space.

 

Ciamacco, who directs this play, keeps everything moving at breakneck speed, which is a core requirement for musical parodies.  He is to be congratulated for breathing life into this listless example and, most importantly, for bringing a brand new theater to the Cleveland performing arts scene.  Next up:  "Of Mice and Men" (the actual John Steinbeck drama, not the musical parody of "Flowers for Algernon").  

 

"The Texas Chainsaw Musical" runs through February 12 at the Blank Canvas Theatre (at 78th Street Studios), 1305 West 78th Street, Suite 211 in Cleveland.  For general admission tickets, which are $15, visit www.blankcanvastheatre.com.