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news muse zine - compiled for alt. world scenario fans by INFOmaniac
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Exorcist: The Musical
opening night report by Pascha Verde A unique revival of the Exorcist opened last night at the Bardum Theatre to the delight of 50,000 spectators. Something for everyone best describes this fast-paced interpretation of good battling evil. W. Blatty's chilling novel, resurrected by director Billie Frumpkin, melds society's best-loved scenes interlaced with pre-recorded audio favourites into an evening of delightful entertainment. Unlike the tedious video version, the audience is immediately hooked when the curtains open on an elaborate scene set in the bridge of a Borg spacecraft. Evil leaders discuss the assimilation of a 12-year-old Earth girl, Reagan, played by Melinda Mayr, into the Borg colony of demonic-doers. Reagan's exceptional capacity for perversion attracts the Head Mistress of the predatory group. Meanwhile, on the spiritual watchdog colony of Evangelica, reformed Garth Vader characters intercept transmitted plans for an attack on Reagan. The Reverend Merrin, played by George Jack, is sent to observe the child at home. The 1st musical scene is evening outside Reagan's house. Rev Merrin stands gazing up at her window. An off-stage choir accompanied by Rousin lutes hums On The Street Where You Live as a light rain falls. Bawdy silhouettes project onto Reagan's bedroom window shade. Merrin opens his umbrella and, in Fred Astair style, dances though puddles scattered under flickering street lamps. The next scene begins with a ringing doorbell. Merrin enters the MacNeil home. We catch a glimpse of Reagan crawling headfirst down the main foyer staircase like a Kafka cockroach. She makes eye contact with Merrin, then withdraws in a gravity defying backward scurry, up the staircase to her room as midgets dressed in tiny roach headgear appear on the steps and sing Follow The Yellow Brick Road. As Reagan's mother, Helen Bursting delivers a frantic monologue of concern for her daughter's recent bizarre behaviour. Merrin, along with the audience, looks over her shoulder at the musical number taking place on the staircase and everyone but mother knows best. Merrin heads to the child's bedroom. At this point, the audience is instructed to remove 3D headgear from the seatbacks located in front of them. Surprised voices come from the audience startled by the unusual 3D effect of Reagan floating above her bed. This segment begins the showstopper. Reagan, dressed in a gold lame nightgown and red shoes, floats crucifix-style parallel to the mattress as strains of JC Super Star crescendo. The illusion of her body projects over the gasping audience. She whirls at an increasing rate while strobe lights glare. Magically, she transforms into a blinding mini-nova blur. House lights go dark. Music stops. After a momentary pause, the lights flash back on. Reagan's head re-appears eyelevel in front of each 3D viewer where it transforms into a bizarre Tammy Fay Kewpie doll face with an orange wig. The head turns slowly to the left, crackling bones snap and the head continues its unnatural rotation as Tom Bones sings, What's New Pussycat. The spinning head comes to a sudden halt and, again, faces the viewer. Reagan's mouth opens and she spews green vomit as water valves in the theatre ceiling sprinkle lightly giving the screaming audience a virtual tactical encounter. At this juncture, we know evil is assimilating the girl as Kermit sings It's Not Easy Being Green. The audience are instructed to remove their 3D headgear. Reagan re-appears on stage as lead dancer in a scintillating production number down a winding staircase, symbolic of her descent into the dark side. A colourful dance number from the returning troupe of midgets is engaging. Dressed in formless green slime outfits, they don bobble-heads that spin as they tap dance to the South Pacific tune, Gonna Wash That Man Right Outta My Hair. This transitional piece leads to the 2nd choreographed production number. With a Tarzan-like yell, Rev Merrin dressed in a Garth Vader cape appears hanging from a side balcony. He draws his laser sword. A simple curtain of black satin provides the backdrop as the cutting laser spins rainbows. Rev Merrin executes an Errol Flynn drop from the balcony to dance with ninja characters as rap-rhythms beat on authentic Doom-by-Yah drums. Merrin breaks into song, We're Gonna Get Down Tonight. Suddenly, a troupe of Borg characters leap on to the stage from every direction. A musical battle, reminiscent of West Side Story, ensues. The scene is highlighted by the cameo appearance of Wilhelm Chapter, from the HM starship Cantalope. He is dressed like the Marovian Shaman, Chester the Great, in amber necklaces. True to form, he casts an all-powerful spell with his walking stick while chanting, "You can hear me now," and slows the action to a standstill. The troupe of Borg boogie off-stage to the show's signature song I Don't Get No Satisfaction. This clever theatrical device relieves audience tension in preparation for the final scene. A pinpoint spotlight illuminates a solitary winged-back chair. Reagan's mother sits dozing. An empty bottle of Starlight Blue and 2 spent roaches lay on the floor next to her chair. The doorbell rings. Reagan's off-stage voice calls out, "Mother it's for you!" "Who is it, Reagan?" she says. "A couple from the Jehovah's Witness Protection Programme," Reagan laughs. "They're dressed like Garth Vader." Reagan's mother gasps. She looks down at the empty bottle, then over at the butts. She grins, then says, "Good sh*t." Total blackout. |
poster artwork for touring stageshow
[signed copies available from Bardum] 
Melinda, backstage after the show 
Helen Bursting, as Reagan's mother 
the hideous Borg assimilation drone 
Exorcist: The Musical review |
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The Musical
