Still, “Necronomicon” can be a show-stopper when done with fancy footwork, and the scaled-back version here is fun, but also a missed opportunity.There’s also a joke where an obvious body double is used, referencing the original film’s heavy use of “fake Shemps,” i.e.The score (credited to four composers, along with author George Reinblatt) alternated between pastiches of operetta - which the cast embraced with exaggerated gusto and mock-sincerity - and 50's style doo-wop, and that, juxtaposed with the ghastly storyline, led to plenty of humor.Reinblatt’s script quite cleverly melds the storylines of the first two films into one two-hour play, adding in Ash’s one-liners from the third film at opportune moments.
I didn't mind this a bit, although I still prefer his technique from 2014, in which Ash was more naive, developing his action-hero skills and smarmy one-liners gradually.
The director’s attention to detail can be spotted everywhere.
An early scene where Cheryl is attacked by demonic trees in the woods now plays out in center stage for maximum comedic effect, with Leitner implying that Cheryl isn’t as much of a victim as we may have thought.
The one thing I really missed was in the staging of the show’s climactic “Do the Necronomicon,” a rousing dance song in which most of the lyrics describe how to do the dance, a la Rocky Horror’s “Time Warp,” which is even given a shout-out in the lyrics.
Terrance Henderson is listed as the number’s original choreographer from the 2014 production, but this revival has no choreographer listed – which is fine, since it’s not really a dance-centric musical.