In a world stricken with violence, hate, insincerity and Glee, it is refreshing to see the plagues of our time revamped and used for good. Andrew Marco ’15 has done just that in his musical reimagining of the classic horror film Friday the 13th. This satirical retelling of the murderous Jason Voorhees was first workshopped a year ago at Connecticut College, and made its fully staged premiere this past weekend.
This year’s production was directed by Alex Marz ’13, choreographed by Grant Jacoby ’13 and featured cast members from the original staged reading and a few fresh faces. Audiences enjoyed a full-fledged musical experience complete with show-stopping numbers, dance breaks, and of course, campy murders that left us wanting more.
All three performances of this original musical were packed, and it was amazing to hear the buzz of impressed audiences. Theater scholars and novices alike were thoroughly engaged by this performance, and much of the credit lies in the words of Andrew Marco, the visionary of Friday the 13th. This show, years in the making, is clearly the result of limitless passion, hard work, dedication and faith. Not only is it admirable that a sophomore in college could write such an entertaining, full-length musical, but beyond its surface value of a silly spoof lies evidence of a true theatrical mind. While audiences guffawed over the spectacle of stock characters and overdramatic slaughters, they were also exposed, perhaps unknowingly, to elements of Brecht, Sondheim, Fosse and more, as Marco infused his writing with sophisticated theatrical techniques and concepts. Lines like “There’s no room for logic in a foggy cemetery” and “There’s always room for more exposition” successfully familiarized audiences with the conventions of the piece, seamlessly informing viewers that what they were about to witness would be a self-referential, almost meta-theatrical piece of work that was by no means to be taken too seriously. This notion was furthered by Marz’s creative directing choices, which enhanced the feeling of transparency and self-aware comedy. The iconic black door that doubled as a coffin allowed for fluid transitions and humorous juxtapositions, while acclimating audiences to the eccentricities of space and time necessary for the successful execution of this piece. Moments of clever puns rewarded the attentive viewer, like when poor, virginal Alice tried to escape death. We are informed that “being chaste won’t save her now,” and avoided the potential pitfall of allowing the show to become too mindlessly campy. An inherent danger in a piece like this is the ultimately mind-numbing effect of excessive spectacle and shallow humor, but Marco’s wit and dedication to true satire kept this musical afloat and allowed for a truly entertaining and smart piece of theater.
Beyond Marco’s literary and musical talents, the show itself was so successful because of the energetic performance. Marz’s direction and Jacoby’s choreography created a lively, entertaining piece befitting the world created through the writing, and the cast filled out this vision perfectly. Matt Rolin ’13, Hailey Fyfe ’13, Victoria Gordon ’13, Grant Jacoby ’13 and Leila Teitelman ’15 did not disappoint in their return to the stage after last year’s workshop, and the addition of Tim Swan ’13, Matt Burns ’16, Spencer Lutvak ’16 and Bailey Bennett ’14 created a new, exciting dynamic at Camp Crystal Lake. Each actor brought an essential skill and energy into the show, and it was clear that the quality and connection of the cast was essential to the successful execution of this ambitious project. Despite the undeniable talents of the performers, what is exceptionally impressive about this work is the wide range of backgrounds and experiences of the cast. The fact that some of the actors are seasoned veterans, that others specialize in other areas of performance and that still others seldom appear on stage made for a refreshing evening that was less about perfect intellectualism and Tony-caliber work, but rather sheer hell-raising joy. In the high stakes, highly critical world of theater that often takes itself far too seriously, it is a tremendous pleasure to be able to sit back, relax and laugh. This show represents the paragon of the possibilities of student theater, and is something that the Theater Department and all interested parties at Connecticut College should appreciate and foster.
No discussion of this musical would be complete without a standing ovation to the song that has been stuck in everyone’s head since Friday the 13th of April, 2012. “Bitch, Don’t Go In There” is the essence of perfection and possibly the last remaining hope for the happiness of humanity. Look out, Stephen Sondheim.
