The Exorcistic: A Wickedly Funny Rock Parody Possessing The Asylum NYC

A struggling theater troupe decides to cash in on the notoriety of the film, The Exorcist. 

The result is Exorcistic: The Unauthorized Rock Musical Parody.  Michael Shaw Fisher created the book, music, and lyrics.  Fisher points out that half of the country is preaching about the evils of the other half.  He feels that it is time for someone to preach against evil.  He does so enthusiastically.  In this parody, Fisher goes beyond The Exorcist.  He mocks politics, pointing out that Fox News and Christian conservatives keep the top of evil relevant. His version of the standard feel-good announcement, stating that the land on which the theater stands belonged to the Lenape, continues to point out that there is no way they will get the land back. His script frequently breaks the fourth wall, addressing the audience directly.   His lyrics and music echo the sound of 1970s rock – perfect for a musical about evil and exorcism.

The play begins on a bare stage, with only a few folding chairs and music stands. The actors introduce themselves to the audience.  Emma Hunton is debuting as the producer.  She plays Megan O’Neil, the daughter. Her physical presence and vocal delivery effectively convey a convincing portrayal of possession. At one point, she cruises the audience, seducing and insulting them. She makes this fit as part of the action. Michael Shaw Fisher plays the author, Drake Bennings, and Detective Linderman. He covers all the roles without any problems. Ethan Crystal plays Father Garras. Crystal makes his character believable. Leigh Wulff portrays Kate O’Neil, the mother. Aside from a brief sexual interlude, her concern about her daughter is believable.  Jesse Merlin portrays both Father Barren and the hypnotist.  He seamlessly moves from one role to another.  Steven Cutts is debuting in this show. He blends in with the company as he portrays Captain Rowdy and Father Pryor.  Jaime Lyn Beatty is the stage manager and Garras’s mother. The production promises a rotating cast of Broadway stars throughout the show’s run.

This is a high-energy experience. The actors’ voices blend well with music supplied by Zach Spound, Jared Decker, Matt Patton, and Andrew Dow.  There is a mixture of musical styles, ranging from 1970s rock, show tunes, hip-hop, and jazz.  The band’s energy elevates the experience.

During the show, the actors interrupt the production to argue their interpretations.  They point out that over half of registered Republicans believe in evil. (Although I doubt that this play will appeal to them.) The actors state that evil has advanced technological capabilities. Comparing their production to The Exorcist, they point out that there is only one death on stage, while there were nine deaths involved in the filming.  Rather than detracting, these interruptions add to the play.

As Fisher points out, it is a long road from ancient Palestine to Broadway. This production completes the trip gracefully.  One can enjoy this show even if one has never watched the movie. This show mixes theatre, cabaret, 1970s rock, and slapstick comedy for a lively experience.