Writer and Director Martin P. Robinson dares us to remember that old adage, “Never judge a book by its cover.”

All Hallows Eve is a perfect example of what that really means. What appears to be a trick winds up a fulfilling treat. Upon first impressions, this appears to be some kind of family holiday fare. But those suspicions are quickly diminished as the musical theatre macabre unfolds. At the top of the show, the audience members follow the cast to go trick or treat around the block with Sister Eve played by Haley Jenkins and her brother, Evan, portrayed by Spencer Lott. Seeking and creating mischief on Halloween night, when they ring the bell at a creepy old mansion in the neighborhood, the story escalates far beyond more than just a harmless night of “TRICK OR TREAT.”

The Witch amuses herself at the expense and to the horror of her guests. Photo by Richard Termine.

While the audience takes its seats, the kids step inside the mansion where they are greeted by their host, and within seconds all hell breaks loose for the next 60 minutes of the 80-minute production. Jennifer Barnhart as The Witch bursts onto the stage like an Elvira that has consumed cocktails mixed with gasoline. Barnhart ignites and continues to burn up the scenery throughout the entire production. She is packed full of wicked amusements and Mars candy bars, that she hands out as rewards to her obedient servants and now her unsuspecting and captive guests.

Composer Paul Rudolph accompanies the cast through a score that is perfectly in sync with the storyline. Delightfully, it is a musical score that reminds its listener that this is how Musical Theatre “really works.” Both Haley and Lott keep up the musical pace with Barnhart. It’s easy to fall into the charming, but dark chaos, that this trio creates in these roles.

Tyler Bunch as “Pumpkin Man” plots with The Witch, what will be Eve’s fate? Photo by Richard Termine.

Standing off to the side of the crowd after the performance, writer/director Martin Robinson explains to me that elements of the storyline stem from his own childhood memories. A childhood we have no doubt was full of curious imagination.

All Hallows Eve takes us back if at least for a minute, to the bewilderment we felt as kids at Halloween. We anticipate with excitement but never know what to expect next. It inspires the adult in us to let go and be immersed in the moment. This production is a psychedelic kaleidoscope that once it begins it seems impossible to fathom a happy outcome, but I’ll not spoil that for you.

Photo by Richard Termine.

Making the scenes all the more fantastic is the “larger than life” and over the top imaginative puppetry designed by Robinson. Every detail is paid attention to and seamlessly presented, as if we were watching a pop- up storybook manifest before our eyes.

Photo by Richard Termine.

The audience bellowed with hearty out loud laughter because All Hallows Eve is really hysterical. But, it’s not just funny, it’s also very clever and intelligent.

In fact, if one holds the capacity for such an experience, this production could be compared to a most satisfying nightmare that we’re sad to wake up from.

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.

This post was written by David Vernon.

The views expressed here belong to the author and do not necessarily reflect our views and opinions.