Review: SLEEPY HOLLOW at Shadowbox Live

The Shadowbox Live Theatre is known for its ability to make patrons laugh with their sketch comedies (WILD THINGS), educate audiences with their themed shows (THE DREAM AND BEYOND) and eulogize and celebrate performers in their tribute musicals (EVOLUTIONARIES).

SBX adds one new skill set to its arsenal with the production of SLEEPY HOLLOW: scaring the snot out of its ticketholders. The two-act performance, which was conceived, choreographed, and directed by Katy Psenicka, written by Jimmy Mak, and produced by Julie Klein, is performed every Thursday, Friday, Saturday and Sunday through Nov. 17 at the troupe’s theatre (503 S. Front Street in downtown Columbus). SLEEPY HOLLOW, an adaptation of the Washington Irving’s short story, “The Legend of Sleepy Hollow,” is a ghost story done right with all the Shadowbox touches. The musical features solid acting, an eerie stage set up, exquisite dancing, and a stellar playlist that both thrills and haunts its audience.

Unlike the Irving classic, Shadowbox’s story is centered around Katrina Van Tassel (performed by Riley Mak), who becomes ensnared in a love triangle between new schoolteacher Ichabod Crane (Nicolas Wilson) and Brom (Robbie Nance). Katrina is smitten by Crane but her controlling father, Baltus, (Tom Cardinal) is forcing her to marry Brom.

Control is one of the sub themes of this SBX production. The town is under the thumb of the fears of superstition and witchcraft. Katrina’s mother Rachel (Stacie Boord) overcomes being overpowered by town drunk Clement (David Whitehouse). Baltus tries to keep the reins on his wife and daughter, but he falls under the spell of little town flirt Abigail (Amy Lay), who is one of Katrina’s friends.

Perhaps the most telling line of the play comes from Theodore (Jimmy Mak), who is like BEAUTY AND THE BEAST’S Lefou to Brom’s Gaston. After Brom laments about losing Katrina to Ichabod, Theodore responds, “You two belong together … (waits a beat) … She belongs to you.”

A word of warning: most of those who try to control the Van Tassel women usually have to face off (pun intended) against the headless horseman.

Klein serves as the narrator/storyteller of the show. Rounding out the cast are Michelle Daniel (Clement’s wife Mary), Leah Haviland (Rosalind, the witch on the hill), Andy Ankrom (the preacher), Nyla Nyamweya (Prudence), and Emily O’Regan (Charlotte/the headless horseman).

This SBX production seems more like an experience rather than a performance. For starters, the creative set design by Steve Toller and Mark Dahnke is bathed in a sea of fog, enhancing the sense of foreboding. Zach Tarantelli and Whitehouse’s video production and the subtle but effective light design by Danny Dunn complete the sinister mood.

With most SBX productions, the choreography either compliments the band or connects sketches together. SLEEPY HOLLOW wouldn’t work without the dancers. Psenicka’s choreography can be intricately beautiful like the playful dances between Katrina and Ichabod during Breanna Romer and Halley Keller’s reading of Six Pence None The Richer’s “Kiss Me” and Stephanie Shull’s crooning of Nora Jones’ “Come Away with Me.”

Or it can be very dark like when the trio of Riley Mak, Wilson, and Nance’s dance as Ankrom belts out Nine Inch Nails’s “Terrible Lies.” In the end of the production, Nance is pursued by an army of headless horsemen as Romer sings Tommee Proffit’s version of Linkin Park’s “In The End.” It is the material from which nightmares are made.

This production excels in having its artists use alternate takes of familiar songs. Leah Haviland sings an unexpectantly creepy version of Chase Holfelder’s take on the Police’s “Every Breath You Take” as Clement drunkenly pursues Rachel. Boord delivers powerhouse vocals on Florence and the Machine’s red hot version of “Just A Girl” (originally done by No Doubt).

The band of Justin Doe, Matthew Hahn, and Jack Walbridge on guitar, Rick Soriano on keyboards, Brandon Smith on drums and Buzz Crisafulli on bass easily zigzag across pop, rock and heavy metal landscapes including two versions of “Bad Moon Rising.” Hahn contributed two original works to SLEEPY HOLLOW, including “Katrina’s Nightmare,” one of the show’s highlights. Their rendition of Ciara/The Rolling Stone’s “Paint It Black” raises hairs on the back of the neck.

SLEEPY HOLLOW doesn’t live up to its name: it is neither sleepy nor hollow. It’s a very good trick or treat musical, perfect for the month of October. Some may not lose their head over Shadowbox Live’s SLEEPY HOLLOW, but this eerie production will have you looking over your shoulder as you leave.

Photo credit: Tommy Feisel

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