With book, lyrics, directing and producing of this new musical all being by just the one talented and resourceful man, Colin McCourt, 'The Devil Rides Out' is obviously a real labour of love for him.
This new musical is based, according to the programme, on the best-selling novel of the same name by Dennis Wheatley. I have to confess, I have not read the book, but I have seen the 1968 Hammer House film starring Christopher Lee and Charles Gray, and this musical tries to, at least in part, pay a deal of homage to that film. In fact sections of the musical so closely resemble the film in terms of set, costume, characterisation etc, that it is impossible not to view this show in comparison with the film.
An ensemble of 15 actors/ actresses take on all the roles necessary, with more minor characters doubling as satanists. The set is a simple double-sided flat centre stage with little else, which for a small-scale fringe theatre production suffices. The car and aeroplane both worked nicely; however the special effects left much to be desired, being far more laughable than scary.
The story takes us back to 1934, and we see a reunion of three old friends, the Duke de Richleau (Ryan Ireland), Rex Van Ryn (Tom Loughlin), and the absent and more wayward Simon Aron (Jack Gibson). We learn that Simon has become involved with a mysterious and enigmatic character by the name of Mocata (Michael Diamond), and is about to become 'baptised', along with another new recruit, Tanith (Ella Shaw), into their Satanic cult. Mocata is one of the Devil's more senior recruiters and this being the eve of Walpurgis, the Devil's throng will be out in full force. If the Duke and Rex are to have any hope in rescuing both Simon and Tanith from the Devil's clutches, they will have to act fast...!
With a soundtrack and haze effects more reminiscent of a 1980's pop music video than anything else, the musical is through-sung [ie: the plot is developed through songs and there is little or no dialogue], but it all should have cohered this evening much better than it did. Long gaps between scenes, with messy scene changes, and characters entering out of character and with no motivational impulse made it extremely difficult to emote with. There was little sense of urgency built up, and no suspense or horror, despite the red lamps, smoke, and laughably Hallowe'en-styled masks and puppets.
Reviewer - Matthew Dougall
on - 28.10.22
on - 28.10.22
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