The eight Halloween shows reviewed here represent a mere fraction of the current offerings in a seasonal subgenre that’s become as ubiquitous as Nutcrackers in December. So consider this a sampler, with selections ranging from family-appropriate (The Legend of Sleepy Hollow: A New Folk Musical) to more suitable for frat boys (Nightmares on Lincoln Avenue). More can be found in our listings. —Tony Adler
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Carpenters Halloween I’ll admit I was scared there for a while. The opening sequence of this Scooty and JoJo drag comedy—which grafts the Carpenters’ pop songs onto John Carpenter’s 1978 horror classic, Halloween—is played out on video monitors that are much too small for the room, and the first live sequence takes place in very dim light. I was afraid I’d be squinting the whole hour. But the rest of the performance turned out to be easy to both see and enjoy. Though limited in some ways by its barroom setting, Carpenters Halloween is a sharp goof with a solid cast and band, fine singing, and witty direction—along with deeply felt—one might even say plush—turns by Muppet-style puppets in supporting roles. Director, co-creator, and scenic designer Scott Bradley plays Laurie Strode (the Jamie Lee Curtis role in the film) with an air of sweet exasperation, and the Carpenter-meets-Carpenters conceit is so sound somebody should do a master’s thesis on it. What really creeped me out, though, was hearing “We’ve Only Just Begun” on the radio as I drove home. Through 11/7: Tue-Sat 8 PM, Mary’s Attic at Hamburger Mary’s, 5400 N. Clark, 800-838-3006, scootyjojo.com, $15-$20. —TA
The Modern Prometheus In Brad Lawrence’s version of the Frankenstein story, set during the Franco-Prussian War, the famous doctor fashions his famous monster from parts of dead soldiers—and then resurrects a dead little girl for an encore. These two stunts give rise to angry mobs, debates about the ethics of playing God, and, for the doctor’s girlfriend, a rather severe case of the heebie-jeebies. Lord knows taking liberties with Mary Shelley’s novel is nothing new, but Lawrence’s additions muddy the tale and detract from the central conflict between the creator and his creation. Directors David Marcotte and Nathan Robbel further scatter focus by overloading on sound and lighting effects. The best thing about the production—Tom McGrath’s sardonic performance as Dr. Frankenstein’s wicked assistant, Henry—is woefully underused. Through 11/21: Fri-Sat 8 PM, Sun 7 PM, RBP Rorschach, 4001 N. Ravenswood, 773-750-2033, therbp.org, $15 suggested donation. —Zac Thompson
