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Last Updated: 30 Sep 11

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George Reinblatt

GEORGE REINBLATT   

Nationality:   Canadian    Email:   Click here to contact    Website:   Click here to visit

Literary Agent:  The Gersh Agency, NY  

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Plays by George Reinblatt

Evil Dead: The Musical

1st Produced:

New World Stages, NY

01 Nov 2006

Company:

n/a

1st Published:

Samuel French, Inc - New York (2009) >>>

ISBN/ASIN:

978-0573651397

Music:

Original Broadway cast recording: Time-Life (M19407) 2006

doollee no

#61895

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Genre:

Musical

Parts:

Male

6

Female

4

Parts other:

-

Notes:

book and lyrics by George Reinblatt; music by Frank Cipolla, Christopher Bond, Melissa Morris, George Reinblatt. EVIL DEAD: THE MUSICAL first glimpsed the light of day in Toronto, where early workshop engagements played to capacity and beyond. While mainstream theatre audiences flocked to the show, diehard fans of the Evil Dead film series made pilgrimages from across North America to witness the birth of a new cult hit. The popular workshop production enjoyed two sold-out runs at Toronto's Transac Club in 2003 before heading off to Montreal in 2004 as part of the 22nd Just For Laughs Festival.

Evil Dead: The Musical

musical based on film director Sam Raimi's 1980s cult-classic horror movies of the same title. As the press release puts it: "Boy and his friends take a weekend getaway at abandoned cabin, boy expects to get lucky, boy unleashes anicent evil spirit, friends turn into Candarian Demons, boy fights until dawn to survive. As musical mayhem descends upon this sleepover in the woods, 'camp' takes on a whole new meaning in uproarious numbers like 'All the Men in My Life Keep Getting Killed by Candarian Demons,' 'Look Who's Evil Now,' and 'Do the Necronomicon.'"
nytheatre.com

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.