REVIEW: Night of the Living Dead! The Musical!

Rhona Bechaz | 15 November 2025

Ghostlight Theatre Co.

Evilcorp Horror Maze

7 - 23 November

Based on the film by George A. Romero

Book, Music & Lyrics by Jordan Wolfe

Photography by Christopher Sharman & Alan Burchill

Themes of horror, sexual references, adult themes, coarse language, and death.

Ghostlight Theatre Co has a proven talent for horror, most recently with Evil Dead: The Musical and The Exorcist. Their newest venture, Night of the Living Dead! The Musical! sees them dive even deeper into their niche with gleeful abandon. A parodic, satirical take on the zombie classic, the production revels in camp, risqué humour, and generous splashes of gore—delivering a riotously fun night out.

Based on the original George A. Romero and John Russo film, the musical hews closely to the story while sending up every trope imaginable, buoyed by Jordan Wolfe’s catchy score. We follow Barbra and Johnny as they visit their father’s grave, only for Johnny to be bitten and zombified. Barbra flees to a nearby farmhouse where she joins an eccentric group of survivors attempting—sometimes begrudgingly—to endure the outbreak. The high-energy script occasionally takes sharp left turns, but the cast, costuming, and brisk scene changes keep the momentum strong without ever losing the thread of the story.

Evilcorp Horror Maze proves a perfect venue for the piece. Navigating the maze to reach the central seating was thrilling, enriching the immersive nature of the show. The intimate space allowed the horror to quite literally brush past audience members as zombies staggered between rows.

Yasmin Elahi once again demonstrates that small spaces can inspire big creative opportunities. Her set design made excellent use of height, multiple entrances, and a compact thrust stage. Her direction leaned unapologetically into the show’s campiness, ensuring bold stylistic choices and heightened performances took centre stage.

Accents and characterisations were dynamic throughout, keeping the action lively and engaging. While rapid pacing occasionally muddied articulation, the cast performed with gusto, embracing their outsized characters with sincerity and delightful exaggeration. Their energy was infectious, sweeping the audience up in the absurdity of this gleeful parody. Elahi’s choreography was spirited and full of play, while the guest-choreographed finale, Julianne Clinch’s “In For the Kill,” delivered a punchy, passionate close. 

The show’s cheeky humour—including tear-away pants by Prue Robb —contributed to its playful theatricality, though a few moments veered toward crudeness without serving the narrative. Still, the cast handled intimate and comedic beats confidently, always maintaining control of tone.

The score itself is deceptively demanding, and the cast met its challenges with strong projection and energy. Harmonies in the title number were especially satisfying with the right amount of spooky minor chords to give the audience the right kind of shivers. Though occasional lapses in blend or support surfaced (understandable given the intensity of the show), Musical Director and Sound Designer William Pipe and Vocal Advisor Jade Enright kept the ensemble unified and expressive.

Aimee Segal shines as Barbra (never Babs!), offering a near-perfect blend of character and vocal prowess. Her ear-worm solo “They’re Coming to Get You, Barbara!” ends in a rock belt worthy of Lea Michele. Segal’s innocence, humour, and wholehearted commitment make her a standout.

As Ben, Alex Graves brings a grounding presence. His smooth confidence and clarity immediately draw the audience in, particularly in his introduction number, “Under Control,” which showcases impressive range and control. Graves strikes a beautiful balance between sincerity and comedy, complementing Segal perfectly.

Erin Lowry is a whirlwind of transformation, playing multiple distinct characters—from Betty-Lou to a cynical newscaster to a blissed-out hippy—with crisp physicality and vocal flair. Her seamless quick changes are a show in themselves, and her recurring jazzy number, “You’re F***ed,” lands every time with panache.

Aden Lowry sets the tone from the moment he emerges from the mist, fully embodying the shambling grotesquerie of the undead. His total commitment for the entire ninety minutes is impressive, and his character work across roles—especially his booming performance in “This Ain’t My First Rodeo”—is both hilarious and skilful. His swaggering Sheriff is a crowd favourite for reasons best left discovered in person.

Molly Parker delights throughout, primarily as the boozy Helen. Her sharp one-liners, strong accent work, and impeccable delivery of choreography and vocals render a familiar trope thoroughly engaging. Her performance of “The Juice” is particularly memorable, making Helen’s questionable decisions oddly endearing.

Patrick “Az” James excels as Johnny, Tom, and Dan the Science Man. With impeccable diction—every word of his patter song “Dan the Science Man” lands cleanly—James balances vocal prowess with lively character work. His rapport with the audience and eccentric flair amplify the show’s comedic heartbeat.

The band—Keys (Adam Haks/Jasmine Buckley), Guitar (Nathan Cho), Bass (Corey Truss/Ben Marshall), and Drums (Zi Hui Chen)—provides an immersive and well-balanced musical foundation. Despite their closeness to the audience, Pipe’s sound design ensures clarity and cohesion in the tight space.

Elahi’s lighting design, operated perfectly by Kaitlyn Moore, creates a moody, comic-book-like atmosphere that complements the action beautifully. Handheld torches add an evocative campfire-horror aesthetic, contrasting sharply with the flickering green effects in Dan the Science Man’s segment.

Night of the Living Dead! The Musical! is a joyous plunge into zombie horror, irreverent humour, and musical mayhem. Playful and confident, it’s a must-see for fans of semi-immersive theatre, bold performances, and laugh-until-you-cry comedy.

Final Showings this week! Get your tickets here: NIGHT OF THE LIVING DEAD! THE MUSICAL!