Absolutely nobody asked for this, but since it’s nearly October and I listen to these year round: here are some Halloween-y spooky musicals that aren’t Sweeney Todd or Addams Family or Beetlejuice. Lots of murder inbound, folks. The spectrum ranges from “this piece of art is integral to my soul” to “this is campy and fun and I sing it in my car a lot.”
1) Get Jack
To sum it up with lyrics, “he’s still most wanted, but we’ve been forgotten.” The Canonical Five women murdered by Jack the Ripper tell their stories (and then rise as specters from Hell to bring him down). Some serious guitar shredding and rock vocals on tracks like “Left Handed Wives” and “Agony in Red,” and hard-hitting emotional lyrics and performances on tracks like “Blood in Whitechapel” and “Forever Erased.” Plus, a cheeky narrator who may or may not be the Devil. Strikes the perfect balance between earned rage and overdue grieving for these victims that have been largely pushed by the wayside in the history books because of their gender and occupation—like the women of Six, they’re flipping the narrative to reclaim their own identities and agency in the story. These five women were more than just names in a rhyme.
2) Angelmakers: Songs for Female Serial Killers
This song cycle tells you its concept first thing—everyone deserves one song. Even those that have been condemned. Especially them. An examination of “feminine rage and radical empathy,” it makes no excuses for each of these eight women—these serial killers—but it dissects their lives and asks the audience to ponder: how has this world broken you down? How much have you held in? How often have you said sorry? How much have you sacrificed for peace of mind, and how much would you give to make the world bear the full brunt of your pain? It’s more than a concert or a song cycle, it is an elegy—a ritual, an offering for women we know and women we have been. We begin by acknowledging the rage we carry, the effort it takes to temper it, in “Stick the Key In.” We bear witness to the pain that the world has wrought in these women, we recognize that their circumstances are similar to so many others in the seven wildly cathartic punk rock devotionals—and I do feel that that is exactly what they are, because each song is “for” one of these women. And we end the cycle with a psalm of sorts, for all of us: “Will to Live.” It is explicitly unapologetic in the grace it grants these women, and in engaging with their trauma we can allow ourselves as women some grace as well: our pain is real, and our rage reverberates through the centuries because of this will to live despite those that try to break us because of how they’ve been broken. It gives you permission to hurt so that you can start to heal. If you listen to this one, make an evening out of it and listen to it all the way through—complete the cycle.
3)LIZZIE
Anybody who really knows me knows how close this show is to my heart. It takes the 1892 Borden ax murders and holds up a magnifying glass to the women at the center of it. Though the full history involves many, many players, this two act rock musical presents the story to us through just four: Lizzie and Emma, spinster sisters struggling under their father’s iron fist and their stepmother’s cold hearted scheming; Bridget, the family’s young Irish maid who sees and hears everything; and Alice, a neighbor and confidant who must weigh her desire to support the woman she loves against her conscience when she witnesses deceit. This work is a masterpiece of tension. In the days leading up to the murders, you can feel the stifling presence of the father and stepmother bearing down on all four women—and they aren’t physically present in the show at all. The women each play their own role in the drama they unfold—Bridget is our Greek chorus, Emma is puppet master, Alice is a light in the darkness, and Lizzie is the eye of the storm. Honestly, The Village Voice perfectly summed it up: “Lush tunes which retch sex, rage, dyke heat, misanthropy, and incest… Surreal glee and gallows humor… Finally, a rock musical you’d wanna mosh to.”
IMPORTANT: trigger warning for implications of sexual assault.
4) Lizzie Borden
Yes, there are two musicals about her. There’s also an opera by Jack Beeson and an Agnes DeMille ballet scored by Morton Gould, but that’s not why we’re here. As far as my suggestions on this list go, this 1998 treatment of the Borden murders is probably the most stylistically conventional for musical theatre (tying with Witches of Eastwick)—the weaving of dialogue with song, patter, and breadth of leitmotif call to mind Sondheim. Unlike LIZZIE, this show presents the full cast of characters involved in that fateful day and its aftermath in an inventive nonlinear fashion, splitting Lizzie into her younger self at some of its most chilling moments. The score is gorgeous, and I cannot properly stress how marvelously the leitmotifs pan out in the second act. Strikes a good balance between comedic, petty drama and the panic behind life altering tragedy—I guarantee you’ll be humming “Buttons” for at least a week after your heart stops pounding from the anxiety that builds with every measure of “So Easily.” Again, IMPORTANT: trigger warning for implied sexual assault.
5) Nevermore: the Imaginary Life and Mysterious Death of Edgar Allan Poe
Haunting and ominously playful, the show’s traveling acting troupe starts at Poe’s birth and follows his tragedies and triumphs up until the opening moments of the show—a framing device that I will always love, and it’s played off here deliciously. I don’t have a whole essay to write on this one and I have no idea how biographically accurate it is to his life, but I love listening through it on long drives—a lot of underscored dialogue, which I just happen to enjoy while driving. Maybe because I like podcasts. I don’t know. It doesn’t really warrant a trigger warning, but I can’t NOT mention that it does include his marriage to his 13 year old cousin—the dynamic portrayed is avuncular if anything, nothing predatory or unnerving, but. Yeah. Child cousin bride. Do with this what you will.
6) Ghost Quartet
Dave Malloy, my sweet, sweet baboo. I love this show so much. I talked about this show in the process portion of my thesis. And it’s really impossible to summarize the plot because it is stories inside of stories and it’s best listened to many, many times in the wind and rain. There are two sisters, an astronomer, and a bear. A soldier. A driver, a victim, a pusher, a photographer. The Fall of the House of Usher. Sheherazade, Dunyazad, and Shah Zaman. Thelonious Monk. Any kind of dead person, reincarnation, a classic murder ballad, and lots of whiskey. It’s intensely weird and equally wonderful. If you listen to the live recording from the McKittrick Hotel, dialogue is included! Better yet, Dave Malloy actually made the full production directed by Annie Tippe available to watch on his YouTube channel at the start of the pandemic.
7) The Witches of Eastwick
As far as I am concerned, John Updike doesn’t exist and the only versions of this story that matter are the movie and this musical. Three witches in a small Rhode Island town learn to be authentically themselves and enjoy their lives through some ill-advised fraternization with the devil himself (the egrets be damned). Local prophet has some tummy trouble. The “I want” songs are delicious and it is a personal goal of mine to perform “Words, Words, Words” without actually biting my tongue in the last verse. “Dirty Laundry” has all the petty 1960s housewife drama you could ask for. “I Wish I May” is a charming trio about fulfilling the dreams we had as children. “Dance with the Devil” is a straight banger. “Another Night at Darryl’s” is a lusty romp. Just, like, do yourself a favor and listen to this musical it’s so fun. John Updike stays in the penalty box for all eternity, though. I am never getting those hours of my life back.
8 ) Rebecca das Musical
Okay I KNOW that this one is literally in German but hear me out—the lovely fanbase have made so many YouTube videos of the soundtrack with English subtitles if you don’t speak German (I’m… getting there). The Daphne du Maurier novel is perfect, the Hitchcock film is perfect, and this musical is perfect. Even before I knew enough German to comprehend any of the words, I knew the storyline well enough that the music itself (it’s so expressive I swoon) made characters and plot points clear. Gothic romance that is incredibly questionable, murder, ambiguity, repressed lesbianism, scandal, a protagonist that literally doesn’t have a name—what’s not to love? Mrs. Danvers steals the show as is her god-given right, and if nothing else you should listen to the demo recording of the English language version of the title song “Rebecca” from the vanished Broadway production (whose death was just as tragic and mysterious as Rebecca de Winter’s). It’s unhinged and incredibly sapphic; everything Mrs. Danvers ought to be (Kristin Scott Thomas, I’m so sorry they gave you that sad excuse of a script you deserved so much better. When it was first released I said I liked the 2020 Netflix Rebecca but in retrospect… no). I don’t think I’m really capable of intelligent thought at this point in the list (it is now 1:26 am) but just know that I love this musical and it is helping me learn German. Why am I learning German? So I can listen to this musical. Why I am listening to this musical? So I can learn German. And the snake consumes its own tail. And I should probably go to sleep.
