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Humana Festival review: Slasher
Allison Moore’s “Slasher” is one of those plays that explores, perhaps inadvertantly, how much a story can be like what it satirizes before it actually becomes the thing that it satirizes.
That is, is it possible to make a play making fun of contemporary blood-and-gore and not succumb to the cliches of the genre?
Probably not, in this case, but that’s not really such a bad thing.
“Slasher” is a dark comedy about Sheena, a young Texas woman working at a bar where the secret to good tips is having and showing off a good body. Her assets gather the attention of Marc Hunter, a filmmaker who is back in his hometown after beginning his film career in L.A. to make a horror film where the costs, and the talent, are cheaper.
Neither of them realize that Sheena’s invalid mother Frances can trace the roots of her affliction (chronic fatigue) back to an incident involving Hunter, so she makes up her mind to stop the production and save her daughter from the degradation of being in such a film. She enlists the aid of a deceptively perky member of the Holy Shepherd Justice League, a hyper-moral watchdog group implicated in the bombing of a nearby abortion clinic.
As a satire, “Slasher” is deliciously over-the-top with more camp than a national park, and draws a lot of laughter, even if you feel a little guilty being amused at the silliness.
Moore also makes “Slasher” to be of the genre it makes fun of, with a bathtub full of blood and music that rises at every opportunity for a good scare, even if it’s a false alarm.
Official site: The Humana Festival of New American Plays
Review of “Ameriville”
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