Various Artists | Halloween: The Musical

Go To Artist Page

Recommended if You Like
Broadway Musicals Meat Loaf Menken and Ashman

Album Links
Facebook Fan Page Top Cast Albums 2011

More Artists From
United States - United States

Other Genres You Will Love
Easy Listening: Musicals/Broadway Easy Listening: Musicals Moods: Mood: Fun
Sell your music everywhere
There are no items in your wishlist.

Halloween: The Musical

by Various Artists

Original cast recording of Halloween: The Musical, a musical parody of John Carpenter's Halloween. Recorded fall 2010 by the Orlando, FL cast and musicians. Recorded and Mixed by Brandon Knechtel at The Jamnasium, Clermont, Florida.
Genre: Easy Listening: Musicals/Broadway
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
available for download only
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Trick or Treat
Juan Cantu
3:51 $0.99
2. Why'd It Happen in Haddonfield?
John Graham
1:38 $0.99
3. Walkin' and Talkin' / Totally
Jenn Warren
3:18 $0.99
4. Standin' and Talkin'0
Jenn Warren
1:18 $0.99
5. Cruisin' and Talkin'
Jenn Warren
0:54 $0.99
6. Evil Eyes
John Graham
2:43 $0.99
7. Ben Tramer
Heather Delmotte
2:21 $0.99
8. The Bogeyman
Heather Delmotte
2:48 $0.99
9. Don't Get Dressed
Robert Stack
2:10 $0.99
10. Michael's Revenge
Heather Delmotte
2:04 $0.99
11. The Confession
Shawn Walsh
4:07 $0.99
12. Trick or Treat Finale
Company, Paul Leiner, John B. deHaas, Paul Leiner & John B. deHaas
0:29 $0.99
13. Michael Myers' (Megamix)
2:14 $0.99
Downloads are available as MP3-320 files.


Album Notes
Halloween: The Musical
(in order of appearance)

Judith Myers/Lynda/Laurie’s Mom/Townfolk ………………………………….……..……….JENN WARREN*
Judith’s Boyfriend/Tommy Doyle/Lee Brackett/Townfolk………………………....………..JUAN CANTU*
Laurie Strode/Phantom/Townfolk…………………………………………………………...…..HEATHER DELMOTTE
Michael Myers/Laurie’s Dad/Jackie/Taylor/Townfolk/Phantom …………………….…......SHAWN WALSH*
Annie Brackett/Phantom/Marion Chambers/Phantom/Townfolk/Sheet Girl……………...ANDREA STACK*
Bob Simms/Travis/Lonnie/Townfolk/Phantom/Dream Ben Tramer………………………..ROB STACK*
Dr. Sam Loomis…………………………………………………………………………………….JOHN GRAHAM
Lindsey/Townfolk/Dream Laurie/Teacher/Lezzie/Sheet Girl/Townfolk……………….……ERIN ROUSH*
Little Pumpkin……………………………………………………………………………….….….JAKE STACK

*Appearing courtesy of Actor’s Equity

Piano John B. deHaas
Cello Paul Leiner

Recorded and mixed by Brandon Knechtel at the Jamnasium, Clermont, Florida


James Brown is gone, but if they ever crown the Hardest Working Musician In Orlando Show Business, John deHaas has to be in the running. Have you been to the Treasure Tavern dinner show near I-Drive? DeHaas is the music director there five nights a week. Seen Michael Wanzie’s production of [title of show] at the Parliament House? He’s the deadpan onstage keyboardist. Sung at Universal Citywalk’s Rising Star karaoke club? He probably backed up your baying playing the keys. If you’ve been to any attraction in town with a live accompanist, you’ve likely heard deHaas play.

So it’s no shock that Orlando’s most prolific freelance pianist has taken on yet another gig. This time, though, deHaas isn’t a hired gun. Instead, he’s calling the shots as the producer/writer/composer ofHalloween: The Musical, a parody of John Carpenter’s 1978 screamer that’s carving out a two-night run at the Shakes this Friday and Sunday.

DeHaas’ show started with a rejection from the Orlando International Fringe Festival producer Beth Marshall. In 2007, with the All Hallows Fringe fundraiser approaching, John was inspired to pen a 10-minute mini-musical retelling of Halloween, a film that fascinated him with its terrors and plot holes as a kid. Marshall told deHaas that submissions had to be original works, not adapted. So deHaas put the idea in a mental drawer until he mentioned it during a conversation with Wanzie, who offered an October 2009 slot at the Parliament House’s Footlights Theater. Despite the fact that he hadn’t written the show yet, deHaas agreed. He used downtime during rehearsals for a cruise-ship gig to adapt his original screenplay, deHaas says, and compose a score for piano and cello (his first time writing for that instrument, with the aid of cellist Paul Leiner).
With director Douglas White of D-Squared Productions, deHaas staged six performances at the P-House. That initial production was exceptionally minimal, he says, and starred David Houde as the drag dopplegänger of Jamie Lee Curtis. (Heather Delmotte, an actual woman, plays Laurie Strode in the new production.)

The next step was the 2010 Orlando Fringe Festival, for which deHaas applied and received a United Arts grant. Unfortunately, the Fringe lottery landed him at number nine on the wait-list for the May event, and by March he decided to bow out and begin searching for another venue. DeHaas soon discovered that there aren’t many affordable independent venues in town. “Some wanted a ton of money ... some wanted to wait and see if their other clients [would book],” he says.
Salvation arrived via Jamie Mykins, the Lowndes Shakespeare Center’s operations manager, who discovered a two-day opening in the Margeson Theater’s calendar. DeHaas is enthused about the opportunity to work in the space, which he calls his ideal venue for the play.

Audiences wanting a foul-mouthed gore-fest should go elsewhere; like the original film, this show is restrained by modern horror standards. “I don’t think there are any bad words, [and] the goriest we get is [a victim] pulling out a red scarf when she gets stabbed,” deHaas says. Halloween groupies should get a kick out of seeing John Graham, who played Bob Simms in the original film, returning as the psycho psychiatrist Dr. Loomis, the musical’s narrator. Graham’s role has been revised to be less self-referential, but still gives the musical’s Bobby incessant acting advice, an inside joke that should tickle true fans.

Even if you don’t know the original flick, you can appreciate the range of musical styles on display in the score. Songs range from the Meatloaf “Bat Out of Hell”-inspired opening and a Music Man “Put on Your Sunday Best” spoof, to girl-group and Motown homages. And, as deHaas learned during his time with theMama Mia national tour, “Every good musical ends with a mega-mix.” So even though the characters all die, he says they “somehow end up singing” an encore medley.

Maybe the biggest mystery is how deHaas gets away with this unauthorized adaptation. He’s reached out to Carpenter, Halloween’s original director, and received a tacit nod of approval, but rights were sold to notoriously prickly producers, the Weinstein brothers, years ago. So far, deHaas is following a friend’s advice: “The best thing to do is do the show and wait until you get sued.” That hasn’t happened yet, but if you’re looking for deHaas and can’t find him at any of his many gigs, go check the nearest intellectual-property prison.

Halloween – The Musical
October 29th, 2009 by carl-gauze
Halloween – The Musical
By John deHaas
Directed and Choreographed by Doug White
Starring John Graham, David Houde, Shawn Walsh
Footlights Theatre, Orlando FL

Who would ever imagine a cello on stage at the Footlights Theatre? It took the composing genius of John deHaas to put it there, even if it’s only in the service of one of the best horror parodies to pass though our darkened woods. You might remember little Mikey Meyers (Walsh) who knifed his big sister for the twin crimes of teen age sex and eating his only Snickers Bar. That was in 1963, and fifteen years of institutional food kept him mum on the motivation even as Dr. Sam Loomis (Graham) worked to understand his twisty little mind. Mike discovers teens are STILL doing it, so he slips away from his captors and pretty quick it’s Spam-in- a-cabin time, only this time laughs fill in for the blood.

Nowadays, any random event becomes the germ of a show with a colon and exclamation point in the title, but this one delivers the internal organs. From opening number “Trick or Treat” to the boffo closer “Michael’s Confession”, deHaas gives us a solid comedy without falling too deeply into the easy horror movie tropes. The song styles range from show tunes to doo wop and come across sounding surprisingly clean in a room full of drunks screaming love and adoration for David Houde. The cool part of the show was John Graham, the histrionic and Shatneresque Dr Loomis. The original Bob from the first movie, he breaks us out midway through the show to show a highlight reel of his “dying foot” scene and calls the rest of the cast “carnies.” This Halloween isn’t scary and has some rough spots, but the energy and creativity makes it better than any theme park scare night you’ll ever visit.




to write a review

Rob Lester via

One of the top 10 Cast albums of 2011
Who would imagine that John Carpenter's horror movie Halloween would make for a hoot of tongue-firmly-in-cheek wild ride of a musical? Surprise! It does, campy in the best knowing and affectionate way possible. John B. deHaas, songwriter/bookwriter/pianist/producer, shopped his quirky show and got a production going, privately pressed a small number of copies of the rather bare-bones Orlando, Florida, cast recording for its cult followers late in 2010 before a wider distribution in 2011. And here it is, in all its small-scale, zippy gory glory. Guilty pleasure or underdog goofy audacious triumph, it's grand silliness and full of homages to not just scary flicks but various musical styles from Broadway to bubble gum rock of different eras. The nine-member cast, most playing multiple roles, include John Graham from the original movie.

The teen-speak overuse of an all-purpose word becomes a song; "Totally" will remind you of any conversation overheard walking behind adolescents in a mall or street. A song of a schoolgirl's obsessive crush on a dreamy boy named "Ben Tramer" is sweet and fluttery—you can almost picture her writing his name over and over in the margins of her notebook in class. The cast gives the material their all, jumping in with abandon, whether the material gets them to rock out with fear, innocence or the twisted mind of a revenge-seeking nut job set off by the nut-filled chocolate bar stolen.

There are self-referencing songs, with the frantic proceedings blithely interrupted by comments about having to rhyme certain words in a lyric or the need to finish a song before the action, as it were, can continue. The variety of musical styles and the mostly very short numbers make the proceedings zip by without numbers overstaying their welcomes after points and pastiches are established and exploited. The whole thing ends with a winking "Mega Mix" of the songs as a bonus track experience.

With the implied consent that everybody loves a good scare, and that mocking the horror genre can be as enjoyable as reveling in it, Halloween: The Musical is a real trick and treat. It celebrates the communal experience of scare tactics in such stories, embracing the suspension of disbelief—or not—of "It's only a movie; why are we screaming?" The bouncy songs in this free-for-all are full of fun, and the show's only purpose seems to be to have a blast and provide one. Notable is that, despite the teen horny hormonal agenda of a song like "Don't Get Dressed" and the blood and gore at its disposal, deHaas's Halloween does not go for the easy vulgarity in language or descriptions of death and dastardly doings. It pokes fun at musical theatre and spine-tingle movies without a superiority complex that makes fans of genres feel foolish.