While the material itself may not consistently land with comedic precision, director Daniel Stoddart compensates with an infusion of irrepressible exuberance that propels the production forward. The contributions of choreographer Lochlan Erard and music director Mark Bradley, while adhering to conventional frameworks, provide a polished and professional foundation for the production.

Much of the evening’s success rests upon the sheer infectiousness of the cast’s enthusiasm, which effectively distracts from jokes that can otherwise skew toward the trite. In the central role of Ash, Harley Dasey demonstrates technical competence, even if his portrayal falls somewhat short of the roguish, beleaguered heroism the part demands. More memorable are supporting players like Emma Wilby as Cheryl and Harrison Riley as Jack, whose impeccable comic timing yields the production’s most substantial laughs.

Eric Luchen’s set design proves memorable in its effective realization of the narrative’s supernatural demands. Together with Renata Beslik’s costumes, the production’s visual landscape achieves a faithful, if overly conventional, period authenticity. It is Jason Bovaird’s lighting design, however, that injects genuine dramatic tension, its increasingly dynamic palette mirroring the story’s gradual descent into high-octane chaos and effectively propelling the production toward its bombastic conclusion.