By Kevin Ferrisi –

The witches have officially taken their final bows this year on their Connecticut tour, and Summer Orlando’s Hocus Pocus Live proved that even after nine years, there is still plenty of magic, mayhem, and mischief left in the Sanderson sisters. With stops across the state, including the Warner Theatre in Torrington, the Palace Theater in Waterbury sponsored by Apex Community Care, and the Jorgensen Center for the Performing Arts in Storrs, this year’s production brought a refreshed take on the Halloween classic, complete with new staging, updated visuals, musical surprises, and one particularly noticeable ingredient: camp!

Now in its ninth year, Hocus Pocus Live continued to build on the theatrical drag parody that has become a seasonal favorite for Connecticut audiences. The production blended live singing, comedy, theatrical effects, and the unmistakable personalities of the Sanderson sisters, creating a show that felt both familiar and newly energized. While the beloved story remained at the heart of the production, this year’s changes gave the show a bigger personality and an even stronger sense of fun.

And if there was one thing that stood out throughout the tour, it was the added camp. This year’s production leaned further into the absurdity, exaggeration, and over-the-top humor that make drag theater so entertaining. The jokes landed with an extra wink, the physical comedy felt even more playful, and the characters seemed to have more room to embrace the ridiculousness of it all. The result was a show that felt funnier, looser, and more entertaining, with the camp adding another layer of personality to an already lively production.

A major part of this year’s refresh was the production’s updated staging and visual presentation. With new creative direction from Cole Urso, Hocus Pocus Live took a fresh approach to a show that Summer Orlando has spent nearly a decade developing. The updated direction gave the performers a new framework to play within, while allowing the chemistry among the returning cast to shine.

One of the most effective additions was the use of the screen and projections to establish different settings throughout the show. Rather than relying exclusively on physical scenery, the production used changing visuals to help transport the audience from one moment to the next. These projected environments added atmosphere, made transitions feel more dynamic, and helped the show achieve a more theatrical scale.

The rollaway set pieces were another welcome addition. Their mobility allowed the stage to transform more efficiently, creating opportunities for quick scene changes without losing the momentum of the performance. Combined with the updated lighting, props, costumes, and visual effects, the staging gave the production a more polished and expansive feel.

The show also benefited from a rewritten script by Summer Orlando and her sister, Dani Orlando, which introduced new jokes, scenes, and musical moments while retaining familiar elements that audiences have come to love. The tighter structure and more balanced pacing helped keep the production moving, allowing the comedy and musical numbers to complement one another.

Another fun touch was the prerecorded clip that took place at the Cinema Salem in Salem, Massachusetts, which added another visual element to the storytelling and helped expand the world of the show beyond the stage. It was a small but effective example of how the production continued to experiment with different ways to bring its Halloween setting to life.

At the center of the production were the three performers audiences have come to associate with the show: Summer Orlando as Winifred Sanderson, Bonnie Petite as Mary Sanderson, and Miranda Miranda as Sarah Sanderson. The trio returned with the chemistry that has helped make Hocus Pocus Live such a recognizable part of Connecticut’s Halloween entertainment scene. Their contrasting personalities, comedic timing, and sisterly chaos continued to drive the production, while the updated direction gave them opportunities to explore their characters in new ways.

Summer’s portrayal of Winifred remained the commanding center of the action, balancing the character’s theatrical villainy with the campy humor that has become a hallmark of the production. Bonnie’s Mary and Miranda’s Sarah provided the familiar comic counterbalance, helping the sisters feel like a dysfunctional family whose bickering is every bit as entertaining as their attempts to cause trouble. The production’s increased emphasis on camp made these dynamics even more enjoyable. Rather than simply recreating the familiar characters, the performers embraced the exaggerated theatricality of the material, allowing the humor to feel bigger and the personalities to shine.

One of the tour’s notable moments came during the production’s stop at the Jorgensen Center for the Performing Arts, where Cole Urso stepped in for Cole Stanley as Max. Cole Stanley had been introduced to audiences as the production’s new Max following an extensive audition process, bringing his own acting and singing talents to the role. Cole Stanley landed his first Equity role in a production of Frozen. At Jorgensen, however, the new director Cole Urso filled in, giving that performance a different interpretation of the character. Having helped shape the show’s updated staging and creative direction, he stepped into the spotlight to play Max for the Storrs performance.

While the production’s updated staging and increased camp were noticeable throughout the show, the finale was another area where this year’s version distinguished itself. The ending was refreshed with a new closing number written by Dani Orlando, giving the production a different way to send audiences off after the Sanderson sisters’ latest round of chaos. One of the standout touches was Max’s solo parody of “I’m A Believer” which added another comedic layer to the closing stretch. It was an unexpected musical moment that fit neatly into the production’s playful spirit, combining a familiar musical reference with the show’s irreverent sense of humor.

Behind every successful production is a team working hard to bring the magic to life, and this year’s Hocus Pocus Live is no exception. Summer sends a special thanks to Tech Director John Rush for bringing the show’s new lighting and technical elements together, Stage Manager Heather Spiegel for keeping everything running smoothly, and tech crew members Patrick Tatnall and Lauren King for their work behind the scenes. Their contributions helped bring Summer Orlando’s vision to the stage and made this year’s production possible.

Summer Orlando’s connection to the material remains a major part of its appeal. In 2022, she reached a career milestone when Disney brought her in to portray a look-alike for Bette Midler’s Winifred Sanderson in Hocus Pocus 2. That experience added another remarkable connection between the Connecticut drag performer and the beloved Halloween franchise. But the live production has developed an identity of its own. It is not simply a recreation of the film; it is a theatrical parody that uses drag, music, comedy, and audience-friendly storytelling to reinterpret a familiar Halloween favorite.

Following the completion of its final tour dates, Hocus Pocus Live has another reason to celebrate. The production received eight nominations in this season’s BroadwayWorld Connecticut Awards, including Best Musical, Best New Play or Musical, Best Direction of a Musical for Cole Urso, Best Supporting Performer in a Musical for Miranda Miranda and Bonnie Petít, Best Ensemble, Best Dance Production, and Best Lighting Design of a Musical for John Rush. Summer Orlando also earned a nomination for Best Cabaret/Concert/Solo Performance for the Hocus Pocus cabaret. With so many members of the production recognized, the cast and crew are encouraging audiences to show their support and cast their votes!