There’s a lot to say about the story of “Carrie,” Stephen King’s famous novel has inspired multiple adaptations, but few are as infamous as the musical that made its Broadway debut in 1988. Though that original production failed to achieve the fame and fortune its creators hoped for, a revised version has since become a cult favorite in regional theaters. Oceanside Theatre Company’s “Carrie: The Musical is a fittingly spooky-season offering, delivering psychological horror, impressive vocals, and a bloody good time.

With a book by Lawrence D. Cohen, music by Oscar winner Michael Gore, and lyrics by Academy Award winner Dean Pitchford, the musical follows Carrie White, a teenage outcast bullied at school and controlled at home by her deeply religious mother. When Carrie discovers she possesses telekinetic powers, the cruelty surrounding her builds toward a devastating prom-night confrontation.

The show opens with Sue Snell (Adelaida Maria Martinez) recounting the prom chaos to authorities, offering a glimpse of the carnage to come. A bullying incident in the school bathroom sets events in motion. Sue attempts to make amends, but the damage is already done.

As Carrie, Sophia LaRosh is excellent. Sweet and obedient toward her mother yet quietly defiant, Carrie understands her place at the bottom of the high school social hierarchy, though she doesn't quite understand why she deserves it. She knows adult intervention often makes things worse, but still longs for one normal teenage experience. LaRosh has a lovely voice and brings such vulnerability to the role that audiences cannot help rooting for her.

Her chemistry with Sandy Campbell as Carrie’s mother, Margaret, is equally compelling. Campbell’s Margaret enters as a calm, godly woman, but that composure gives way to fear and religious fury. Her desire to save Carrie’s soul is tangled with the controlling behavior and secrecy that help make their relationship so destructive.

Yet religious fanaticism and controlling behavior aren’t the only source of evil here. Mikaela Holmes plays Chris Hargensen, the vindictive high school queen bee determined to continue humiliating Carrie, with Ryan Dylan Wargnier as her willing accomplice, Billy. King draws his characters in broad strokes, leaving Chris little nuance, but the production doesn’t shy away from one of the story’s most disturbing truths: how psychologically vicious teenagers, especially girls, can be to their peers.

Martinez and Joshua Powers, as Sue and her boyfriend, Tommy, bring emotional vulnerability and lovely vocals to their high-school sweethearts and a nice counterpoint to Chris and Billy.

The company is strong overall, especially in the ensemble numbers, which give the show much of its energy. The ensemble includes Enrique Arana, Olivia Barnes, Naomi Berg, Isabella Fernandes, Autumn Manson, Benjamin Monts, Cooper Ogden, Ethan Roach, and Rosa Elena Sherlinee. Together, the company brings the high school’s social dynamics, bullying, and escalating chaos vividly to life.

Director, choreographer, and lighting designer Kevin “Blax” Burroughs creates a visually cohesive production. Sharp choreography forms striking silhouettes against richly colored lighting, often in ominous reds and shadowy hues. The prom scene bursts into a joyful riot of color before the mood turns. Dramatic spotlights alternately hollow out faces with sinister shadows or bathe characters in hopeful light. Everything feels like a cohesive, deliberate choice for the show's direction, and it all works well together.

Benjamin Goniea’s musical direction and sound design are equally effective. Rieko Huffman’s spare but purposeful scenic design keeps the focus on the performers, while Zoe Trautmann’s costumes establish the school’s social landscape and give Carrie a lovely transformation as she prepares for prom. One can only feel for LaRosh and her dress when the blood starts flowing, but the moment certainly makes a splash.

Of course, no discussion of “Carrie: The Musical is complete without mentioning its notorious history. The disastrous 1988 Broadway production became legendary for its failures and turmoil, helping cement the musical’s reputation as cursed, and many productions since have faced their own issues as they try to mount it. The Oceanside production faced its own pre-opening crisis that nearly kept the show from opening. Whether the curse struck again is debatable, and the production ultimately made it to the stage, but the circumstances add another layer of drama to this already theatrical tale. This production also marks Burroughs’ final show as Oceanside Theatre Company’s artistic director.

"Carrie: The Musical" reminds us to be ourselves, show kindness, and think twice before joining a crowd determined to tear someone or something down. Because sometimes those are the people who have the power to bring everything crashing down around you.