[Editor’s note: This story contains spoilers for “Apartment 7A.”]

Musicals and horror have a surprisingly deeper connection than you’d think about. In any case, “Sweeney Todd” is a masterpiece a couple of serial killer and cannibalism; “The Phantom of the Opera” is a couple of disfigured madman stalking a soprano and murdering standersby. So putting “Rosemary’s Child” prequel “Condominium 7A” inside the world of ’60s Broadway is smart past simply central character Terry Gionoffrio’s profession as a dancer.

We meet Terry (performed by Victoria Vetri) in “Rosemary’s Child” for a short scene earlier than her abrupt loss of life by defenestration. Right here, she’s performed by Julia Garner as an formidable counterpart to John Cassavetes’ keen actor, Man, in Roman Polanski’s movie. Sidetracked by a career-threatening damage and brought in by these insidious outdated satan worshippers the Castavets, Terry finds her life — and profession — on the upswing. So what if it takes a bit of tannis root to get solid in a Broadway musical?

“I beloved that she had a lot ambition within the leisure business and the way that clearly mirrored Man’s previous affect, however that she as a personality was each vessel and this type of agent of this darkish change, despite the fact that she didn’t perceive the total repercussions of it,” director and co-writer Natalie Erika James informed IndieWire.

Musical theater (and its ghosts) hang-out Terry’s story, from the inadvertent echoes of Broadway dancer Joan McCracken — who turned often called “The Lady Who Fell Down” after her intentional tumble in “Oklahoma!,” a sobriquet that additionally follows Terry — to Terry’s hallucination throughout the sequence through which a bedazzled satan impregnates her.

“If you wish to lean into musical theater as horror, you need a sense of what the menace is,” James stated. “I needed to take it one step additional … [with] the concept evil may be a part of the spectacle. And Weta Workshop did such an unimaginable job creating this lovely creature, sort of eerie and unsettling. The entire thing feels very very similar to [Terry] has her star highlight second, and it’s a foreboding of the remainder of the film the place it’s not going to be fairly what she hoped for.”

By the movie’s finish, Terry has the lead function in a Broadway musical — and the spawn of Devil rising inside her. However not like Rosemary, Terry isn’t keen to compromise. And in a startling sequence, she dances by means of a Castavet occasion and hurls herself out an open window.

“We actually needed to create a dance that basically got here from Julia as Terry, versus something that was too choreographed,” James stated. “She labored actually carefully with our choreographers, Ashley Wallen and Lukas McFarlane, they usually sort of drew out the actions that basically spoke to her. I like an excellent dance ending to a movie. ‘Beau Travail’ was positively a giant reference when it comes to expressing all the things inside. A number of the strikes, [Garner] was impressed by Iggy Pop. For me, the scene was a lot a couple of coming again to self. It’s sort of triumphant in a manner. It’s mournful but additionally very defiant. And I keep in mind the primary take, the entire crew burst into spontaneous applause.”

The defiance was already in proof in an earlier, much more horrifying scene throughout an audition through which Terry is ordered to do the choreography that led to her onstage damage. Repeatedly. Her dedication finally unravels into desperation, foreshadowing the methods through which the pact she makes with the Casavets will have an effect on her.

“It’s clearly displaying the size she’ll go and her desperation, but additionally her dedication,” James stated. “I personally have ankle trauma. I tore a ligament on a shoot as soon as after which needed to do the remainder of it on crutches, so my ankle rolls actually simply. And it’s simply notably horrific for me watching it. I keep in mind within the edit suite, each time that scene got here on, I’d simply be so tense. So yeah, you feed quite a lot of your personal fears into your work, and simply hope that folks come alongside for the experience.”