There's something to be said for chewing the scenery, for playing the loudest notes so powerfully and incessantly that everything, for a brief time, disappears, until that one performance is all that remains. In her opening scene as Margaret White, Carrie's fundamentalist wacko mom in Slow Burn's Carrie: The Musical, Keelor consumed everything — the set, the music, the title character — with her unquenchable hysteria. You hated her character as much as you'd ever hated anyone on a stage in that moment, but you were transfixed. You couldn't help but marvel at her acidic delivery of every biblical condemnation aimed at her newly menstruating offspring, every physically abusive overreaction. She was — and there's no better word for it — possessed. Act II was something else, however; unlike Piper Laurie's one-note, batshit performance in the 1976 movie adaptation, Keelor's Margaret earned your pity and sympathy with the most moving number in the show, bringing the emotional house down just before Carrie's oppressors showered it in blood.