Tag Archives: murder mystery

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It May be Wrong, But It’s So, So Right

It’s the actor’s nightmare brought to grand and glorious life when everything that can go wrong does in a murder mystery play produced by a local theatre group.  It’s The Play That Goes Wrong and it is currently playing at Springfield Little Theatre.

I can’t remember the last time that I so looked forward to writing a review.  This, unarguably, is the best comedy I have ever seen.  The idea of a play going haywire is not an original idea, but the script of Henry Lewis, Jonathan Sayer, and Henry Shields raises the idea to an art form.  Poorly constructed sets, botched dialogue, godawful acting, inept stage management, and a useless crew are just some of the antics you’re going to see in this play about a play.  I seldom saw the punchlines coming which allowed me to laugh like a hyena and the antics of the cast prompted numerous ovations throughout the night.

Beth Domann and Marni Erwin bring an incredible pair of hands to the direction of this piece.  Farce is never easy and there is a real skill to making a show look bad intentionally, yet still feel natural and spontaneous. These two directors pull it off with flying colors.  They plotted some fantastic sight gags, kept the pace fast and furious, and led their actors to the best “bad” performances I’ve yet seen.  And their staging. . .well, you’ll have to see it for yourself, but I will say the show starts much, much sooner than you think.

It takes really good actors to come off as really bad actors and this show is crammed with that necessary talent from top to bottom.  Some of the gutbusting performances you’re going to see come from Matt Winston as an utterly inept light & sound operator constantly in search for his Duran Duran CD.  Sarah McQuiggan is hilarious as the stage manager turned understudy who shows she’s just as talented as the leading lady (trust me, it’s a low bar).  Corey Kilburn supplies great pantomime as the corpse of the show.

Jamie Bower gives a howling good performance as Thomas Colleymoore.  Bower’s Colleymoore gives a performance so over the top it makes a soap opera seem realistic.  He is also a master of physical comedy as he performs virtual gymnastics for some of his sight gags and I never knew a spit take could have so many different variations until watching Bower in action.

Joshua David Smith is every director’s worst nightmare as Perkins, the butler.  Perkins is the actor guaranteed to make directors and fellow actors grind their collective teeth.  As Perkins, Smith mispronounces words, hardly varies his delivery, and effortlessly loses his place in the script which makes you wonder why he wasn’t run out of town on a rail.

Rachael Arp reaches new highs in lows as the leading lady, Florence Colleymoore.  Not only is she a poor performer with her ridiculous histrionics, but she is also a scene stealer par excellence with her constant pirouetting and frozen stances.  Arp is pretty impressive in the physical comedic arts as well as she takes a door to the face like few can and her prolonged brawl with McQuiggan’s Annie over who gets to play the leading lady is one of the best bits I’ve seen conjured on stage.

Clayton Avery matches his leading lady step for step with his own lousy chops as Cecil Haversham.  His delivery is not only volcanically over the top, but he manages to match that delivery with gestures and movements that are so enormous, a blind man could see them.  Avery actually does double duty in a sense as he also plays the gardener, Arthur, but it’s not actually double duty since his character plays both roles exactly the same with only a change of costume to delineate them.

Seth White’s bad acting as Inspector Carter is topped only by his bad directing.  To be fair, Carter’s acting is passable since he, at least, knows his lines, but when you realize that he staged and guided this monstrosity, you wish he would stick to acting since he does less damage in that regard.  Still, you have to admire his honesty because, in his “real” self of Chris Bean, he is rather open about the deficiencies in his troupe.

Keith Nisbett’s set is quite elegant and comes off as a proper manor with its gigantic window, mantlepieceless fireplace, fine bookcase, and impressive upstairs study.  But its functionality is the key to this show as the set becomes a character of its own and, believe me, it’s just as, ahem, “talented” as the cast of the murder mystery play.  Kaley Jackson’s costumes are right on the mark as they have the look of the turn of the century with the hunting wear of Colleymoore, the dressing gown of the corpse, and the lovely red dress of the leading lady.  Jamie Bower pulls double duty with lighting and sound design and excels on both with ringing telephones, unexpected Duran Duran music, and the red lights for the “dun dun dun” moments.

If you’re looking for a show to forget your troubles for a spell, this is it.  You’ll laugh until your sides ache with the best botched performances you’re apt to see.  Get a ticket if you still can because I imagine the sellouts are coming quick for this one.

The Play That Goes Wrong runs at Springfield Little Theatre through March 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets range from $17-$37. For tickets, visit http://www.springfieldlittletheatre.org or call the Box Office at 417-869-1334.  Springfield Little Theatre is located at 311 E Walnut St in Springfield, MO.

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Theatre Lawrence Announces 2023-2024 Season

Theatre Lawrence Proudly Announces 2023-2024 Season

CROWNS

Adapted by Regina Taylor from a book of the same name

A moving and celebratory musical play in which hats become a springboard for an exploration of black history and identity. In the show, a young black woman comes to stay with relatives after her brother is killed.  Weaving together faith, fashion and family, CROWNS traces the tradition of hats back to African rituals and forward to current fashion. Filled with gospel music and a little rap, the show pulses with energy and was hailed by the New York Times as “a show that seems to arise out of spontaneous combustion…”

SEPTEMBER 22, 23, 24 ; 28, 29, 30 |  OCTOBER 1

THE ROCKY HORROR SHOW

Book, Music and Lyrics by Richard O’Brien  

The original kitsch rock ‘n’ roll sci-fi gothic musical returns!  The cult classic deals with mutating identity and time warps, as innocents Brad and Janet meet a houseful of wild characters as they sing and dance their way to Frank-N-Furter’s latest creation.

OCTOBER 26, 27, 28

A CHRISTMAS STORY, THE MUSICAL

Book by Joseph Robinette | Music and lyrics by Benj Pask and Justin Paul

Based on the Warner Brothers movie and the book by Jean Shepherd  

The perennial Christmas favorite! Set in the 1940’s, the musical follows 9-year-old Ralphie Parker and his quest for the Holy Grail of Christmas gifts—an Official Red Ryder BB gun. Watch for the tongue stuck to the flagpole; the snowsuit; the bullies, the leg lamp award; the bunny suit; the Christmas dinner, and other iconic moments.

DECEMBER 1, 2, 3; 7, 8, 9, 10; 14, 15, 16, 17

DEAD MAN’S CELL PHONE

A dramatic comedy by Sarah Ruhl

An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man – with a lot of loose ends. `A wildly imaginative new story about how we memorialize the dead – and how that remembering changes us, as we confront assumptions about morality, redemption, and the need to connect in a technologically obsessed world

JANUARY 19, 20, 21; 25, 26, 27, 28

AGATHA CHRISTIE’S A MURDER IS ANNOUNCED

A mystery by Agatha Christie | Adapted by Leslie Darbon

An announcement in the local paper states the time and place of an imminent murder.  When an unknown visitor to Miss Blacklock’s Victorian home dies under the prescribed circumstances, Miss Marple turns up to solve the case in a classic Christie puzzle of mixed motives, concealed identities, twists and turns.

MARCH 1, 2, 3; 7, 8, 9, 10

I HATE HAMLET

A comedy by Paul Rudnick    

A young and successful television actor relocates to New York where he is offered the opportunity to play Hamlet onstage. The problem: He Hates Hamlet. His dilemma deepens with the entrance of John Barrymore’s ghost, who arrives intoxicated and in full costume to the apartment that once was his. The contrast between the two actors leads to a wildly funny duel over women, art, success, duty, television, and the apartment. 

APRIL 19, 20, 21; 25, 26, 27, 28

FIDDLER ON THE ROOF

Book by Joseph Stein | Music by Jerry Bock | Lyrics by Sheldon Harnick

A musical theatre tradition! This is a tale of Tevye and his family in a changing Russia. The plight of traditional values in the face of changing social mores and ethnic prejudice cuts across barriers of race, class, nationality and religion to touch audiences on a universal level with laughter, sadness and joy.

JUNE 7, 8, 9; 13, 14, 15, 16; 20, 21, 22, 23  

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The Blood in the Blizzard

An unsavory businessman is found murdered in his locked sleeper car on the Orient Express.  Who killed him?  Was it the obnoxious, man-hungry American?  Perhaps it was the pious missionary?  Could it be the Russian princess?  Match wits with Hercule Poirot and see if you can figure out who done it when you watch Murder On the Orient Express at Theatre Lawrence.

One thing I’ve discovered as a regional writer is that a certain show or two get hot every single season and hit the schedules of many theatres.  The last year or so, this show has been a sizzling property.  So much so that this marks my fourth review of it.  That being said, Theatre Lawrence’s version has been my personal favorite as all of the right elements came together to forge an incredibly intense and gripping night of theatre.

I was hooked on Jessica Franz-Martin’s direction from the very first voiceover.  Franz-Martin sets the mood for this tragic mystery with an ethereal voiceover held over the projection of a gently falling snow and it’s off to the races from there.  Not only does she lead her actors to pristine performances, but her staging is off the charts as she knows just how and when to bring in the technical elements to enhance the storytelling which will keep you on the edge of your seat until the final revelation.

As for the cast. . .well, there isn’t a weak link in the lot.  Under Franz-Martin’s skillful guidance, they work like an Olympic caliber relay team as they effortlessly pass the verbal baton back and forth between each other.  Don Hires is the model of efficiency as the conductor, Michel.  Kelli Szrot will have you grinding your teeth as the irritating Helen Hubbard who never knows when to shut her yap.  Richard J. Burt is ebullient and high-strung as Monsieur Bouc, the manager of the company that owns the Orient Express.  Erica Baruth’s tongue cracks like a whip as the blunt and direct Princess Dragomiroff.  Laura Burt strikes just the right note of piety as the missionary, Greta Ohlsson.  Malachi Swedberg is loyal, if put upon, as Hector Macqueen, the secretary to the murder victim.  Emma Webster’s physicality shows she’s hiding a secret as the former governess, Mary Debenham.

 I was quite impressed by the versatility of Dan Heinz who plays the dual roles of Colonel Arbuthnot and Samuel Ratchett.  As Ratchett (the murder victim), he comes off like a Neanderthal with his brutish temperament, his slumped shoulders, and mobster voice.  As Arbuthnot, he is every bit the honorable soldier with his ramrod posture and his strong, but firm voice that rings with the right level of authority which would make you follow and respect him.

Abby Ilardi Lowry has a very compelling performance as Countess Andrenyi.  Lowry brings a deep intelligence to the character who is more than capable of matching wits with the genius of Hercule Poirot.  I especially liked her banter with Poirot which strongly hinted that in another time and place, there might have been something more between them.  Lowry has a real gift for nimble wordplay with her dialogue during the corpse examination scene being a shining example.

In the midst of all the murder and mystery stands Hercule Poirot, incredibly essayed by Michael Juncker.  Juncker beautifully underplays the role and just exudes a sense of mastery and control.  His deductions are always spontaneous and extemporaneous, but what I truly enjoyed was the weightiness he brought to the role.  Poirot begins this mystery with a burdened conscience as his most recent case had tragic results.  This burden is always lurking in the background until his solution in this case forces him to face the reality that the law and justice may not always be one and the same.  Juncker shines with Poirot’s final decision in this moment and its aftermath.

I was blown away by James Diemer’s set.  It’s so functional as it changes from the walls and windows of a luxury hotel to the entrance to the Orient Express before splitting open to reveal a revolving set that smoothly rotates to show the conductor’s office, the sleeper car (wood outlines imply doors and walls), and the dining car (the snow frosted windows were a brilliant touch).  Diemer’s lights enhance the mood with the blood red of the murder scene and the almost sepia toned spotlights on the suspects during the denouement being especially nice flourishes.  Bob Newton’s sounds are a work of art that boost every moment whether it’s the jarring stop of the Express hitting a mountain of snow, to the old-time song playing from a radio, to my favorite moment, the metallic slashing of a knife in the murder scene.  Jane Penington’s costumes are period accurate with Michel’s tunic, Dragomiroff’s regal garb, and Poirot’s sedate suit being particular standouts.

If you’re looking for a stellar night of mystery and intrigue, this is it.  Taut with tension, rife with intrigue, and murderously mesmerizing.  Murder On the Orient Express is a puzzling night of entertainment that will have you biting your nails and keep your attention from the first snowflake to the final somber note.

Murder On the Orient Express runs at Theatre Lawrence through March 12.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2:30pm.  Tickets are $30 and can be purchased by calling 785-843-SHOW, visiting the Box Office, or visiting wp.theatrelawrence.com.  Theatre Lawrence is located at 4660 Bauer Farm Dr in Lawrence, KS.

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‘Murder On the Orient Express’ is Making a Stop at Theatre Lawrence

Lawrence, KS–Just after midnight, a snowdrift stops the Orient Express. By morning the luxurious train is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

A stunning night of murder, mystery, and intrigue is in store for you when one of the finest whodunnits ever written is brought to life in front of your eyes. Written by the legendary Agatha Christie and adapted for stage by the inestimable Ken Ludwig, Murder On the Orient Express promises to be as puzzling as it is entertaining. Tickets are available now at Theatre Lawrence for $30 and can be purchased by calling 785-843-SHOW, visiting the Box Office, or visiting wp.theatrelawrence.com. The show runs from Mar 3-12. Showtimes are Thurs-Sat at 7:30pm and Sundays at 2:30pm.

Murder On the Orient Express
Adapted by Ken Ludwig from a novel by Agatha Christie

Venue: Theatre Lawrence (4660 Bauer Farm Dr, Lawrence, KS 66049)

Directed by: Jessica Franz-Martin

Cast

Hercule Poirot…..Michael Juncker

Monsieur Bouc…..Richard Burt

Hector Macqueen…..Malachi Swedberg

Colonel Arbuthnot/Samuel Ratchett…..Dan Heinz

Michel the Conductor/Head Waiter…..Don Hires

Mary Debenham…..Emma Webster

Princess Dragomiroff…..Erica Baruth

Greta Ohlsson…..Laura Burt

Countess Andrenyi…..Abby Ilardi Lowry

Helen Hubbard…..Kelli Szrot

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The Essence of Justice

The ensemble of “Murder On the Orient Express” (L to R Back Row: Merle Jobman, Jenny Sutphin, Mark Geist, Dylan Warren, Morgan Fox, Ashley Hothan, Vicki Cain. L to R Front Row: Diane Kahnk, Zoe Tien, Scott Clark.)

While riding the Orient Express, famed Belgian detective Hercule Poirot finds himself investigating the locked room murder of an unsavory businessman. Will Poirot’s little gray cells penetrate the smoke and mirrors or has he finally been outwitted by a murderer who always seems to be one step ahead?  Find out by watching Murder On the Orient Express at Community Players.

This is actually my third time reviewing a production of this show and, as always, I’m not going to get into the plot outside of my opening paragraph as I want the audience to be able to enjoy the mystery to its fullest.  As I’ve noted in other reviews, Ken Ludwig not only adheres very closely to Agatha Christie’s novel, but he also plays the show pretty seriously and eschews his normal style of broad farce though his knack for humorous wordplay is still very much present.

Rachele Stoops surprised me by approaching the show from a very comedic angle.  Where the humor was natural and organic, it was a dead center bullseye.  The landing and feel of some of the other jokes is going to rely on one’s familiarity with the show or story.  If you’re a newbie, you’re likely to laugh uproariously.  If you’re super familiar with the story, some of the jokes might feel a little forced.

That being said, the quality of Stoops’ direction is very good indeed.  I really liked the staging of the production as it felt small and confined which really upped the sense of danger as one quickly realizes the killer is among the passengers on the train.  Pacing was incredibly brisk though some quicker cue pickups and closing spaces around words would enhance it even further.  Stoops has guided her thespians to well defined performances as each has developed a fully three dimensional person.

This is truly an ensemble play as each character plays a vital role and some strong performances came from Mark Geist as the hot tempered and protective Col. Arbuthnot.  Dylan Warren has a nice everyman quality as the put upon secretary of the murder victim.  Vicki Cain shows some versatility as the head waiter at a hotel restaurant and the efficient conductor of the Orient Express.

Zoe Tien brought an angle to Helen Hubbard that I’ve never seen before and, by golly, I loved it.  Not only was she perfectly obnoxious as the man hungry, childish American, but she was a moron.  Clearly this was a woman who just doesn’t get it and her obliviousness and pettiness made for some of the show’s best moments.  Of particularly fine vintage were her tap routine to irritate her mean-spirited train neighbor and her constant sniping with Princess Dragomiroff.

Diane Kahnk is deliciously droll as Princess Dragomiroff.  If you look up unflappable in the dictionary, you’re going to find Dragomiroff’s picture.  Nothing seems to faze her and she can more than hold her own with the formidable Poirot.  Kahnk’s bon mots are always on the mark and you can almost see the lightning bolts fly between her and Tien’s Hubbard during their arguments.

Scott Clark is a most effective Hercule Poirot.  Clark not only brings Poirot’s intelligence to the role, but he also brings his sense of mastery.  He is always in control of every situation and I liked the comfort he found in the law for, in his mind, justice and the law were always one and the same.  This makes his inner turmoil all the more intense when, for the first time, he is faced with a situation where justice and the law are on opposite sides of the line.  Scott foreshadows this struggle beautifully at the top of the show with a reference to a recently solved case and you can see that weighing on his mind when he is faced with the human factor of this denouement.

I was extraordinarily impressed with Jamie Ulmer’s set design.  He has an amazing sense of proportion as he was able to make the Orient Express feel like a behemoth in the small confines of the theatre.  He skillfully blends three sleeper rooms with the dining car and the design allows the actors to all be present and seen without feeling bunched up or blocking and upstaging each other.  His lighting is also excellent especially with the use of the spotlight on Poirot to bookend the start and finish of the play and his use of light and dark to get the audience looking in the wrong direction like a magician performing sleight of hand.  Ashley Hothan, Morgan Fox, and Diane Kahnk have well costumed the cast with period accurate clothing that suits the personality of the characters from Poirot’s elegant and perfectly measured suit to the royal dress of the proud Dragomiroff.  Jamie Ulmer, Brandon Clark, Doug Stokebrand, and Brielle Toland team up for some spot on sounds from the gentle chugging of the Express to this eerie siren sound that would blast at key moments of the case.

All in all, this is a very worthy show and the size of the audience and their proportional enjoyment have me convinced that Community Players has a definite hit on their hands.

Murder On the Orient Express plays at Community Players through Feb 19.  Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $20.43 and can be purchased at www.beatricecommunityplayers.com.  Community Players is located at 412 Ella St in Beatrice, NE.

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Community Players to Present ‘Murder On the Orient Express’

The ensemble of “Murder On the Orient Express” (L to R Back Row: Merle Jobman, Jenny Sutphin, Mark Geist, Dylan Warren, Morgan Fox, Ashley Hothan, Vicki Cain. L to R Front Row: Diane Kahnk, Zoe Tien, Scott Clark.)

Community Players Proudly Present:

Murder on the Orient Express
Adapted by Ken Ludwig from a novel by Agatha Christie

Directed by: Rachele Stoops

Venue: Community Players (412 Ella St, Beatrice, NE)
Show Dates: Feb 10-19, 2023
Showtimes: Fri-Sat at 7:30pm. Sundays at 2pm

Synopsis
On the snowbound Orient Express, an American tycoon lies dead in his locked train compartment. With a killer in their midst, detective Hercule Poirot must expose the murderer before tragedy strikes again! Thrills and laughs abound in Ken Ludwig’s adaptation of this classic mystery by Agatha Christie.

Tickets go on sale Jan 30, 2023 and can be purchased at www.beatricecommunityplayers.com.

Cast
Scott Clark as Hercule Poirot
Merle Jobman as Monsieur Bouc
Morgan Fox as Megan Debenham
Mark Geist as Col. Arbuthnot/Samuel Ratchett
Ashley Hothan as Greta Ohlsson
Diane Kahnk as Princess Dragomiroff
Jenny Sutphin as Countess A’ndrenyi
Zoe Tien as Helen Hubbard
Vicki Cain as Michele
Dylan Warren as MacQueen

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Lofte Community Theatre Announces 2023 Season

Doublewide, Texas

By Jessie Jones, Nicholas Hope, & Jamie Wooten

March 24, 25, 26, 30, 31 & April 1, 2

Auditions: Feb. 13 & 14 @ 7 PM

The inhabitants of one of the smallest trailer parks in Texas—four doublewides and a shed—are thrown for a loop when they realize the nearby town of Tugaloo is determined to annex them. These friends, enemies, and neighbors will need to work together to overcome the oncoming annexation and preserve their way of life. This hilarious, fast-paced comedy, comes with plenty of “down home” humor to go around!

Wit

By Margaret Edson

May 5, 6, 7, 11, 12, 13, 14

Auditions: Feb. 16 & 17 @ 7 PM

*We suggest PG-13 for adult themes- This show discusses cancer and death*

Vivian Bearing, Ph.D., a renowned professor of English who has spent years studying and teaching the brilliant and difficult metaphysical sonnets of John Donne, has been diagnosed with terminal ovarian cancer. During the course of her illness—and her stint as a prize patient in an experimental chemotherapy program at a major teaching hospital—Vivian comes to reassess her life and her work with deep insight and humor that are transformative both for her and the audience. Winner of the 1999 Pulitzer Prize for Drama.

9 to 5: The Musical

Music and Lyrics by Dolly Parton; Book by Patricia Resnick

July 15, 16, 20, 21, 22, 23, 27, 28, 29, 30

Auditions: May 15 & 16 @ 7 PM

Pushed to the boiling point, three female coworkers concoct a plan to take the power away from the sexist, egotistical, lying, hypocritical bigot they call their boss. Based on the 1980 hit movie, 9 to 5 The Musical is a hilarious, outrageous, and thought-provoking story of friendship and revenge in the Rolodex era. Come see these women take control of their office and discover there is nothing they can’t do, even in a man’s world.

The Mousetrap

By Agatha Christie

September 1, 2, 3, 7, 8, 9, 10

Auditions: July 24 & 25 @ 7 PM

*This show discusses death, murder, and child abuse*

After a local woman is murdered, the guests and staff at Monkswell Manor find themselves stranded during a snowstorm. It soon becomes clear that the killer is among them, as the seven strangers grow increasingly suspicious of one another. A police detective arrives on skis to interrogate the suspects but when a second murder takes place, tensions and fears escalate. This murder mystery features a brilliant surprise finish from Dame Agatha Christie, the foremost mystery writer of her time. The world’s longest-running play comes to the Lofte stage!

The Nerd

By Larry Shue

October 14, 15, 20, 21, 22, 26, 27, 28, 29

Auditions: Aug. 13 @ 2 PM & Aug. 14 @ 7 PM

Aspiring architect Willum Cubbert owes his life to Rick Steadman, a fellow ex-GI whom he has never met but who saved his life when he was wounded in battle. Willum has told Rick that as long as he is alive, “you will have somebody on Earth who will do anything for you.” To Willum’s delight, Rick unexpectedly appears on the night of his thirty-fourth birthday party. However, delight soon turns to dismay as he discovers that Rick is a hopeless “nerd,” —a bumbling oaf with no social sense, little intelligence and less tact. This outrageous comedy will leave you laughing all the way home!

A Doublewide, Texas Christmas

By Jessie Jones, Nicholas Hope, & Jamie Wooten

December 1, 2, 3, 8, 9, 10, 14, 15, 16, 17

Auditions: Oct. 16 & 17 @ 7 PM

Back in one of the smallest trailer parks in Texas, it’s beginning to look a lot like trouble! Not only are the trailer park residents dealing with the stress of the holiday season, but they’ve just discovered that Doublewide is being double-crossed by the County. New problems come up and familiar problems come back as this band of eccentric Texans must band together once more to keep their lifestyle and their holiday spirit! Oh, there’s no place like a good ol’ Texas-sized mobile home for the holidays!

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And Then There Was Fun

Six people are invited to the retreat of Col. Rancour with a request for the Colonel to visit each of them individually.  However, when a storm washes out the bridge to freedom and guests start dropping dead, it becomes clear that among the guests, help, and trapped college student lies a murderer.  This is Something’s Afoot and it is currently playing at Maples Repertory Theatre.

It is really difficult to engage in an analysis of the script without revealing a salient plot point of this mystery, so I’m just going to leave things lie with my opening paragraph and you’ll just have to come watch.  What I can say is that James McDonald, David Vos, and Robert Gerlach definitely did a deep dive into detective fiction in general and Agathe Christie mysteries in particular to come up with the plot of this story.  In fact, it’s a good combination of the plotting of Agatha Christie and the presentation of Rex Stout (in the sense that the solution to the mystery is secondary to the colorful characters).  Wrapped in the stylings of an old-time British music hall performance, this show provides a unique twist to the musical genre and a fun night of theatre.

Colton Pometta gets this show.  This show is a very satirical poke at mysteries and Pometta rides that wave for all it’s worth.  He lets his characters go over the top just enough so that they’re larger than life and amusing, but keeps them away from the point where it would become farcical and gauche.  Pometta’s timing is spot on as his performers picked up cues like lightning and kept driving this show along.  His staging is strong with full use of the space and ratcheting up the tension once it’s clear the murderer is somewhere in the house.  Pometta has also led his actors to well-defined characters and tight performances.

There isn’t a weak link in the cast and each is a vital part of the machine.  Roger Williams has a very stiff upper lip as the very proper butler, Clive.  Justin Barron is a solid caretaker and a bit of a lech with his pinching of ladies’ glutes.  Deanna Mazdra is humorous as the very Cockney maid whose sense of self-preservation is exceeded only by her greed.  Bob Wearing invokes the spirit of Terry Thomas with his take on the slimy, money-grubbing nephew of Col Rancour.  Todd Davison is clinical as the family doctor.  Mike Ott is a scream as the blustering Col. Gillweather with some of the best extemporaneous asides I’ve ever heard and the funniest death scene I’ve ever seen.  Kim Braun is appropriately snooty as the grand dame, Lady Grace Manley-Prowe.

Licia Watson tickles the funny bone as Miss Tweed, the artist/amateur sleuth.  Clearly she is meant to be a combination of Agatha Christie and her creation, Miss Marple.  Most of her humor comes from the fact that she lacks the deductive prowess of Christie’s famed sleuth, though the dimes do eventually drop.  Watson’s Tweed definitely isn’t lacking in courage as she confidently stumbles her way through the investigation.  Watson also has a potent singing voice as she invokes British fortitude in “Carry On” and explains the secret to her deductive “brilliance” in “I Owe It All”.

Jacob Sefcak’s take on Geoffrey reminded me of a young Michael Crawford as Geoffrey definitely has that charming idiot vibe.  Sefcak nails the puppy dog loyalty and looks of young love and is clearly not the brightest of bulbs.  Sefcak also has a dandy tenor that captures every ounce of sap needed for “I Don’t Know Why I Trust You (But I Do)” and “New Day”.

Abigail Becker is darling as Hope Langdon.  Becker’s Langdon operates on the same intellectual plane as Geoffrey, but is such a ray of sunshine.  She is exactly what she appears to be (or is she?) and has a crystal clear soprano that joyously welcomes the guests in “A Marvelous Weekend” or moons over Geoffrey in “You Fell Out of the Sky”.

I was particularly impressed with the sound work of this production as Madison Phillips’ thunderclaps, creaks, and sounds of death traps add the proper atmosphere to the story.  Todd Davison has designed an elegant retreat for the wealthy Rancour with its purple walls and use of outlines and light to depict a large window.  Jenna Alley’s props help to flesh out the world, especially with the large portrait of Rancour.  Kelby King’s costumes suit the class statuses of the characters as well as the time period with accurate dresses and suits.  I also tip my hat to the lights which were suitably eerie when power was knocked out or the chandeliers were lit.  The band also effortlessly handled the music hall score.

Trust me, you don’t need to be a fan of murder mysteries to enjoy this show.  If you like comedy and some old-fashioned tunes, then you’ll like this show, too.  But accept the challenge of trying to solve the mystery and you’ll find yourself most thoroughly engaged.

Something’s Afoot runs at Maples Repertory Theatre through Nov 6.  Showtimes are 2pm on Oct 22-23, 25-26, 29-30 and Nov 1-2 and 4-6 and at 7:30pm Oct 23, 28, 30, and Nov 2. Tickets cost $33 for the Main Floor and $26 for the balcony and can be obtained at the Box Office or by visiting www.maplesrep.com or calling 660-385-2924. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.

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‘Something’s Afoot’ at Maples Repertory Theatre

Macon, MO–Inspired by the works of Agatha Christie, Something’s Afoot is a musical murder mystery suitable for the spookiness of the season.

Ten people are stranded in an isolated English country house during a raging thunderstorm. Suddenly, one by one they’re picked off by cleverly fiendish devices. As the bodies pile up in the library, the survivors frantically race to uncover the identity and motivation of the cunning culprit. Something’s Afoot is a zany, entertaining musical comedy that takes a satirical poke at Agatha Christie mysteries and musical styles of the English music hall of the ’30s.

Something’s Afoot runs at Maples Repertory Theatre from Oct 21-Nov 6. Showtimes are:

  • Fri. Oct. 21 – 2:00
  • Fri. Oct. 21 – 7:30 – Afterglow
  • Sat. Oct. 22 – 2:00
  • Sat. Oct. 22 – 7:30
  • Sun. Oct. 23 – 2:00
  • Tues. Oct. 25 – 2:00
  • Wed. Oct. 26 – 2:00
  • Fri. Oct. 28 – 7:30
  • Sat. Oct. 29 – 2:00
  • Sun. Oct. 30 – 2:00
  • Sun. Oct. 30 – 7:30
  • Tues. Nov. 1 – 2:00
  • Wed. Nov. 2 – 2:00
  • Wed. Nov. 2 – 7:30
  • Fri. Nov. 4 – 2:00
  • Sat. Nov. 5 – 2:00
  • Sun. Nov. 6 – 2:00

Tickets cost $33 for the Main Floor and $26 for the Balcony. Tickets may be purchased at the Box Office, by calling 660-385-2924, or by visiting www.maplesrep.com. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.

Something’s Afoot features the talents of:

Kim Braun
Todd Davison
Bob Wearing
Mike Ott
Jacob Sefcak
Deanna Marzda
Abigail Becker
Justin Barron
Roger Williams
Licia Watson