Help pick the killer du jour at ATI’s ‘Drood’

By John Lyle Belden

Regardless of if you’d consider a murder mystery fun, you are bound to get a kick out of “The Mystery of Edwin Drood,” presented by Actors Theatre of Indiana through May 13 at The Studio Theater in the Center for the Performing Arts in downtown Carmel.

The biggest mystery of the story is how it ends. Charles Dickens died while writing it, with no definitive clues left as to his intended perpetrator, or even if Drood actually dies.

In this Broadway musical, written by Rupert Holmes, we witness a Victorian-era comic troupe bring the story to life, while letting the audience vote to settle questions such as the identity of the killer. True to English music hall “panto” tradition, the lead male is played by a woman, we are encouraged to “boo-hiss” the villain, and silliness could break out at any time.

ATI co-founder Cynthia Collins takes on the title character, a bright, likable gentleman engaged to the lovely Rosa Bud (Harli Cooper) since they were children. Drood’s uncle, church choirmaster John Jasper (Eric Olson) wants to possess Rosa – or at least one of his personalities does. Meanwhile, the Rev. Crisparkle (Darrin Murrell), has arrived from Ceylon with the Landless twins: Neville (Logan Moore), a hot-tempered young man who also feels desire for Rosa, and Helena (Jaddy Ciucci), who worries about Neville’s temper while otherwise acting exotic and downright mysterious. We also meet Durdles (John Vessels), the good-natured gravedigger; opium-den matron Princess Puffer (Judy Fitzgerald), whose customers include Jasper; Mr. Bazzard (Paul Collier Hansen), played by a man always up for minor parts; and Flo (Karaline Feller), who is, well, pretty. We are guided through this cast and story with the help of The Chairman (T.J. Lancaster), who also has to pitch in for an absent actor.

In scenes laced with cheeky humor and song, clues are dropped and a minor bit of tension raised as the story leads up to Drood’s disappearance. Then more revelations are made as an obviously-disguised person appears as private eye Dick Datchery. But soon, the lights go up as the Chairman notes that this is as far as the Dickens text goes. Who’s who and what’s what? Time to vote! (Note this election is not rigged; any of several suspects could be selected and can be different from one performance to the next.)

Performances are great all around. Lancaster is an excellent guide, while Collins holds the center well. Meanwhile, Olson plays a cruel maniac so well, it just seems too obvious to consider him the killer! The show has a great music hall feel, with the musicians at the back of center stage, and appropriate look thanks to designer P. Bernard Killian, complemented by costumes by Stephen Hollenbeck.

I’ve used “fun” a lot to describe recent plays, but it certainly applies here in a style that feels more intimate and engaging for the audience in the Studio Theater’s black-box style space. As one only has to applaud their choice or turn in a ballot from a pre-printed list, it’s not too involved an “audience participation” situation, yet you do feel like part of the festivities, making for a fully satisfying theatrical experience – even if your candidate for murderer doesn’t get chosen.

Get information and tickets at www.atistage.org or thecenterpresents.org.

IRT blesses us, every one

By John Lyle Belden

Charles Dickens’ “A Christmas Carol” – you know it; everyone knows it.

The Scrooge-bahhumbug-Crachits-Tiny-Tim-Marley-three-ghosts-Godblessuseveryone story is nearly as familiar as the Nativity. In fact, some of our favorite tellings take great liberties with the story, like the Muppet version or the movie “Scrooged.”

But it is also promoted as a proper holiday tradition, faithfully executed, every year at Indiana Repertory Theatre. So, how do they keep it reliable, yet unique?

Start with the Tom Haas script, which hews fairly closely to the source material. Under director Janet Allen, have the cast tell the story as they portray the events, in a pudding-smooth blend of narration and action.

Keep the set simple, as scenic designer Russell Metheny has done. The dominant feature is the drifts of snow absolutely everywhere – pure white like holiday magic, yet also a constant desolate reminder of the dangerous cold of a Victorian English winter. Setpieces drift in and out, and a simple large frame sees duty in many ways – a doorway, a mirror, a passage to what comes next.

Cast some of the best talent in Indy, including a number of IRT regulars, starting with the brilliant Ryan Artzberger as Scrooge. Other familiar faces include Charles Goad, Mark Goetzinger and the luminous Millicent Wright. You may also recognize Emily Ristine, Scot Greenwell and Jennifer Johansen. Then there are Jeremy Fisher, Charles Pasternak, Ashley Dillard and Joey Collins. And mix in some great young talent as well, such as Tobin Seiple and Maddie Medley, who take turns as Tiny Tim.

Present it all in a single movie-length performance, submersing the audience into the story until we can’t help but get caught up in it. Of course, we know what’s going to happen next, but with the spirit of live theatre taking us along, we don’t just watch the play, we experience it.

I feel like a bit of a Scrooge sometimes, thinking of things like the Dickens story as stale and overdone; but having seen what IRT does with it, I now see why all those who go back every year enjoy it so much. You, also, might want to consider adding this show to your list of cherished holiday traditions.

Performances continue through Christmas Eve at the IRT, 140 W. Washington St. (near Circle Centre) in downtown Indy. Get information and tickets at www.irtlive.com.