Eric Sharp

IRT presents riddle of ‘Da Vinci Code’

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By John Lyle Belden

It’s been more than 20 years since the world was fascinated by the best-selling novel “The Da Vinci Code” by Dan Brown, which stirred controversy and was adapted into a Tom Hanks movie.

Adapted for the stage by Rachel Wagstaff and Duncan Abel, this thriller involving centuries-old secret organizations in and around the Catholic Church is at the Indiana Repertory Theatre, directed by Benjamin Hanna.

The story begins with a murder at the Louvre museum in Paris. Visiting professor and famed symbologist Robert Landon (Nate Cheeseman) is summoned to help decipher the crime scene – and because the message slain curator Saunière (Ryan Artzberger) left behind referenced Landon by name. Police officers Bezu Fache (Sean Blake) and Collet (Devan O’Malia Mathias) are obviously suspicious; meanwhile police cryptographer Sophie (Meghan Kreidler) takes Landon aside to tell him she is Saunière’s granddaughter and this situation is more fraught than he realizes. Soon, after finding more clues in the museum’s works by Leonardo da Vinci (including the Mona Lisa), Landon and Sophie are on the run, eventually seeking da Vinci expert Sir Leigh Teabing (Steve Routman). The killer, Silas (Sam Pearson), a fanatical monk in the order Opus Dei, is pursuing them as well.

The cast also includes Jen Johansen, Derdriu Ring, and Eric Sharp as Teabing’s assistant, Rèmy.

The object of this deadly quest is to find the Holy Grail. As everything in this story has more than one meaning, we learn that the “chalice” is not a cup, but a woman.

Hanna’s direction keeps the suspense taut and performances are first-rate. Cheeseman presents an excellent guide to the mysteries Landon uncovers. Kreidler’s Sophie is right there with him, a partnership of minds more than hearts, with no distracting romance. Routman presents a deceptively charming old adventurer. Pearson gives Silas absolute devotion to his cause, making his ritual self-inflicted pain an indication that he holds no qualms about hurting anyone else.

As for the story, it follows the book fairly well. As a Grail hunt, I felt this falls somewhere between Indiana Jones and Monty Python. While the twists have varying levels of predictability, overall, this high-stakes race across France and Britain is a fun ride. Bear in mind that aside from the characters and story, much of the underlying lore is also fiction (“Or is it?” some would ask).

The look of this production adds to the intensity of the action on the stage. The open scenic design by Christopher and Justin Swader is inspired by the Louvre’s glass pyramids (added to the museum in the1980s) with the triangles hinting at ancient secrets, or as angled lines a suggestion of a situation off-kilter. Lights (designed by Bentley Heydt) play into the mystery – for instance, illuminating the “Rose Line” that is part of the search. Still and video projections by Katherine Freer also contribute, as the IRT continues to make excellent use of the technology.

Follow the clues as puzzles are pondered and secrets sought on the way to breaking “The DaVinci Code.” Performances run through Oct. 19 at 140 W. Washington St. in the heart of downtown Indianapolis. Tickets and info at irtlive.com.

‘Wrong’ goes right at the IRT

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By John Lyle Belden

One of the great ironic tricks of theatre is that it takes true professionals to portray clumsy amateurs in a way that delivers side-splitting comedy. This we get from Indiana Repertory Theatre with “The Play That Goes Wrong.”

This was a U.K. and Broadway hit by Henry Lewis, Henry Shields, and Jonathan Sayer, who apparently spend their time in London making other stage genres and classic stories “go wrong.” The script invokes the spirit of Murphy’s Law, in that practically every prop will break or fail and every conceivable mistake can and will be made – combined with a determined “the show must go on” attitude.

This appears to be the Indianapolis premiere, though there were productions last year in Bloomington and Carmel (we reviewed those as well, in case this looks familiar).

To ensure that everything goes perfectly catastrophic, the IRT Margot Lacy Eccles Artistic Director, Benjamin Hanna, directs. The cast includes a couple of the players from last autumn’s “Spelling Bee,” Brent Mutter and Dominque Lawson, and two local masters of physical comedy, Rob Johansen and Claire Wilcher.

The play takes place in England at the Cornley Drama Society’s opening night of “The Murder at Haversham Manor.” The whodunit’s director (Eric Sharp), who also plays the detective, is grateful to finally get a production under way with a full cast, once the technical director Trevor (Ryan Hallahan) and stage manager Annie (China Brickey) are set. The mystery starts from opening curtain with the victim Charles (Johansen) lying on a chaise at center stage. Entering, despite a stuck door, are his best friend Thomas (Mutter), his brother Cecil (Lawson), fiancé Florence (Sarah Coakley Price), and the butler Perkins (Wilcher). Was this murder? Detective Carter arrives to determine it was, and everyone is a suspect.

Of course, this Agatha Christie-style story is constantly upstaged by things falling and failing all over the place, nothing where it’s supposed to be, and cleaning fluid in place of the stage-whiskey. Add to this some superb bad acting, such as Lawson’s comically broad gestures resembling bad attempts at sign language, or Wilcher’s need to have key words written on her hand – and always mispronounced.

Things get even more bizarre when Florence is accidentally knocked out and Annie, script in hand, must immediately take her place, going about as well as you’d expect. Eventually, Price and Brickey are two concussed, dueling Florences fighting for the spotlight.

Throughout, this is a masterpiece of mayhem. The non-stop hilarity surpasses even favorite farces like “Noises Off,” with chaos comparable to Monty Python or The Marx Brothers at their manic best.

Credit goes to Christopher and Justin Swader for the hilariously hazardous stage design.

“The Play That Goes Wrong” runs through May 11 on the mainstage at IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

No mystery why you should see ‘Clue’ at IRT

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By Wendy Carson 

With all the recent variants (I find the Simpsons version very amusing) as well as a modern upgrade of the original, I think it’s safe to say most of us have played the game of “Clue” at least once. Add to this the widespread interest in murder mysteries (real and fictional) and that the board game is the subject of a film with a large cult following, and you have the perfect recipe for a hilariously good night of theater.

Adapted to the stage by Sandy Rustin, based on the movie script by Jonathan Lynn, the delightfully kooky script has been taken up by Indiana Repertory Theatre director Benjamin Hanna and brought together a dream team of local and regional talents to elevate “Clue” to previously unknown comical heights. Though the plot and characters echo Lynn’s screenplay, there are numerous brilliant additions (apparently the house was built by the Parker Brothers) to keep you laughing anew. Even the game board shows up at one point, as a handy map to the labyrinthine mansion.

Scenic designer Czerton Lim pulls out all the creative stops in giving us a set with multiple slamming doors, secret passageways, moving walls, and tributes to the game and movie (yes, that is Tim Curry as Mr. Boddy in the painting).

John Taylor Philips brings out all of Wadsworth’s condescending arrogance in his turn as the butler and ersatz host of the evening’s events. Andrea San Miguel brings all of the maid Yvette’s cheeky mischief and charm. Henry Woronicz plays up Colonel Mustard’s dotage, yet keeps him somewhat austere. Emjoy Gavino subtly shows Mrs. White’s predatory instincts while still keeping her endearing. Beethovan Oden’s turn as Professor Plum highlights the character’s belief that he is the smartest man in any room. Emily Berman’s version of Miss Scarlet is even more sultry and sassy than expected. IRT favorite Ryan Artzberger easily adapts to each of his three roles, even with mortal wounds.

Eric Sharp takes full advantage of his character’s expansion in this script and brings a delightful bumbling nerdiness to Mr. Green. Claire Wilcher adds another level of comic genius to her spectacular performance as the seemingly prim Mrs. Peacock. Not to be outdone, Devan Mathias plays three different roles with such gusto that two of them have to be killed to keep her from stealing the show.

Whether you have seen the movie, played the game or just want to see a show that will have you laughing almost non-stop, get a “Clue,” playing through May 20 on the IRT mainstage, 140 W. Washington St., downtown Indianapolis. NOTE: Dressing up as any of the characters (old or new), also adds another level of enjoyment to the experience. (I was one of many “Peacocks” on opening night.)

Get info and tickets at irtlive.com.