mystery

Going ‘Wrong’ goes right in Carmel

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Wendy and I saw two different productions of “The Play That Goes Wrong” this past weekend, and from what we witnessed we would like to make this point: All of the mishaps involved throughout the show are meant to be there. You are not witnessing a very poor performance. Laugh along and enjoy all of the goofiness. Do NOT leave at intermission! That said, let’s get to the actual review. I am reviewing the production by Carmel Apprentice Theatre at (naturally) The Cat.

In a way, this is a perfect show for this company as its productions provide a learning experience for new and out-of-practice theatre folk, mentored by and working with community theatre regulars. Thus, when anything, from a spoken line to a random wall hanging, is dropped, who’s to say that was a mistake? In actuality, we have seen many sharp performances and applause-worthy debuts at their shows, and that tradition continues with this comedy, a directorial debut by Rachael Weyers.

The play is 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 conceivable mistake can and will be made.

To set this scene, and provide fair warning, the director (Elijah Baxter) of the play within the play, “Murder at Haversham Manor,” opens with a curtain speech about how this should be better than past low-budget productions. Posters from these sad attempts decorate the production booth at the far-left edge of the stage, where tech director Trevor (Zach Kreinbrink) frets at both the dog Winston (needed for Act Two) and his prized Duran Duran CDs being missing.

Between mishaps – which occur regularly practically from the start – we get a whodunit mystery with the first victim, Charlie (Greg Borgard), lying on the chaise at center stage. He tries in vain to maintain a stiff demeanor as his friend Thomas (Jake Williams), brother Cecil (Tim West), fiancé Florence (Reagan Nagel) and the butler Perkins (Julie Eaton) stomp around, later accompanied by Inspector Carter (Baxter).  Stagehand Annie (Allison Hermann) does what she can to control wayward props and furniture but is soon called into service as Florence when the actress appears to have been knocked out cold.

This farce is “the show must go on” taken to a ridiculous and hilarious extreme. Performances are comic gold all around, including Eaton’s pronunciations of words from her lines she wrote on her hand, West’s mastery of the pratfall and penchant for chewing the scenery when he’s not wrecking it, and the glorious dueling “Florences” as both women feel they should be in the spotlight. Part of the beauty of the show is how the characters trapped within this disaster come to deal with their situation, from moments of cheekiness to resignation.

The CAT worked around both budgetary and geometric limitations of their smallish stage, still managing the main features of the stage set, including a hollow grandfather clock and an unsteady platform representing the manor’s study. It also suits a low-budget community theatre playing a low-budget community drama club to have a woman in pasted-on mustache as the male butler. Through it all, the understanding audience (except for a couple who bolted during intermission, inspiring the top paragraph) seemed to thoroughly enjoy this well-constructed calamity.

There are three more chances to see CAT’s “The Play That Goes Wrong,” Friday through Sunday, March 29-31, at 254 Veterans Way in downtown Carmel. Get tickets at thecat.biz.

And if anyone sees Winston, let them know.

Going ‘Wrong’ goes right in Bloomington

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

John and I saw two different productions of “The Play That Goes Wrong” this past weekend, and from what we witnessed we would like to make this point: All of the mishaps involved throughout the show are meant to be there. You are not witnessing a very poor performance. Laugh along and enjoy all of the goofiness. Do NOT leave at intermission! That said, let’s get to the actual review. I am reviewing the production by Constellation Stage and Screen in Bloomington.

The show begins prior to the “actual” start of the play. Two crew members wander through the area, dealing with a door that refuses to stay shut and a mantlepiece that won’t stay in place. An audience member is recruited to assist with the mantlepiece repair and eventually the issue is resolved. The stage is mostly a large room with a second-story “study” visible to the side (which honestly looks a little shaky).

The “director” eventually appears and, once he has found the spotlight, welcomes us all to the performance. He muses about some of their past shows being less than perfect, then announces “The Murder at Haversham Manor” (that is the play within this play, a London West End hit by Henry Lewis, Henry Shields, and Jonathan Sayer).

Of course, props immediately fall, doors cannot be opened, people keep stepping on the dead man’s hand (causing him to yelp in pain), cues are missed, etc. This is a broad farce and everything that could possibly go wrong does, wherein lies the title and hilarity of the show.

Our cast consists of Jonathon Harris (Bobby Ayala Perez) who portrays the deceased, Charles Haversham. Sandra Wilkinson (Haley Glickman) plays the part of Florence Colleymoore, Charles’s fiancé. Chris Bean (Gavin Douglas) being the aforementioned director as well as Inspector Carter. Max Bennett (Andy McCain) is Cecil Haversham (Charles’s brother) and later reappears as Arthur the Gardener. Dennis Tyde (David Sheehan) as Perkins, the Butler. Robert Grove (Peter Sipla) as Thomas Colleymoore (Florence’s brother). Our crew consists of Stage Manager, Annie Twilloil (Alanna Porter), who also steps in for Florence after Glickman’s character is knocked out, and Trevor Watson (Michael Sheehan) who runs Lighting and Sound.

I know that the cast list is confusing with actors playing actors who are playing parts in a show, but this also adds to the fun. There is some very heavy slapstick comedy with some actors endangered at points during the show. But Fighting and Intimacy Director Leraldo Anzaldue has put this cast through their paces well and nobody actually gets hurt (we hope).

Chad Rabinovitz, the show’s actual director, does an amazing job getting every last drip of hilarity out of his cast while keeping any one of them from upstaging another (a difficult job, given the script).

Each and every member of the cast plays their part immaculately, so it is impossible to single out the talents of each one. However, the constant battle for the part of Florence between Glickman and Porter throughout the second act, as well as everyone’s physical dealings with the collapse of the Study floor (especially Silpa) are highlights of the second act that you really must see. Again, don’t leave at intermission.

The show is spectacularly funny and well worth the drive to Bloomington, playing through April 14 at the Waldron Arts Center, 122 S. Walnut St. Get info and tickets at seeconstellation.org.

Fringe hosts North Pole comedy mystery

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

Defiance Comedy is known for its zany musical spoofs and original content. This year this local comic crew brings us a delightful new treat for the holidays, “Claus Out,” a hilarious parody of the “Knives Out” film franchise.

Twenty years ago, Rudolph was murdered. While Prancer was initially charged, a lack of concrete evidence released him. Amid the chaos, Santa Claus disbanded his reindeer team.

Now, each reindeer has been mysteriously invited back to the scene of the crime, where Santa plans to reveal the truth behind this tragedy. Unfortunately, he is murdered just prior to the revelation. Now there is a bigger case to be solved.

While you may think you know those involved, their true personalities and motives are much cloudier. Take Dasher (Austin Hookfin), dripping with jealousy at the usurping of his leadership role of the team; Dancer (Charlie Rankin) whose affair with a bad-boy reindeer threatens her goody-goody image; Prancer (Joseph David Massingale), the initial suspect whose two days in lock-up left a lasting impression; Vixen (Paige Scott), the sultry seductress with an eye towards wearing the Big Hat; Comet (Shelby Myers), who thinks this is all because Merry is in retrograde and perhaps the right crystal/tea combination will fix everything; Cupid (Preston Dildine), whom everyone loathes, but he used his hiatus from the team to become an internet mogul; and Donder (Kelsey VanVoorst) and Blitzen (Ben Rockey) who are unabashedly German party animals though perhaps a bit slow on the uptake.

Add into the mix, Elfie (Robin Kildall), who is just trying to keep the Christmas Spirit alive while going full fan-girl on the famous Detective Benoit Bellz (Jason Adams), who was also mysteriously invited in order to solve the crime.

Writer/Director Matt Kramer digs deep into his bag of treats to give us a bounty of laughs, gags and moments of pure comic delight. The amazingly talented cast brings his works and lyrics to life perfectly, not to mention their mastery of Emily Bohannon’s choreography.

Who killed the most famous reindeer? And their boss? As the cast sings in “Intermission Song,” you may think you know, but you’re probably wrong. Find out at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis, Dec. 8-10 and 14-16. For tickets, go to indyfringe.org.

Intimate look at classic ‘Murder’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

As the saying goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Viviana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Jonathan Young)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue.

Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

Mud Creek springs delightful ‘Mousetrap’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By Wendy Carson

Agatha Christie’s “The Mousetrap” is the longest running play in the world. It opened in 1952 and ran continuously in London until a 14-month absence due to COVID, but is back thrilling audiences every night once again.

The show’s staying power is the strength of its story as well as the characters involved. Christie is known for wickedly cutting dialogue, and this script does not disappoint. Mud Creek Players now gives us the opportunity to get caught up in this “trap” here in Indiana.

The story seems somewhat simple at first – the classic whodunit. In the early 1950s, Mollie (Audrey West) and her husband Giles Ralston (Nicholas Gibbs) decide to turn their newly inherited Monkswell Manor in the English countryside into a lodging house. After a foreboding story of a murder is heard on the radio, the guests begin to appear, each more quirky than the one before.

Christopher Wren (Gideon Roark) is a hyper imp who claims to be an architect (named after the original Wren, famed church designer of the Baroque era). Snooty elitist Mrs. Boyle (Jennifer Poynter) is aptly described as a “perfectly horrible woman.” Major Metcalf (Jason Roll) frequently retreats offstage, and has all that he needs in his little bag. Also arriving is Miss Casewell (Zoe O’Haillin) with her macho attitude and unplacable accent.

There is also the unexpected guest, Italian-accented Mr. Paravicini (Jim Gryga) whose car may or may not have broken down in the snow. Oh yeah, there’s also a huge blizzard trapping everyone inside the house. Finally, Detective Sergeant Trotter (Mike Sosnowski) eventually arrives on skis to question everyone about the aforementioned murder.

When the first body drops in Monkswell, paranoia ramps up as it seems that everyone had the opportunity and motive to kill. A vital clue hints that another will soon die as well.

Director Kelly Keller has taken immense pleasure and care in preparing this exquisite mixture of laughs and chills. The cast aids with steady accents and lovely performances. West and Gibbs make a nice couple, but we see them acting a little secretive at first, and is Giles being suspicious or just showing his British stiff upper lip? Roark has Wren wear his dysfunction on his sleeve – which makes him both suspect and too scattered to have pulled off an elaborate crime. Poynter (a much nicer person offstage) seems to relish being perfectly dissatisfied with absolutely everything. Roll plays the Major as someone unusually curious about everything, but with an easy smile and cheerio attitude. O’Haillin may as well have “I have secrets” tattooed on Casewell’s forehead, and while not unfriendly is frequently on edge and chainsmoking (fake stage cigarettes). Gryga has the most entertaining role, as Paravicini is definitely up to something, and is charmingly up front about how untrustworthy he is, but murder? Sosnowski gives us an engaging “let’s go over this again” style detective, constantly reminding himself – and us in the audience – of the clues.

Genuine Brit Craig Kemp supplies the voice of the radio announcer, quite the honor for those who know “Mousetrap” lore.

Another aspect of this classic is Christie’s brilliant misdirection and final twist. Not only is it satisfying to discover the first time, audiences return with this knowledge to better appreciate the acting and character development. In fact, Mud Creek is offering a $5 discount on a subsequent ticket to the show. However, once you know, longstanding tradition (and Christie’s hatred of spoilers) demands you not tell a soul.

Performances run Thursday through Sunday through May 6 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Info and tickets at MudCreekPlayers.org.

No mystery why you should see ‘Clue’ at IRT

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

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.

‘Classic’ mysteries presented at President’s house

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

One of the more fascinating theatre experiences in Indy is the unique productions by Candlelight Theatre, taking place in the rooms of the Benjamin Harrison Presidential Site. The Indianapolis home of Benjamin and Caroline Harrison has been restored and preserved with furnishings, art and accessories of the Harrisons, or of the period (late 1800s), so with seating for approximately 20 persons at a time we get an intimate immersive experience of a bygone era.

Thus we gain a new perspective on old stories, such as the spooky scenes of Candlelight’s spring production, “Classic Murder.” Guided to three different rooms of the historic house, we see Edgar Allan Poe’s “Fall of the House of Usher,” adapted by Candlelight’s resident playwright James Trofatter; “In Memoriam,” inspired by a popular Agatha Christie story, adapted by Marlene Remington; and “The Summer People,” by Shirley Jackson, adapted by Brainerd Duffield. Direction by Jill Whelan and Mavis Washington.

In the Sitting Room, we meet Ethan (Drew Carlson), concerned friend of Roderick Usher (Ken Eder). The servant, Miss Gray (Jill Whelan), is taking the dreary atmosphere in stride, even though Roderick’s dear sister, Madeline (Erin Fralick) looks like a living wraith. Madness is closing in on Usher, and could take everything and everyone with it! Even those familiar with the Poe tale can get a chill from the up-close view of this tragedy.

In the Back Parlor, five guests – played by Donna Wing, Brendan O’Sullivan-Hale, Hazel Gillaspy, Ellis Hall, and Stephen Moore – arrive at a mysterious isolated house. A letter alerts them that there is a purpose behind their assembly: vengeance from beyond the grave! Complete with all the twists and humor one expects from a Christie mystery, “In Memoriam” could also surprise you with the who, the how, and the why. 

Many of us have read Jackson’s “The Lottery” (I did in high school), so note its tense atmosphere with the potential of ordinary people doing extraordinarily macabre things also permeates “The Summer People.” When “city” couple Janet and Robert (Ann Richards and Steve Viehweg) decide to stay in their New England summer rental past Labor Day, the townies who had served their every need all summer (Coleen Kubit and James Hayes) don’t take the news well. In some places, change of season means more than just the calendar.

One weekend remains of “Classic Murder,” Friday and Saturday, April 28-29, at 1230 N. Delaware St., downtown Indianapolis. For information and tickets (as well as info on tours and other programs of the Harrison home), visit bphsite.org (click on “Visit” to bring up the menu for Candlelight Theatre).

Entertaining ride on ‘Orient Express’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

There are two kinds of people who watch a production – film or stage – of the Agatha Christie mystery “Murder on the Orient Express.”

First, there are those who have never seen how it ends. If you encounter such a patron at the Booth Tarkington Civic Theatre production of the play, running through March 25, DO NOT TELL THEM WHODUNIT. Being one of the most famous and creative reveals in the genre, it’s best to be savored as it happens.

Then, there are the fans of stage, screen, or the original text, who know the answer and just enjoy the widely varied and wildly interesting cast of characters, all falling under the scrutiny of Christie’s eccentric Belgian detective, Hercule Poirot.

Penned by Ken Ludwig (at the request of the Christie estate), this “Murder on the Orient Express” more than satisfies both groups. The blizzard of clues – too many, in fact, Poirot notes – will keep newcomers guessing, and Ludwig’s comic touch ensures at least as many laughs as thrills.

Eric Reiberg is pitch-perfect as Poirot in, a credit to him and director John Michael Goodson, a fairly laid-back portrayal of the character. Rather than have an exaggerated look and personality, even his famous curled mustache is understated, letting the various suspects on board the train do the clowning. Still, his bearing, accent, and little quirks are true to character and exert the proper gravitas (in this story, the detective is already world famous).

To set up the play, we get some disturbing audio, as well as Poirot addressing the audience that what we see is a flashback to one of his most complex and troubling cases. With this, we open in Istanbul, Turkey, in 1934. Needing a quick ride across Europe, the detective travels the famed Orient Express, bound for Calais, France, as the honored guest of the director of the rail line, Monsieur Bouc (Rex Wolfley).  

Various men and women board, including a very cocky yet nervous American businessman, Samuel Ratchett (Lee Russell), who tries to hire Poirot to find out who sent him threatening letters. Offended by his rudeness, the detective refuses. But when, with the train halted by a snowdrift in what was then Yugoslavia, Ratchett lies dead of multiple stab wounds, Hercule Poirot finds himself on the case.

Aside from ever-patient conductor Michel (Ronald May) we have our suspects – in fun performances by Evangeline Bouw, Luke Faser, Lauren Frank, Susan Hill, Alexis Koshenina, Sherra Lasley, and Clay Mabbitt – who all have alibis. And what might the motive be? As Poirot peels back the layers of the mystery and discovers hidden identities, he can only come to one conclusion. Or, perhaps, two.

A script like this allows for going a little over the top, and Lasley is a hoot as our brash American who married into riches and belts into song. Bouw is sweetly memorable as a countess who happened to go to medical school. Hill is commanding as the Russian princess; Koshenina is retreating as a shy missionary. Mabbitt and Frank slyly arouse our suspicions even before their characters board – but we actually see where they are at the apparent time of the murder.

I’ll say no more. You need to see this for yourself, but tickets for this wild ride are selling fast.

The Orient Express was an actual rail line, but, alas, its last departure was in 2009. Next best thing is to see this version. Performances are in the appropriately intimate confines of The Studio Theater at the Center for the Performing Arts in downtown Carmel. For information and tickets, go to civictheatre.org or thecenterpresents.org.

CCP presents funny whodunit

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

In the whodunit world, things are never as they first appear. “The Musical Comedy Murders of 1940,” by John Bishop, is presented by Carmel Community Players, but in Noblesville, as CCP is still raising funds for a hometown stage.

Also, there’s not a whole lot of music. It’s more about making and staging a musical, with only a couple of choruses sung. And, really, it’s about the murders of 1938, when the show “Manhattan Holiday” flopped in part because the cast mutinied after chorus girls were knocked off one by one by the Stage Door Slasher, who was never caught.

So, now, in late 1940, we are in the home of “angel” investor Elsa Von Grossenknueten (Richelle Lutz), who is gathering fellow persons involved in “Manhattan Holiday” who wish to pitch a new musical, “White House Merry-Go-Round.” She also invited a friend, Michael Kelly (Sam Brown), a very thinly-disguised NYPD Detective. We should also note that the maid, Helsa Wenzel (Tanya Haas), a fellow Bavarian who Elsa brought to America when things got rough in Germany (note the date), was apparently killed by a masked phantom in the opening scene, then comes back unharmed doing her regular duties minutes later. Also – and this is important to both the plot and the comedy – the house is riddled with secret doors and passages, with practically every wall on stage capable of opening or revolving.

Arriving through the snowstorm that will trap them there (naturally) are charming but unfunny comic Eddie McCuen (Jeffrey Haber), stage and screen director Ken De La Maize (Kelly Keller), chorine turned actress Nikki Crandall (Hannah Janowicz), overbearing producer Marjorie Baverstock (Eboni Wallace), Irish tenor Patrick O’Reilly (Robert Fimreite) and bickering songwriting duo Roger Hopewell (Eric Bowman) and Bernice Roth (Amber Roth). Note that by the final curtain, a number of these characters will each turn out to be someone entirely different – this includes, of course, the Stage Door Slasher!

Directed by Elizabeth Ruddell, whose assistant, the mysterious O. Carrier, performs the phantom, this play embraces both mystery and farce. The former is complicated by encroaching shadows of war, and the latter gets wacky even to the point of a “Scooby-Doo” moment among sliding and spinning doors. Standout performances include Haas being full of surprises, Keller stylishly dropping names in his alleged films, Haber showing the talent it takes to be good at being “bad,” and Janowicz playing a true triple-threat – singing, dancing, and firearms.

Four performances remain, Thursday through Sunday, March 2-5, at the Ivy Tech Noblesville Auditorium, 300 N. 17th St. Get info and tickets at CarmelPlayers.org.

Ludwig ‘Holmes’ comedy a holiday treat at BCP

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

One of the interesting things about Ken Ludwig’s comedy mystery, “The Game’s Afoot, or, Holmes for the Holidays,” on stage at Buck Creek Players, is that the lead role is a fictionalized version of actual early-20th century actor William Gillette, who not only helped set the traditional look for Sherlock Holmes on stage and screen, but also starred in a Holmes play that he wrote with the blessing of Sherlock creator Sir Arthur Conan Doyle. While, as portrayed here, Gillette did make fame and fortune as the legendary detective, tinkered with inventions to aid his stagecraft, and had a castle built for him on his Connecticut estate, Ludwig also plays up the man’s Holmes obsession to the point that he seeks to solve the mystery of an attempt on his life.

Hilarity, and apparently a murdered body or two, ensues.

Joshua C. Ramsey excels at rock-chinned steadfast leading man, even when played for laughs, and delivers Gillette’s stoic sense of purpose so well that flummoxed moments come off all the funnier. His family and friends (a/k/a, the suspects) are played by Cathie Morgan as Gillette’s mother, Martha; Tony Brazelton as Felix, his past best friend and present on-stage Moriarty; Tiffany Wilson as Marian, Felix’s wife; Hannah Partridge as recently widowed ingenue Aggie; and Josh Rooks as ambitious young actor Simon. They are joined at what they thought was an end-of-the run holiday party by ruthless newspaper columnist Daria Chase (Sarah Powell), and the evening’s activities will bring around an actual detective, Inspector Goring (Renee Lopez Whiten). In addition, Cyrena Knight, Breanna Helms, and Julie Gilpin play the house staff, and can step in as understudies.

Under the direction of Brian Noffke, no stranger to wild comedy, the cast all hit the farcical beats with professional precision. The exquisite stage set, designed by Ed Trout, includes an infamous rotating bookshelf used to full comic effect.

Even though I saw a production of this years back, I had forgotten “who done it” (yes, there is a mystery to solve amidst this madness) but even if you aren’t surprised at the end, you’ll assuredly be delighted by this unconventional “holiday” play.

“The Game’s Afoot” for two more weekends, through Dec. 18 at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. Get info and tickets at buckcreekplayers.com.