By Joe Szekeres
What’s not to like about the entertainment genre of the British murder mystery? It’s another staple of the community theatre scene with fun in trying to piece together what happened or how this oddball character is connected to events for whatever reason. The sometimes-convoluted plot of upper-class folk who are usually seeking revenge, involved in a salacious love triangle, or covering one’s tracks to get money from a will are only three sample plot elements.
Don’t bother looking for heavy Shakespearean themes in a murder mystery. It’s just a good evening out for entertainment. Over the years attending community theatre, I’ve seen some God-awful productions of murder/suspense mysteries. But fortunately, The Village Players’ production of Brian Clemens’ ‘Murder Weapon’ does not fall into that category. I thoroughly enjoyed myself as I tried to piece together the events, so it made sense to me. The challenge for me in this review is not to spoil so much of the production that you don’t want to go and see it.
GO AND SEE IT. It’s a fun filled night.
The action of the story takes place on a Saturday and Sunday in the updated Victorian conservatory of Dysart Hall. Chief Inspector Jessica Bligh (Julie Kern) accompanies her friend Diane Tulliver (Julia Hendrik) home to Dysart after they have spent an evening at the local theatre/opera production. The ladies arrive to find an extremely horrifying scene. Diane’s husband Paul (Scott Simpson) has been shot dead and ex-convict Charley Mirren (Don Baker) stands over the body holding a gun. To all of us, it appears as if there is no doubt about the evidence presented, but Ms. Bligh and her colleague Inspector Fremont (Steve Ness) begin to dig deeper into events and soon discover that these events are not what they seem and appear to be.
There, that’s all I want to give away about the story as doing more would only spoil the fun. I followed Director Jennifer Monteith’s direction in her programme note by keeping “the curtain drawn for now so you can discover the show for yourself.”
The intimacy of the three-quarter thrust stage of the Village Playhouse lends itself extremely well to the comfortable quarters of the conservatory with an excellent design by Rosemary McGillivray. There are French doors centre stage with another door just off stage left. A bookcase containing many books and titles of play scripts can be found next to the stage left door. A bar/drinks table is at the apex. A desk is found down stage left. A comfortable looking love and seat and matching chair are found up stage right with a window. There is a circular wicker chair stage left upon entering through the French doors. Many of the set pieces enhanced the look of the conservatory. Costumes designs by Theresa Arneaud and her team helped delineate specific characteristics of each person.
Fraulein Almariego and Don Baker, photo by Jennifer Etches
Director Jennifer Monteith certainly had her eyes everywhere because so much goes on in preparation for a murder mystery. I was pleased that she and the cast made the good choice not to adopt botched British accents as that would have been painful to hear. I was also fascinated with the incorporation of flashbacks in this production and how they were staged. It was a seamless transition back and forth so kudos to Ms. Monteith and lighting designer Trevor Marlatt.
For me, an important element of a mystery is to ensure the pacing keeps moving along nicely as there is always a great deal of exposition to get the story going. And Ms. Monteith did keep the pacing up. She has selected a cast who innately knew how to keep things moving while pausing in the right moments to create a suspenseful or tense moment.
Julie Kern is an assertive chief inspector who knows what she is doing and wants things done when they are to be done. Ms. Kern still maintains her feminine dignity and persona even in those moments where she must be aggressive in her question of murder suspect, Charley Mirren. In this production and script, it was intriguing to see a take charge woman instead of the male dominant one. As the sometimes-fumbling colleague, Steve Ness’ characterization of Inspector Freemont becomes a likeable, bumbling sidekick who gets annoyed periodically with Chief Inspector Bligh as she orders him around or teases him. Fraulein Almariego’s supporting role as Constable Walters once again nicely reflected the dominant role of women in authority in this script.
As the confused, dazed and sometimes hapless suspect and ex-convict Charley Mirren, Don Baker’s performance (and resemblance to the late actor Richard Mulligan) deserves a standing ovation. Mr. Baker only had five days before opening night to learn the role as Alex Bortoluzzi, who was originally cast, became ill and unable to perform. With this knowledge, I was quite impressed at the top of the show when Mr. Baker made his first entrance sans script. It was about ten-twelve minutes in before I saw the script in his hand, but it did not detract at all from my enjoyment of Mr. Baker’s work. Nice work to keep the production going, Mr. Baker.
As Diane and Paul Tulliver, Julia Hendrick and Scott Simpson add a touch of mystery and intrigue in their relationship with each other and with Charley. As the Tulliver’s eccentrically odd friend, Hugo, Mark Dallas connivingly and masterfully puts his friendship to the test with Diane and Paul. Mr. Dallas’ adoption of an English flavour did appear consistent to my ear for the most part.
The one slight quibble I did have was the use of the blackout in the theatre. Blackouts should be used sparingly and quickly so the audience doesn’t lose focus on the story. I realize that blackouts are needed possibly to bring props on and to ensure actors are in place for the ‘surprises in store’; however, the blackouts here are just a tad too long where my concentration was broken momentarily.
‘Murder Weapon’ continues to November 23 at The Village Players’ Theatre. For further information, please visit the website.