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by alun montgomery
For my money, there’s nothing quite like an intelligent thriller, or for that matter, a cleverly scripted dark comedy. Couple those two styles with a theater-insider’s knowing, wicked jibes at the theater world, and you come up with something quite like Deathtrap, Ira Levin’s 1978 Broadway hit, currently enjoying a revival at St. Augustine’s Limelight Theater.
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The title of the play derives from a venerable literary device whereby the villain (or in some cases the hero) plots an intricate, torturous, and diabolical revenge against his nemesis, calculated to inflict the most psychological cruelty possible. While there’s often an ever-present sense of impending and inevitable doom—something horrible is never far from appearing—this play’s surprise plot twists are its hallmarks and the reason for its enduring success.
The story opens at the Connecticut mansion of inveterate mystery playwright Sydney Bruhl, holder of two of Broadway’s top honors: one for the longest successful run of a production, and the other for the longest dry spell since a success. Though living comfortably in the 18-year interim, thanks in large measure to his wife Myra’s substantial family assets, that tenuous grasp on the Good Life is about to dissipate rapidly unless Sydney is able to summon the Muses for one more lightning bolt strike of artistry. As luck would have it, Sydney is contacted by budding playwright Clifford Anderson, a former playwriting workshop student whom he met sometime ago, who is anxious to have Sydney read his new work and share the benefit of his experience and insights. Upon reading the new work, Sydney recognizes right away that it has the potential to become a Broadway smash. Though crestfallen and envious at first, Sydney’s curiosity is piqued when the young playwright requests an audience with Sydney; in the course of their conversation, Clifford reveals that no one else knows about the play, no one knows of his plans to visit the Bruhls, and that he’ll be bringing his only other copy of the play with him. After humorously entertaining several grisly fantasies about doing Clifford in and claiming the fledgling writer’s work as his own, Sydney suddenly realizes, to his surprise and Myra’s horror, that he’s considering the murderous deed for real.
The tension builds and fireworks begin once Clifford arrives—and in the interest of not spoiling the surprise for anyone who has not yet seen the play, I’ll dispense with further recounting of plot points. Suffice it to say, expectations are set up and dashed right and left, and the story (when in capable hands) evolves into a veritable six-ticket ride. Further complicating matters is the uninvited arrival of the Bruhl’s neighbor, famous psychic Helga Ten Dorp, who picks up impressions of deadly occurrences yet to come. Though unexpected, the plot twists never come off as contrived, but rather as brilliant strokes that, in retrospect, are oddly inevitable.
As the once-at-the-top-of-the-ziggurat playwright Sydney Bruhl, Todd Lidh brings his native love of language to the role, just what one might expect from the college English professor: savoring his words as if they were wine, registering responses for vintages both venerable and venal, and tickling his palate with every mouthful of irony. As the perpetually flustered Myra, Terry VanderWier turns in a performance that encourages comparisons with Dyan Cannon, a bristling brunette bundle of nerves and neuroses whose heart is very much not in this murderous endeavor.
Joshua Reynolds’ turn as young playwright Clifford, arguably cast against type, was the revelation of the evening. Arriving in the cast just two weeks before the show’s opening, Reynolds certainly rose ably to the occasion. Though he’s not likely to be mistaken for the film version’s Christopher Reeve—not that that’s a bad thing—he is a very watchable presence on stage, much like a young Orson Welles, and his comfort inside this character’s skin (a performance within a performance, for those familiar with the show) is all the more remarkable considering the short amount of time he had to prepare for the role.
The production’s supporting characters are very adeptly performed. Gayle Featheringill is delightfully trippy as Helga, the nosy psychic neighbor, appearing onstage at just the right moments to either provide loopy relief from the tension or to ratchet it up to an appropriately excruciating degree. Eddie Gantner (Porter Milgrim) proves the old theater adage that there are no small roles, turning in a performance as Sydney’s old and trusted attorney friend that is engagingly naturalistic, unfailingly believable, and, well, just plain fun to watch.
Scott Ashley’s set is a joy, a wonderful place to be invited to for the evening. Evoking a rustic Tudor ambience, the Bruhl home has every bit as much personality as any of the characters, deliciously decorated with macabre props from Sydney’s past stage successes.
The production contains all the ingredients for a hit; unfortunately, not all those ingredients were fully in place on opening night. Pacing was uneven, energy was low, and one particular uncooperative prop nearly got the better of the cast. The good news is that that particular moment proved a galvanizing one for the troupe: what might easily have brought the production to a grinding halt actually proved their mettle and resourcefulness. Hardly missing a beat, the players rallied and inventively soldiered on, strapping the play on their backs and taking it to the audience. Given the steep and daunting trail the production has had to tread—with numerous cast changes right up until two weeks prior to opening—it’s understandable how elusive finding one’s rhythm can be under those circumstances. But the storm’s past now, and expectations are high.
Deathtrap runs from June 21—July 15 at the Limelight Theater’s Joukowsky Family Foundation Center for the Performing Arts, located at 11 Old Mission Avenue in St Augustine. For prices and performance times, please call (904) 825-1164.
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EU Critic’s Choice Awards
