If being an artist inherently exposes one to scrutiny, then being a critic means being the target of artistic ego. Given the ever-dire state of theatre, being a theater critic is regarded as criticizing a burning residential building while the families inside plead for help. I know all about theatre and theatre criticism, having been on both sides of that equation. I say now what I’ve said for years to people who sarcastically ask: The purpose of criticism is to hold art to a standard. Even if an artist doesn’t reach that standard, we critics remain hopeful that they one day will, rather than fall back on their worst instincts because they have wide appeal.
(As I write these words, I’ve recently been unofficially blacklisted from a well-known SF theater that didn’t like how I—one of the few BIPoC art critics left in the Bay Area—talked about race in my review of their show. Go figure.)
As such, one is tempted to think that Center Rep’s season opener—featuring a bumbling theatre critic who pans shows just because—is the company making a grand statement illustrating their feelings about theater criticism in general. But I am a critic and am trained to think analytically. As such, I can chalk up their choice in show to just wanting to start off with something silly.
The silliness in question is a revival of Arsenic and Old Lace (through September 29 at the Lescher Center for the Arts, Walnut Creek), Joseph Kesselring’s classic gothic farce made into the classic film of the same name. As if to prove my point about silliness for silliness’ sake, director and new AD Matt M. Morrow decided to just make it a drag show. ‘Cause why not?
For those unfamiliar: The 1941 play takes place in “one of the oldest houses in Brooklyn,” the lavish Brewster manse by the cemetery. It’s overseen by sisters Martha (Michael Patrick Gaffney) and Abby (Danny Schaie), who live with their not-all-there brother Teddy (Catherine Luedtke), so named because he thinks he’s Teddy Roosevelt. There’s also young Mortimer (Cody Sloan), the aforementioned cranky theater critic who’s dating Elaine Harper (Carla Gallardo), daughter of stuffy Dr. Harper (Kalli Jonsson). The couple hope to marry soon, so as to consummate their barely-contained canoodling. There should be enough time for that after they see tonight’s show.
That’s of course before Mortimer takes a peek into the box beneath the window and finds a very deceased fellow inside. He’s not sure how to break the news to Martha and Abby, but he’s even less sure on how to respond to their confession that they knew the body was there. After all, they put it there. It isn’t the first stiff they’ve produced, nor do they intend for it to be the last. Of course, since their ancestors infamously carried out experiments in the halls of this very house, one could say the sisters are merely carrying on a family tradition.
Speaking of family, Mortimer’s law-breaking brother Jonathan (DeAnna Driscoll) picked tonight, of all times, to stop by to show off his new face and a creepy companion, Dr. Einstein (Skyler Sullivan). Add in some Keystone cops, some poisoned wine, and a lot of slamming doors and you have a night neither Mortimer nor anyone else will ever forget, no matter how hard they try.
One of the things I’ve learned in critical work is deciphering the difference between “complex” and “convoluted”: the former connects everything like jigsaw pieces; the later piles everything on top like so many linens. Comedy is much more forgiving to the latter. Director Morrow knows this, which is why this production of Arsenic, which would have been played with fewer goofballs in its original run, is all about scenery-chewing, “tawkin’” in exaggerated old-school Brooklyn accents, and yes, the slamming door that is the farce’s trademark. Comedy is timing and farce should never let the audience get their bearings.
To that extent, the show is a success. Morrow has a fine assembly of Bay Area talent at the show’s disposal (though Cat Luedtke and Tanika Baptiste seem underutilized, which may just be their characters’ scant stage time), all willing to swing for the fences in their roles. Yet, it would have benefited Morrow to have added a few more ebbs and flows to the action, as it seems to always strive for peaks over valleys.
In a year of theater that’s produced some truly stunning scenery on every budget level, this show adds another entry to that list with the work of designer Yi-Chien Lee. I wonder if it’s coincidence that this show opened shortly after Tim Burton’s sequel to Beetlejuice hit the big screen? I have to ask because the original film clearly had an influence Lee’s set, with its warped monochromatic “chessboard” floor and askew German Expressionist border along the far edges of the stage.
The set proper owes lineage not only to classic haunted house films, but also Disneyland’s Haunted Mansion, complete with creepy portrait over the mantle (which I could only barely make out from my seat). There’s even a surreal sequence where a piece of the set and the costumes (by Brooke Kesler) are lit by blacklight. It’s a homerun design all around.
I sat mid-row for the performance and saw maybe five others masked in the audience. Fortunately, my first-ever trip to the Lescher Center found me in a place with good HVAC, as my Aranet4’s CO² readings peaked at 1,776ppm at the end of the two-act show.
Morrow’s inaugural season at Center Rep promises a curious mix of shows that lean more towards comedy. As the Rep is in that space between “indie theatre” and “community theatre”, perhaps that works in their favor? Only time will tell. ‘Til then, Morrow’s scored a nice base hit with a campy take on an already-silly show. If you’ve ever wanted to see early-Vincent Price-style design provided by late-Vincent-Price-style wackiness, you could do worse than an evening with the Brewsters.
ARSENIC AND OLD LACE runs through September 29 at the Lescher Center for the Arts, Walnut Creek. Tickets and further info here.
