|
Regional Reviews: Connecticut and the Berkshires Regional Reviews by Fred Sokol Deathtrap Also see Zander's review of Hair
It would be unfair to reveal a good number of twists and turns which distinguish Ira Levin's play, infused with energetic direction by Aaron Mark. On the other hand, one needs the basics to get a feel for a piece which occurs during October 1978 in Westport, Connecticut. Sidney Bruhl (Gregg Edelman) is a playwright who once did well but, more recently, is not succeeding with his writing. He discerns that a play composed by one of his students Clifford Anderson (Tom Pecinka) will be a smash hit. Sidney fairly seriously posits the notion that if Clifford were to be eliminated, he, Sidney, could snag the work as his own. Myra (Alison Fraser), Sidney's talkative and annoying wife, has a distinctive reaction. Clifford, upon invitation, comes to Sidney's study and the men converse. This was an era of Smith Corona typewriters. Duplicates of scripts were not so easy to produce and Clifford's original of his play is the one and only. Sidney, the audience observes, actualizes his hypothesis and does away with Clifford. Along comes Helga Ten Dorp (Debra Jo Rupp) who proclaims herself to be a psychic. With an amusing accent which combines English with an Eastern European twang, if you will, she gets the most raucous lines of the play. Helga touches Myra's chest and prognosticates imminent pain. The second act introduces the splendid actor Eric Hill who personifies Porter Milgrim, Sidney's attorney. That is all, folks, you need to know. The Broadway version ran nearly 1800 performances and received the 1978 Tony for Best Play. The feature film afforded starring roles for Michael Caine, Dyan Cannon, Christopher Reeve, and Irene Worth. Randall Parsons' scenic design gives a multi-dimensional feel since it includes exterior (cedar house shingles) and interior, complete with wooden beams, that draws focus around Sidney's desk and chair. Evidently, this room is attached to the larger and perhaps more prototypical Westport house. As is, Bruhl's work place and space is rustic and rough. There is, though, a red chaise lounge. Knives, guns, and other more complicated weapons are affixed to some of the walls. It is fun to watch people using a period desk telephone when that was a major form of communication. Thanks to Tony Simotes, who choreographs fight moments, the actors go at one another with authenticity, even when humor is involved. Alan Edwards' lighting, J. Hagenbuckle's sound, and Wade Laboissonniere's costuming also contribute to the eclectic mix. Edelman, in the lead, is smooth and professional when needed. He also has the capacity to erupt. Alison Fraser's Myra can get on Sidney's and the audience's nerves. Her voice grates and she appears to be trying mightily to find the character. As Clifford, the youthful and bright playwright, Tom Pecinka hits the right chords with a savvy performance. It is pleasant to imagine what a fun time the talented Debra Jo Rupp has with her plum role. Eric Hill complements the cast with solid work as Porter. In all, it is certainly worthwhile to stage Deathtrap, which is still clever, surprising, and for those of us not in touch with the script, even shocking. One final comment: this is Westport? Deathtrap continues on The Fitzpatrick Main Stage as part of Berkshire Theatre Group's season through July 25th, 2015, in Stockbridge, Massachusetts. For tickets, call (413) 997-4444 or visit www.berkshiretheatregroup.org.
- Fred Sokol |
