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SleuthCritiqued by Holly BartgesOctober 28, 2008Three reasons to see Sleuth, produced by The Firehouse Theatre Company stretches far beyond Anthony Shaffer’s mystery thriller, Sleuth.
It’s not the play. Although it calls itself mystery thriller, it doesn’t contain much mystery, much less being a thriller. The script has way too many holes in it; making it all too easy to stay one step ahead of where it thinks it is going. The surprises actually give themselves away. In this case the story really doesn’t matter. What matters is what Firehouse does with it. Rick Bernstein from Miners Alley Playhouse in Golden directed the show and designed the awesome set, demanding instantaneous attention. Filled with wondrous treasures, including a gorgeous bearskin hanging on a wall, and a magnificent old time Victrola with the horn in perfect condition. You can almost see the dog made famous in the once upon a time ads “hearing his master’s voice”. The elegant furniture takes the breath away. The person, who lives in this magnificently appointed house, obviously loves games. A chess set lives in one corner, an Egyptian peg board game takes center stage with its stand resting on a pillow. Set in 1970, it is a mystery why the writer works on a manual typewriter since electric typewriters have been available since early 1960. The décor reveals the proprietor of this glorious manor house greatly appreciates history and the myriad of inventions. There seems to be a parallel between the tinkering of inventions along side the tinkering in his mind. Inventions can be mysterious and deceptive at the same time. Successful mystery writers must contain the same qualities. His mind, the inventions, and his games walk hand in hand. The two main reasons to see Sleuth is Paul Page and Chris Bleau, who will knock your socks off, wash and dry them, and put them back on your feet before you realize they’re missing. Page brings to manic life Andrew Wyke a highly successful mystery novelist. Page gives the performance of his life in this extraordinarily challenging role. Sleuth is not a play for novices to tackle. The characters would eat the actors alive or melt at their feet in total disastrous defeat. The technical aspects are a creator’s dream or a pretender’s nightmare. Sleuth calls for highly professional finely tuned trained actors wearing artistic expertise on their sleeves. It also demands highly creative tinkering inventers to design the production. This production not only owns all of that, but also flaunts it with good reason. Timing is crucial for objects to blow up when needed at precisely the right time. Andrew throws himself into his mystery stories. Having written a page, he talks to himself, reads his words out loud, defining his characters’ personalities with voice inflection and movement. This way he can tell if the words are right for the character. If not, he changes them on the spot. He hears it, feels it, exploring every “aspected” innuendo. Either his intense curiosity in game playing developed this skilful ability, or it was the other way around. Either way these determined skills offered him a perfect opportunity to avoid particular aspects of reality. His clouded sense of reality doesn’t announce his skittish reality, but there are definite clues leading up to a painful revelation. Andrew invites the young, suave Milo Tindle to his estate in Wiltshire County, England on a particular night for a particular reason. Chris Bleau takes on Milo’s persona. The games have begun long before Milo arrives, even before Milo becomes aware of the jousting about to take place. During Act One, Milo follows the game with a foggy sense of how and why. When he catches on, Bleau takes him flying high wide and handsome. Bleau gives a stunning performance matching wits along side Page. As they stampede toward each other, around each other, and away from each other, reciting literature and famous quotes, changing personas in over baked acting, they pour every ounce of energy into outdoing each other. Never mind the point of Sleuth, or the reason why Shaffer decided to write it, the price of the tickets and the price of time triple watching the two actors slip into the charades of the characters. Page and Bleau don’t come put to play until the house lights come up for the final time. Eric Shaub plays Inspector Doppler, Lucas Hiber plays Detective Sergeant Tarrant, and Earl Buschi plays Police Constable Higgs. Don’t recognize the names? After the show you will never forget them, especially Doppler. Chances of seeing them again might be somewhat difficult as the three are sort of fly-by-nighters in Denver. Andrew’s invitation to Milo is far from a social call. Milo just happens to be Andrew’s wife’s lover. Andrew carefully sketches out an incredible, unique proposition.
In 1971 Sleuth won the Tony Award for Best Play, and nominated for Best direction and Lighting. Brian Miller’s Lighting Design for the Firehouse production deliberately plays its own mysterious inventions, tinkering with the play’s development. One element bothered me during the production. In upper stage center is a large picture window providing a wondrous focus on the countryside. Timing of the play runs over three nights. The light outside is far too light for 8:00 PM and later. Yes, I understand if it were dark the way night usually is, the countryside scene would be lost to darkness. Certainly an elegant manor house like Andrew’s could afford outside lighting. Yes, of course the technical people needed one more mystery to solve like a hole in the head, but the distinct difference in lighting frequently interrupted jumping ahead thoughts. Sleuth definitely is a Do Not Miss. It honestly doesn’t matter if mystery thrillers are not your cup of tea. The story is secondary to what Firehouse has knocked themselves out to bring to life. Page and Bleu will literally take your breath away. If you do like mystery thrillers, that’s OK too. The story still falls into fourth place. Call now for reservations! Sleuth | ||||
| ©2008 Colorado BackStage |
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