Review: ARSENIC AND OLD LACE at Gaslight-Baker Theatre

From March 28 to April 13, Gaslight-Baker Theatre presents ARSENIC AND OLD LACE, sponsored by Doug and Shari Foster, as part of their 2025 season. Written by Joseph Ketterling, ARSENIC AND OLD LACE is a dark comedy that centers on Mortimer Brewster, a drama critic who discovers that his sweet elderly aunts, Abby and Martha, have been poisoning lonely, kinless men with arsenic-laced elderberry wine as part of their self-discerned and misguided “charity” work. As Mortimer grapples with this horrifying revelation, he also contends with the bizarre antics of his family, including his brother Teddy, who believes he is Theodore Roosevelt, and his other brother, Jonathan, an insane criminal with a sinister past. Amid the chaos, Mortimer tries to protect his fiancée, Elaine, from the madness while navigating a series of absurd and unexpected events, leading to a hilarious and absurd conclusion.

ARSENIC AND OLD LACE brilliantly employs a mix of comedic devices to create its signature absurdity and dark humor. The play is a farce, filled with exaggerated situations and improbable events, irony, mistaken identity, exaggeration, and slapstick comedy through chaotic physical interactions. These devices come together to deliver a fast-paced, hilarious romp where the dark and the absurd blend seamlessly into a comedic masterpiece.

Director A. Jason Jones has assembled an outstanding cast for the production, featuring the exceptional duo of Judith Laird as Martha and Debbie O’Neill as Abby. These two actresses truly anchor the show, bringing an infectious charm and hilarious energy to their roles. They expertly portray their obsessive dedication to their so-called "charity" work—poisoning lonely old men with arsenic-laced elderberry wine—as though it were the most normal, virtuous task. Their ability to portray complete obliviousness to the chaos they cause, paired with their unwavering belief that they are doing good, creates an uproariously funny dynamic. Laird and O’Neill’s impeccable timing and utterly believable performances bring depth to these seemingly simple characters, and their chemistry as a pair is palpable. Their commitment to portraying these sweet yet dangerously misguided aunts is so captivating that I found myself nearly falling out of my seat with laughter. And, even amid the uproarious comedy, I couldn’t help but marvel at the acting prowess of these two ladies, whose performances elevate the entire production. Their ability to balance absurdity with sincerity is very nearly a masterclass in comedic acting.

Complementing Laird and O’Neill are fine performances by Dylan Droz as Mortimer, Samantha Plumb as Elaine, and Taylor Luckenotte as Teddy, each of whom bring their own unique charm to the production. Droz’s portrayal of the flustered yet endearing Mortimer perfectly captures the character’s blend of panic, disbelief, and sarcastic humor as he navigates the increasingly absurd situations his family throws at him. Plumb’s Elaine, Mortimer’s fiancée, is befuddled and engaging, offering a perfect foil to Mortimer’s frantic energy while showing a willingness to embrace the madness around her. Meanwhile, Luckenotte’s portrayal of Teddy, the delusional brother who believes he’s Theodore Roosevelt, adds another layer of humor to the show with his eccentric enthusiasm and unwavering commitment to his character’s quirks. The horn blasts and charges up the stairs are a riot! Together, these three actors bring depth and wit to their roles, seamlessly fitting into the chaotic, darkly comedic world created by Laird and O’Neill.

In the second act, Steven Cruser as Jonathan and Luis Rodriguez-Alegria as Einstein deliver notable performances that add a menacing edge to the comedy. Cruser portrays the villainous Jonathan, whose cold, calculating demeanor is balanced with moments of dark humor, while Rodriguez-Alegria brings a quirky, bumbling energy to the character of Einstein, making him both absurd and almost endearing. Together, their dynamic provides a contrast to the lighter, more naive characters, injecting a sense of danger and unpredictability that heightens the play's absurdity.

Completing the cast is Guy Ben-Moshe as Rooney, Jamias Hughes as Gibbs, Ben Kercheval as O’Hara, Xavier Marrero as Brophy, George O’Connor as Harper, and Chris Schaible as Witherspoon, each of whom brings their own distinct style to the production. Ben-Moshe’s portrayal of the no-nonsense officer Rooney adds a touch of dry humor, while Hughes and Kercheval infuse their roles as the bumbling cops with humor and blunder. Marrero and O’Connor as Brophy and Harper offer a delightful contrast with their quirky performances, and Schaible’s portrayal of Witherspoon, an oddly compassionate character who runs an asylum, rounds out the ensemble with his subtle charm. 

Set on both the proscenium stage and the apron, ARSENIC AND OLD LACE boasts an impressive set, with several production elements that truly stand out. The set design by David Schneider is exceptional, featuring two levels of play (three, if we consider the stairs as their own level), which adds depth and visual interest to the staging. The set is meticulously detailed by Schneider and Liza Collins McCarthy, showcasing gorgeous antiques, tapestry-style paintings, elegant lamps from various centuries, and other era-appropriate trappings. It also includes subtle touches that perfectly evoke the home of elderly women, such as plastic flowers in vases, candles lit for dinner, a sewing basket beside the couch, and cameos adorning the walls. The ease with which the players enter and exit is facilitated by well-placed doors and an Open Window, allowing for smooth transitions and heightening the play's fast-paced action. Every element of the stage design is thoughtfully utilized, ensuring that no part of the set feels superfluous and everything contributes to the overall atmosphere of the production.

The sound design by Kirk Longhofer enhances the production with a thoughtful mix of music that sets the tone from the very beginning. The preshow features compelling pieces like “Knives Out!,” “Mission Theme,” and “Mister Mover,” which immediately draw the audience in, building anticipation for the unfolding drama. Once the show begins, Longhofer expertly pivots to music in the style of silent films, using jaunty, whimsical tunes to underscore the play’s comedic elements while also heightening its humorous horror. This clever use of sound adds a layer of charm and intrigue, perfectly complementing the absurdity and dark comedy that defines ARSENIC AND OLD LACE.

The show is preceded by a slide show which explains some of the history of the setting for this play, including the Great Depression, facts about Teddy Roosevelt, the culture of gangs, the history of the Panama Canal, and so on. Using silent-film movie type frames, the slides are an engaging, informative, and thoughtful way to invite the audience into the social context of the show. Well done! 

Jill Kammerdiener’s costume design is thoughtfully crafted, especially with Elaine’s lemon-print dress and Abby and Martha’s mourning outfits. Karin Jones’ props design is spot on, and the lighting by Doug DeGirolamo, Micah Burton, Martin Gammill-Beck, and Michael McCauley beautifully complements the show’s tone. The makeup design by Will Mercer and Joy Jones is tasteful and works well. 

Gaslight-Baker Theatre’s production of ARSENIC AND OLD LACE is a brilliantly staged, darkly comedic romp that perfectly blends humor and horror. With its impeccable set design, sharp performances, and clever direction, the show expertly navigates the fine line between absurdity and menace. The cast brings the eccentric characters to life with impeccable timing, while the sound, costume, and lighting designs enhance the whimsical yet sinister atmosphere. Whether it’s the delightful chaos of the Brewster family or the twisted antics that unfold, this production captures the essence of Joseph Kesselring’s classic play, delivering both laughter and thrills in equal measure. I highly recommend this performance for all theater lovers, with the caveat that some of the action (dead bodies in a window seat and menacing behavior by the character Jonathan) may be scary for children and/or youth. 

ARSENIC AND OLD LACE

Written by Joseph Ketterling

Theater Company: Gaslight-Baker Theatre

Venue: 216 South Main Street, Lockhart, Texas 78644

March 28 to April 13, Fridays and Saturdays at 7:30 p.m., Sundays at 2:00 p.m.

Running Time: 2-1/2 hrs, with one 15-min intermission

Tickets: $7.50-$20 (Students $0)

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