Review: Murder Mystery Classic LAURA at Stoneham Theatre

Laura

Written by George Sklar and Vera Caspary, Directed by Sarah Gazdowicz; Scenic Design, James Tolman; Lighting Design, Deb Sullivan; Costume Design, Erica Desautels; Sound Design, Chris Larson; Props Master, Misaki Nishimiya; Production Stage Manager, Dominique D. Buford

CAST (in alphabetical order): Liana Asim, Steven Barkhimer, Alexander Cook, Molly Kimmerling, Alexander Molina, Eliott Purcell, Jasmine Rush

Performances through May 22 at Stoneham Theatre, 395 Main Street, Stoneham, MA; Box Office 781-279-2200 or www.stonehamtheatre.org

First came the novel in 1943 and four years later, the play, but the Academy Award-nominated noir film in 1944 is the high water mark for Vera Caspary's Laura, a murder mystery classic with indelible performances by Gene Tierney, Dana Andrews, Clifton Webb, Judith Anderson, and Vincent Price (before the trademark mustache and horror movies). Ostensibly a story about a murder and the subsequent investigation, it is also a psychological analysis of obsession and the ways it drives men to behave. In the play at Stoneham Theatre, elements of the genre are on display in an uneven production that succeeds in setting the mood more than capturing the drama.

Recent IRNE Award-winner (Best Director, The Farnsworth Invention) Sarah Gazdowicz directs Laura with a steady hand, garnering especially strong performances from Alexander Cook as tough, leathery Detective Mark McPherson, and Steven Barkhimer as Waldo Lydecker, Laura's affected, controlling mentor cum Svengali. Both actors are mesmerizing whenever they are onstage, especially when going toe-to-toe in a battle of wits, or battling for the heart and mind of Laura, coolly played by Jasmine Rush. Although she is the title character, this is really the story of McPherson's struggle, trying to do his job even as he is falling in love with the murder victim. Everyone is a suspect and we learn about each of the other characters as the detective doggedly pursues the murderer.

In addition to her platonic relationship with Lydecker, Laura is involved with Shelby Carpenter (Alexander Molina), in an on-again, off-again engagement. Molina is good eye candy, but the chemistry between him and Rush is limited (they make sparks fly only when they argue), causing one to wonder why they were together in the first place. Unlike the movie (Price played the part), the role is underdeveloped and the character disappears at the end of the first act. In a nod to proving that "men pined over her," a young downstairs neighbor frequents Laura's apartment to listen to jazz recordings with her, but becomes angry when she doesn't return his ardor. Eliott Purcell has the right swagger and immature moodiness as Danny Dorgan. Liana Asim is his mother, the landlady Mrs. Dorgan, who makes a couple of brief appearances, but the character adds little. The Dorgans are somewhat of a distraction, having no connection to anyone else in the plot. Laura's housekeeper Bessie is loyal to a fault to her mistress, and a bit of a spitfire to those she dislikes. Molly Kimmerling gives a nice portrayal, capturing both sides of the character.

Scenic designer James Tolman lays out a stylish apartment befitting the title character's position as an accomplished career woman, and lighting designer Deb Sullivan and sound designer Chris Larson provide the flavor of the film noir. Shadows and angles of lighting, along with ominous music and crashes of thunder are evocative, letting us know when something or someone is lurking and about to do harm, either physical or emotional. Erica Desautels' costume designs are spot on for 1940s New York City, showing a distinction between Laura's fashion flair and the mundane clothing of the cop, the housekeeper, and the landlady. Props master Misaki Nishimiya fills the set with era-appropriate artifacts.

I think it is a far greater challenge to convincingly create the various components of the noir drama onstage than it is in film. Being able to divert attention with camera movements and angles, zoom in for closeups, and marry swelling music to a specific visual cue can accomplish so much more in a matter of seconds than the experience of a broad view of a stage. The pace here is too slow to conjure up the tension and drama that is necessary to draw in the audience, to compel us to a state of suspense. Most of the action plays out at one speed, despite the best efforts of all.

Photo credit: Nile Hawver/Nile Scott Shots (Alexander Cook, Steven Barkhimer)

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