Review: THE SUFFRAGETTE'S MURDER is a New American Classic at DCPA Theatre

The world is full of kismet-esque scenarios. Oftentimes, you don't have to look too far for them to show their relevance. It is also true that life imitates art - and art imitates life. The latest world premiere coming out of DCPA's Theatre Company, The Suffragette's Murder, is a prime example of this phenomenon as the show tackles timeless issues wrapped in a periodic play and tied with a comedic bow. 

Written by Sandy Rustin and directed by Margot Bordelon, DCPA once again showcases why it is the big name in town. In this 90-minute, no intermission production, the cast takes the audience through a whirlwind whodunit adjacent story during the height of the women's rights movement and their journey toward winning the right to vote. The Mayhew Family Matriarch, Alma, and her husband Albert, own and operate a boarding house that is loosely used as a cover for a meeting space for suffragettes to meet in secret and make their plans for advancement. On the morning of their scheduled assembly, a suspicious peace officer arrives at the home with news that one of their own has been found murdered in the early morning hours after July Fourth celebrations in New York's Lower East Side. The cast of characters then work diligently to cover their tracks in an effort to protect not only their own motives, but that of their dearly departed. 

The creative elements of the production are top notch - something I have come to expect from DCPA. Scenic Designer Reid Thompson and Costume Designer Beth Goldenberg have done outstanding work in setting the scene, creating the feeling of high society well-to-dos in a massive mansion. All things considered, it would be easy for the environment surrounding the story to feel stiff, but the final presentation is anything but.

These creatives have done a great job of complementing the work of the performers, each of whom are at their very best. Truly, my only note of criticism from start to finish pertains to the start of the show. I would encourage the bards to slow down the dialogue ever so slightly as they begin to set the stage. There can be a sense of urgency built from the plot without it feeling like a rush to get things started. In short, remember to stay grounded. 

Rustin has impressively written each character with a sense of importance to the overarching plot. There are no bypassing players. Kevin Isola as the inquiring Constable masterfully pulls the wool over the eyes of his fellow players amidst the gaze of the watchful audience. He comes in insisting he investigate the murder and therefore interrogate the residents of The Mayhew Boarding House under the guise of seeking justice. Though, for whom is that justice truly sought? Among the residents is Archibald Orton played by Garteh Saxe. Saxe has one of the hardest roles to play given his character does not have any lines until the eleventh-hour of the play but is virtually on stage and present from start to finish. Saxe does a great job at attributing a personality to Orton even in the absence of having a voice. Rowan Vickers portrays Leopold Alrbight, a young Irish-immigrant who for all intents and purposes acts as the last remaining stronghold of fleeting American values. He constantly questions the actions of his landlords, from their insistence on women's rights progression to their showing of hospitality to a Black man as a fellow houseguest. Albright expertly showcases these ideals for what they are - comically ignorant. But he doesn't get so lost in the material that his other motives go unnoticed. He had a deep love for the missing-turned-murdered young lady and nicely balances the aforementioned values with his despair stemming from her departure. 

Curtis Wiley plays Tennyson Jennings, who at first glance is seemingly out of place as the single Black male tenant of the boarding house. Rustin's inclusion of this character is prominent because the Mayhew's and their tenants exhibit an understanding that standing up for the rights of all marginal communities only strengthens the foundation of each individual fight. Wiley is free to portray Jennings in a setting where he is comfortable and supported. He portrays an unwavering charisma to the character that is funny, but not the butt of the joke.

Linda Mugleston plays Miriam Adams, a Southern mother who has come to the North in an effort to protect the needs and desires of her out of wedlock, expectant daughter. Mugleston lends a certain roll tide-ish nature to her characterization that is rather endearing. She gives new meaning to Southern values that rips away the stereotypes of what you might expect from such a character. Annie Abramczyk as her daughter, Mabel Adams, is perhaps the breakout star of the play. Her charisma rivals that of Wiley. Ambramczyk breaks through the stereotypes of a young Southern ingenue and delivers a highly comical, grounded, performance. Truly, she had me at "liable."

As the Mayhew Patriarch, Albert, Matthew Boston fills the spot of the "man of the house" but fights in earnest to combat that narrative. Albeit, the character is unsuccessful in that assertion, but it all stems from what he feels is a need to protect those whom he cares for and loves the most. Boston is mindful in his meagerness, just enough for his wife to be a partner in their marriage and the leader of the suffragettes' cause. Megan Hill as Alma Mayhew is, in a word, spectacular. She conquers the role of Matriarch and local leader to her fellow suffragists, navigating a wide array of motives and emotions as they alter from the beginning of the play to the end. Hill confidently leads the charge and masterfully steps into the shoes of her role as something akin to rising to the occasion.

To post a comment, you must register and login.