Review: ARSENIC AND OLD LACE at Center Rep

ARSENIC AND OLD LACE delivers the laughs in grand style at Center Rep. Director Matt M. Morrow puts a fresh spin on an old classic and breathes new life into it. In a show that is full of great one liners and subtle bits, Center Rep has added layers of physical comedy and technical accents. What is normally a quiet, funny play is served up as a comedy extravaganza.

ARSENIC AND OLD LACE follows the story of two spinster sisters, Abby and Martha, who are considered pillars of the community with their care of everyone, including their nephews Mortimer and Teddy who live with them. Teddy is, well, a bit eccentric and believes that he is Teddy Roosevelt. While the sisters accommodate his peculiarities, they are also concerned with securing a plan for his care when they can no longer be his guardians. Mortimer works as a theater critic and is dating Elaine, the daughter of the minister who lives next door. The sisters also rent rooms in the family home, especially to elderly men who have no family to take them in. Mortimer learns of an ulterior motive his aunts have for taking in boarders which puts a kink in his evening plans for dinner and a show with Elaine. Things are further complicated when the third nephew, estranged from the family for many, many years, turns up with his co-worker and insists on staying.

The cast of ARSENIC AND OLD LACE is all in for Director Morrow’s concept that uses the usual humor of the show as a stepping stone to get somewhere even funnier. It is their full commitment to this plan that makes the show work and creates a few stand out performances. Skyler Sullivan as Dr. Einstein uses his physical presence and soulful eyes to create an almost endearing villain. Addam Ledamyen as Officer O’Hara gives a believability to his character’s cluelessness. His timing is spot on, and his crooked smile lends a charm to what in other productions has been a tedious character. Cody Sloan as Mortimer Brewster has the unenviable task of being the straight character caught up in a situational comedy. Yet, he finds a way to be the engine of the show moving things along, creating the escalations of tension, and trying to problem solve along the way. As the problems mount, Sloan begins to show how the character is cracking under the pressure with alterations in his voice, demeanor, and even appearance, thus allowing us to feel the pressure right along with him. DeAnna Diriscoll as Jonathan Brewster may have been the biggest revelation of the night. Upon hearing of the concept, I could immediately imagine the gender swap with the elderly sisters, but wondered how effective it would be with the role of a character like Jonathan. Driscoll left no doubts. It is not only effective, but downright impressive. Michael Patrick Gaffney as Martha Brewster is the more understated of the two sisters, but has his own sense of charm and mannerisms that make Martha like the hidden spice that gives the soup its extra kick. Danny Scheie as Abby Brewster brings light to the show and with the power of the sun pulls everyone into his orbit. He won the audience over with his first line and never let go. With his booming voice and wonderful accent, he sets the tone for this crackpot adventure. But Scheie is no one-trick pony, and some of his most effective moments are lines delivered with a gentle, throw-away nonchalance. 

The artistic team joins forces to create a show that reflects the traditions of the script while incorporating the twist of this production’s concept. Scenic Design by Yi-Chien Lee makes full use of the stage both horizontally and vertically. He provides all the areas necessary for the various scenes while also creating paths of movement without obscuring any of the action. His designs also include a collaboration with Lighting Designer Kurt Landisman for some very fun ways to make the action that is in the dark still visible to the audience. The costumes by Brooke Kesler are traditional but with a little twist to make them fit so nicely with the show’s concept. I especially appreciated the little touch of color in Abby and Martha’s hair by Wig and Make Up Designer Emily Haynes. This is not a show that you usually associate with sound design, but James Ard’s work adds another dimension and level to the playfulness of the show. Normally you only notice dialect work when it is poorly done, so a shout out to Dialect Coach Nancy Carlin for helping the cast get it right. As a whole, Director Matt M. Morrow’s vision not only works, but it also takes the show to a completely new place. Suddenly there are so many more opportunities for jokes and playfulness, and he has his cast dialed in to catch them all. The only downfall of this strategy is that in waiting for all the jokes to land, there were a few places where the pacing slowed, and the full length of the show began to feel weighty.

ARSENIC AND OLD LACE amuses, delights, surprises, and like that funny uncle at holiday functions, stays just a bit too long. The laughs are too numerous to count, and the performances strong from top to bottom. Center Rep’s production of ARSENIC AND OLD LACE opens the door to imagination and possibility while reminding us that there is always more beneath the surface of what we can see.

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