Theater review: The Musical Comedy Murders of 1940

by Clyde Berry of John Garcia's The Column

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Theatre Arlington's production is quite good, and very few moments fall flat.

Sometimes it's simply just a great show. Theatre Arlington is two for two as far as my visits are concerned, a perfect record of quality entertainment.

Normally I have a lot of background on the history and relevance of the show, but in this particular case, there's not a need to really get academic. Sure, there are a few characters in The Musical Comedy Murders of 1940 that are based on real life comedians, but it's not worth expanding upon.

I can sum up this show pretty easily by saying if you like the movie Clue (which I do), you'll love 1940.

The plot concerns several showbiz folks that have been gathered into a mansion house to flush out a serial killer. As the events unfold, there are bits from the past that seem to come back and haunt some of the characters. Once folks start dying off, the madcap search to find the killer begins. It's a door-slamming ride to a very funny finish line.

As a whole, the show requires lots of schtick, sharp timing, and the ability to deliver a zinger. The production is quite good, and very few moments fall flat. When there is any drag in the show, it's from a lull in scripted plot instead of anything director Andy Baldwin chose to do. He has a keen sense of timing, and the period banter is very good.

While there are some character accents that waver (from characters that shouldn't) each actor delivers a balanced performance, never going overboard. The staging is fast paced, all over the beautifully painted set, and nothing is awkward or forced. It's nice to see comedy done well.

Additionally, the production looks great! In homage to the movies the script spoofs, the set, costumes, and props are all in black and white. The detailing is thorough and precise, though the few pieces that aren't period stand out if you recognize things from a furniture catalog, or know piano brands.

Jack Hardaway's mansion interior includes hidden entrances, a sunken living area, and serves the needs of the play perfectly. The set is functional without being cliché or over the top. A smart design well executed, especially the stunning painting by B.J. Cleveland.

On Hardaway's set, Meredith Hinton's costumes add another layer of personality. She has done an excellent job of costuming to the needs of the action and the character's quirky nature. Jessica Weckerlin's hair/wig designs are period and never get disheveled from all the running around. Everyone looks great!

Michael Winters' light design is equally on par. There are no dark or burnt areas. Even with "blackouts" in the story, everything is visible and artistic. I did question the need for a few specials that occur when folks have an epiphany; it creates a look and feeling otherwise not emphasized in the direction of the piece as a whole.

Without giving away any twists, the cast of 1940 works very well as an ensemble.

Todd Hart plays Roger Hopewell the fey musician. Energetic and never one to waste a glance, Hart is always doing something on the sides. His character is half the songwriting team which includes Bernice Roth, played by Melanie Mason. Mason is well matched to Hart in energy, chutzpah, and outrageousness. These two never go over the top, but carefully ride the edge with great results.

Major Attaway plays Officer Kelly. Attaway nails several punch lines with a droll sensibility that just makes you feel good.

Louisa Cambridge is very grAHnd as Marjorie Baverstock. Cambridge has fun with her characters pretensions and is comfortable with the physical needs of her role, as well as being a good sport.

Ethan Norris chews up the space as egotistical director Ken De la Maize. His rich full voice adds a gravitas to his characters bloated boasting and gives it a great credibility.

Scrappy young Tyler Cochran steals quite a few moments as Eddie the Comic. He has the eager stage door NY patter down, kid. Cochran's got a great bit in Act II that shows off some nice vocal dexterity. Even when the scripted joke is weak, Cochran manages to sell it on sheer goofball looks alone. Well done.

Paired with Cochran is the character of Nikki Crandall, an aspiring chorus girl/hoofer. The lovely Amanda Doskocil does well shedding her character's layers as secrets unfold, and uses a little to say a lot as far as facial expressions and "thinking" onstage.

A personal favorite was scene stealer Emmy Lou Klein as Helsa the German maid. She stomps, stares, and screams to the delight of the audience, but never milks anything more than she should. You know you're doing well when the audience starts giggling as soon as they see you coming.

Greg Wilkins has quite a mouthful as O'Reilly, the Irish tenor. Again, the role calls for the actor to create several distinctive things as the layers are revealed. Wilkins does so with effective results.

Holding everything together at her home, or attempting to, is Elsa Von Grossenknueten the aloof heiress and Broadway backer. Ann Wolz plays the stumbling woman well without it seeming like she's done it a million times before. The freshness is nice, especially in a piece that can't seem rehearsed.

In reviewing, it's often challenging to be honest, and fair. The Column has certain guidelines by which we write for our audiences and for the nature of the community theaters we visit. That makes it tricky sometimes to talk about a show that has lots of screws to tighten (notice I don't say a `bad' show). But sometimes, when something is good, there's only so many ways you can say, "Wow that was pretty good!" This is one of those cases.

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