The work of playwright Charles Ludlum, who created a kind of goofy, singular brilliance at his old Ridiculous Theatrical Company in New York's Greenwich Village, shines in his most popular play, The Mystery of Irma Vep. It's a goofy Gothic send-up of several mystery books and horror movies.
As one who saw the original production at The Ridiculous in 1984, it was with great anticipation that this critic awaited the coming of Irma Vep to Milwaukee. The Next Act Theater has produced a version that imitates but doesn't do justice -- to the campy, kooky spirit that Irma Vep requires. If only they would "kick it up" a notch!
It may be that director David Cecsarini prefers to have each of Ludlam's words fully understood and appreciated. At times, this slows the production's pace to a crawl. (During the original New York production, the audience's laughter drowned out half the lines, and nobody seemed to care).
Irma Vep's loosely knit plot is laughably improbable. A newly wedded Egyptologist, Lord Edgar, is out hunting on his extensive English estate as his bride, Lady Enid, tries to endear herself to the household staff. She attempts to win over the housekeeper, Jane, and the slow-witted farmhand, Nicodemus. It's clear that both Jane and her employer (Lord Edgar) still haven't recovered from the death of the home's former inhabitant, Lady Irma. Her picture hangs above the fireplace in the parlor of Lord Edgar's mansion. One discovers that Lady Enid has more than the ghost of a former wife to contend with. The play also includes a werewolf, a mummy, and a vampire (after all, Irma Vep is an anagram for vampire.)
The play opens with madly intense organ music, played by Jack Forbes-Wilson. He sits in a small box above the stage. For proper effect, the organ music is occasionally accompanied by thunder and wolf howls
. Half of a successful production of Irma Vep lies in the work of skilled prop artists, stagehands and dressers. That's because the play's two actors must each assume a variety of roles, both male and female. Actors disappear through one door and soon reappear from another dressed as another character.
One hopes that as the run gets its "rhythm," the quick-change costume switches will become even easier for the cast and backstage crew to master. And it's no problem if they don't - if a character occasionally appears while clutching a hastily applied wig or holding together parts of a dress in order to make a cue, it's all part of the play's madcap charm.
The Next Act production is blessed with the comic talents of John McGivern and Christopher Tarjan. They have shined together in previous productions (most notably, Shear Madness.) McGivern is beguiling as Lady Enid and a bit less so as the male farmhand. McGivern delivers one of the play's funniest bits involving two of his characters and a doorway. Depending on the tone of his voice and one or two smartly added props, McGivern gives a credible execution of this tricky scene. He is also memorable as the play travels to Egypt, where Lord Edgar and an Egyptian guide find the entrance to an undiscovered tomb.
Lord Edgar is entranced by a long-dead Egyptian princess (McGivern), who comes to life after Edgar mutters some incantations.
Christopher Tarjan handles the rest of the cast. It's difficult to determine whether he gives a better performance as the stuffy, pipe-smoking Lord Edgar or the slightly sinister housekeeper, Jane. Thankfully, one needn't make a choice, as both characters are frequently seen throughout.
Although a few lines of dialogue may not be suitable for young children, the show is generally fine for all ages. The play's genteel English ambiance is beautifully captured by Rick Rasmussen's set. Extensive sound and lighting cues are handled capably, as well. If director David Cecsarini allows Irma Vep to be played as furiously fast as a French farce and as over-the-edge as a melodrama, it will be even more delightful to behold. In any case, the show has proved so popular, the run has been extended for an additional three weeks prior to its opening.
