By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
Before heading to see the newly formed Florida Playwright's Theatre present a penny-dreadfully fine rendition of Charles Ludlam's 1984 classic camp parody, The Mystery of Irma Vep, implant three words firmly in your mind: courage, ambition, facetiousness. The first two refer to the company, which boldly takes on a brash and challenging piece A albeit not by a Florida playwright this time A difficult to stage in a larger space with state-of-the-art equipment, let alone a black box-ette still in the process of construction. In their first year, most emerging theaters play it safe and offer straightforward, simplistic works. This bunch knows no such cowardice. Without giving away too much of the "mystery" and shocks essential to the show, I can safely say that the actors, director, and crew take real risks in portraying the broadest of comedy without ringing false or amateurish in any way.
Facetious was the great New York playwright Ludlam's middle name, and nowhere is that tongue more apparently in cheek than for Irma Vep. To say that the play was meant to poke fun at heavy-handed old romances such as Jane Eyre and Rebecca A not to mention an occasional friendly jab at Shakespeare, Poe, silent movie serials, and horror flicks of the 1930s A doesn't do justice to the creator's achievement. The late actor, director, and writer who founded the aptly named Ridiculous Theatrical Company off-off-Broadway in 1967 always managed to keep his approach fresh and outrageous without going so far afield that he became offensive or incomprehensible, right up to his death from AIDS two decades later. Everett Quinton, who recently delivered a monologue about Dracula at the Colony Theater as part of Naya Water's new performance art series, now runs Ludlam's lower Manhattan troupe. In fact, it was for Quinton and himself that Ludlam wrote Irma Vep.
So what is Irma Vep about? On the surface: vampires, bleeding pictures, mummies, Egyptologists, hunchbacks, werewolves, second wives, ghosts, and hidden chambers. Lady Enid Hillcrest comes to her husband Edgar's estate to take the place of his (presumed to be) dead first wife, the shady Lady Irma. There Enid encounters Jane Twinsend, an odd, opinionated maid, and Nicodemus Underwood, a sniveling servant with a wooden leg. She also immediately senses that something is wrong with the house and all its occupants. Not only do Jane and Edgar maintain a candlelit shrine to Irma, but wolves howl in the night and townspeople anywhere near the estate are routinely torn limb from limb.
However, any surface interpretation belies the fun you'll have experiencing the unusual twists and turns in the Hillcrest saga, and the problem with explaining the layers mischievously lurking underneath is that I'll ruin your good time by doing so. Suffice it to say that characters enter and exit scenes with increasing frequency as the play builds, and they're not always who you think they are. As far as the horror aspect, only two small children in the audience remained frightened throughout the action. The rest of the spectators stayed quiet for perhaps fifteen minutes but soon caught on to Ludlam's absurd slant and proceeded to giggle until the final curtain call.
That the company can introduce this particular audience largely unfamiliar with Ludlam's ludicrous sight gags and cross-dressing actors, and make the whole jamboree so amusing, deserves three or four rounds of applause. The cast, especially Stephen England and Paul Thomas in a number of roles, knows how to ham it up with finesse, and they work up a powerful sweat in accomplishing the variety of tasks Ludlam assigns to them. All must walk a very fine line between camp and just plain bad acting, but an expert commitment to the absurdity ensures that they never fall off the high wire. Director Eric Bedenbaugh, an acquaintance of the author's, serves Ludlam perfectly, conducting one of the best romps of this type I've ever seen.
Forgive me for being so coy, but you'll understand when you see the play. I heartily recommend it to anyone with some sense of humor, especially if you're feeling on the blue side now that the snowbirds are leaving.
Season's greetings have come my way from several theaters. In other words, news has arrived about the upcoming selections planned for the 1993-1994 season.
From the Big Money guys, those producers who display their gems at venues such as the Broward Center for the Performing Arts, the Jackie Gleason Theater, and the Parker Playhouse, look forward to Broadway's smash rock musical hit Tommy by Pete Townshend and Des MacAnuff, as well as Guys and Dolls, Five Guys Named Moe, Miss Saigon, and Clarence Darrow.
According to Juan Cejas, artistic director of ACME, he's shooting for the following lineup: The Elephant Man, Death of a Salesman, a production to be announced, and Marvin's Room (or Someone to Watch Over Me), in addition to the Summer New Playwrights' Festival.
Actors' Playhouse starts with Oliver, followed by A Fine and Private Place, Neil Simon's Last of the Red Hot Lovers, Funny Girl, an adult mystery called Toyer, and a just for fun spoof, Prom Queens Unchained.