OREM — I don’t know about you, but with the recent rain that’s come through northern Utah, fall and the darker months ahead seem much more imminent. If you’re looking forward to the season of everything pumpkin spice or simply love a good laugh, make the trip to the Hale Center Theatre Orem to see Arsenic and Old Lace.
Joseph Kesselring’s Arsenic and Old Lace (loosely inspired by true events!) premiered in New York City in 1941. After a successful run on Broadway, the play was later made into a beloved film directed by Frank Capra starring Cary Grant in 1944, and has enjoyed a long life in regional and school productions ever since. The show centers around the plucky and resourceful Brewster sisters (Abby and Martha, played by Jayne Luke and Melany Wilkins the night I attended) who have devoted their lives to kind, charitable causes that benefit their community. Their first charity is in looking out for their nephew Teddy (Charlie Flint), who is convinced he is Teddy Roosevelt. Their second charitable endeavor is in “assisting” lonely old men to early graves with a delicious glass of elderberry wine laced with arsenic, strychnine and a “pinch” of cyanide. The routine of these merry murderesses is disrupted first when their nephew Mortimer (Jon Liddiard) discovers the most recently deceased gentleman in the window seat, and further by the arrival of the sadistic long-lost third Brewster nephew, Jonathan (Matt Kohler), who has a body of his own to dispose of. With graves in short supply and the cops close at hand, the conflict begins.
Arsenic and Old Lace plays at HCTO through September 21 | Photo: Suzy O Photography
Arsenic is well cast, with several in the cast reprising roles for the second or third time, giving the show a confidence and flair that allows the audience to just enjoy. As Abby and Martha, both Luke and Wilkins are exceptional, and they had the audience willfully eating out of their poison-laced hands from the moment the lights went up. Both are enormously comfortable in their roles and are so charming and lovable that even knowing their penchant for mercy-killing houseguests, you’d still happily accept their invitation for dinner. Equally delightful is Flint’s Teddy, whose endearing performance is peppered with details, often in the background of scenes but without drawing away from the action of the show. The opening night audience was also particularly taken by Doug Kaufman as aspiring playwright Officer O’Hara, who stopped the show with his enthusiastic presentation of the plot of the play he intends to write.
As Mortimer, Liddard is tasked with playing a “normal” human among his crazy relatives and their assorted houseguests. He does a good job of slowly unraveling as he struggles to keep the truth of his aunts’ activities from leaking out to the steady stream of police and possible victims that keep coming by. As Mortimer’s fiance Elaine, Rylee Harris is both sweet and determined, with a clear vision of what she wants and the will to get it. While both Liddard and Harris gave lovely performances individually, I was less convinced of their relationship. What keeps Elaine interested in Mortimer as he grows more erratic and dismissive of her? That said, the way in which their relationship is written by Kesselring is very much a reflection of the standard relationship of 1940s storytelling, and the script does Harris and Liddard little favors in opportunity to make that connection feel grounded before it’s disrupted. Hopefully as the run continues, they’ll find ways to make use of what chances they have.
Photo: Suzy O Photography
As Jonathan, Kohler puts together a performance that would not feel out of place in a Saturday morning cartoon. He and Bradley Moss as Dr. Einstein serve as the de facto antagonists of the show, and do so well. Kohler in particular seems to be having a marvelous time. While there were places where his performance could be dialed back a bit to avoid becoming a touch too campy for even the zany world of the Brewster house, he’s another stand-out in an overwhelmingly strong cast.
The attention to detail in the design of the production is admirable. Designers at the Hale have the unique challenge of needing to create with a level of detail generally not required of theatrical productions because of audience proximity to the action. Scenic Designer Jason Baldwin’s set supports the story brilliantly, with so many delightful details it was no wonder audiences wandered closer to hunt for treasures before the show and during intermission. I was especially tickled by the purposeful selection of artwork and tchotchkes around the set, including a fantastic assortment of dolls. (Of course the Brewster women would collect bodies both in the basement and in the cabinet!) Costume design by Kim Wright was similarly well done. I especially loved seeing details like the distressed, ill fitting coat worn by Dr. Einstein and the nearly matching dresses worn by Abby and Martha.
It may be because I just moved back to Utah after spending several years in Orlando, but there is something about HCTO’s production that feels distinctly Haunted Mansion-adjacent. If you know the history of the Mansion, Disney’s Imagineers differed on whether to turn the ride into something sincerely scary or more on the silly side of spooks. The result is a beloved ride that doesn’t really make sense, but no one really cares because it’s a good time. Arsenic and Old Lace is cut from the same cloth. At times farcical, at times macabre, and only occasionally serious, Arsenic and Old Lace is a strong production and a delightful way to usher in the Halloween season to come.
This review was supported by a generous grant from the Orem CARE program.
