BWW Reviews: Everyman Kills With DEATHTRAP

In the murder mystery genre, there is a subcategory- set in a smallish locality, with plenty of intrigue, few depictions of graphic violence, an intimate group of characters whom we come to know quite well and a plot that keeps the reader guessing right up to the final reveal- known as a "cozy". Everyman's current production of DEATHTRAP qualifies on all levels.

Everyman Theatre Company, in operation since 1990, moved from its small, sightline-challenged space on Charles Street in January 2013. It is now located on Fayette Street between Howard and Eutaw, about a block away from the Hippodrome, in a building which was the Empire Theatre, The Palace, a parking garage and The Town Theatre Cinerama movie house in previous lives. The extensive renovations done to a building empty since 1990 result in a space that feels modern and spacious, with the warmth of exposed brick that may date back to the building's 1910 debut.

DEATHTRAP, written by Ira Levin, won a Tony award in 1978 and holds the record for the longest running comedy-thriller on Broadway, totalling almost 1800 performances in four and a half years. No non-musical show since 1982 (and only 4 before, all the way back to the 1920s) has had a longer run.

The lobby, packed with an opening-night sellout crowd, did not advertise the location of the facilities, which made finding the ladies' room (downstairs) and the self-hang coat racks (also downstairs) challenging. So, for your edification: bathrooms are downstairs with coat racks right across the way. Accessibility is a non-issue, as the recently-completed renovations are entirely up to modern standards. The stairways are wide and not overly steep, the elevators obvious, the entrance at street level. The theatre is wonderful- the amphitheater-styled interior gives good visibility, the seating aisles are uncramped (knee room! how novel!), plenty of headroom for both a catwalk and flyspace, a staging area that is both proscenium and thrust and an invisible but impressive surround-sound system, of particular notice during an extremely realistic thunderstorm. Despite this roominess, it has a cozy feel to it, and the space is deceptive: it looks like a large house, but in reality holds only a few more than 250 guests. Beware of sold-out shows.

The set is magnificent and detailed, giving an aura of comfortable affluence and is thick with what might be items from fight choreographer Lewis Shaw's own personal collection. Jesse Belsky's elegant lighting design is imperceptible but exactly appropriate, changing subtly to create mood or time of day, the notable exception being the aforementioned thunderstorm. A delicately managed sound plot, designed by Stowe Nelson, adds to both the drama and the comedy at different points in the play. Taken further, it might wander into the realm of 'cheesy', but pulls just short, and is fun and effective. The crimson curtain closes for scene changes, which, considering the single set of the show, seem a little long, but there is jazzy piano music to keep us entertained.

Each of the five actors is well cast, audible, nuanced, and has impeccable timing. Dialogue is clever, delivery snappy, but the resident company cast is experienced enough to pause for laughter (so the audience doesn't lose the next line) without seeming awkward or artificial. Beth Hylton as Myra Bruhl executes some first-class blood-curdling screaming, an ability her previous measured delivery concealed. Director Vincent Lancisi demonstrates a deft touch with the twists and turns of the show. Levin's exciting little gem, well-written enough to make me disappointed that he lacks Neil Simon's productivity, defies spoiler-free description. It's cerebral without obscurity, cultured without condescension, and very, very funny.

Parking for Everyman Theatre can be found on Fayette Street in The Atrium Parking Garage directly opposite the theater, (the location of the former Ford's Theatre), for a reasonable $11.00, pre-paid.There is some street parking, but I don't recommend counting on it.

The show runs 2 hours 25 minutes, with one fifteen-ish minute intermission. During intermission, you may enjoy wine, beer or specialty cocktails, named for the characters in the show. There are also soft drinks available. The coffee is good and strong, not that you should need it to stay awake for this rollicking thriller.

Everyman's upcoming offerings include Ruined, by Lynn Nottage; Feb 4 -March 8, and Henrick Ibsen's Ghosts, directed by Donald Hicken; April 1 - May 3

DEATHTRAP at Everyman plays through January 11th. Saturday and Sunday matinees are at 2 pm. Friday and Saturday evening shows begin at 8pm, Sunday evenings 7pm, weeknights 7:30pm. The show is dark December 25th, but runs both the 24th and the 26th and is a swank alternative to movies or retail.

See https://everyman.secure.force.com/ticket#details_a0SA000000Gncs5MAB for a detailed performance schedule and to purchase tickets.

Everyman Theatre

315 West Fayette Street

Baltimore, MD 21201

443.615.7055 x 7132

www.everymantheatre.org

Depicted: Bruce Randolph Nelson and Beth Hylton as Sidney and Myra Bruhl

Photo courtesy of ClintonBPhotography

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