Review: ARSENIC AND OLD LACE at The Candlelight Theatre

It doesn’t matter if you know the stage version, or the movie version, or don’t know anything about it, just know ARSENIC AND OLD LACE has an easy to follow plot that leads you down a path of hijinks straight to your funny bone. The stage version penned in 1939 opened on Broadway in January 1941 starring Jean Adair and Josephine Hall as the Brewster sisters. You may not know those names, but you most likely will recognize the actor playing Jonathan Brewster being the one and only, Boris Karloff. Given Boris Karloff was in the cast, and the title of the play includes the name of a poison, one could easily posit the existence of a dark and deadly essence infusing the play. And, you would be correct. But the darkness isn’t the entrée, it’s the comedy that feeds this satisfying three act meal.

The actual undertakings in a house on Prospect Street in Windsor, Connecticut between 1907 and 1917 may have inspired playwright Joseph Kesselring. That is where Amy Archer-Giiligan operated the Archer Home for the Elderly and Infirm which just so happened to be the same place where lifetime care clients had a knack for dying shortly after “giving” a large sum of money to Mrs. Archer-Gilligan. Investigations into the deaths found that Mrs. Archer-Gilligan bought large quantities of arsenic and strychnine to kill rats. Authorities counted 48 deaths in the nursing home but it is believed Mrs. Archer-Gilligan may have been a bit busier than that. One of the OG female serial killers, Mrs. Archer-Gilligan was tried in 1917, found guilty, sentenced to death, appealed, retried in 1918, and subsequently sentenced to life in prison. In 1924, she was transferred to the Connecticut Hospital for the Insane where she died in 1962. Not a Hallmark movie script, is it? How could a playwright find the funny in that? Well…by creating two perpetrators who are just the most adorable, sweetest little ol’ ladies you can’t help but give a pass to.

The plot in short: Two sisters, Abby and Martha, provide lodging to older gentlemen with no attachments promising them a comfortable place to live until the end of their days. Also living in the house are their nephews, Mortimer, a theater critic, and Teddy, who squarely believes he is President Theodore Roosevelt. For the most part, the sisters have been going about their business with ease and efficiency. Lodger arrives, and while chatting with the sisters on all sorts of topics, most importantly, their religion, the Lodger enjoy a specially crafted elderberry wine. Lodger shockingly passes away. The sisters alert Teddy of another yellow fever victim, the sisters utilize Teddy’s passion for digging locks for the Panama Canal (in the basement) to bury the newly deceased, after which, they hold services of the appropriate denomination. After all, you wouldn’t want to give a Catholic service to a Methodist, would you?  Do the sisters do it for the money? Who knows, who cares? Young Mortimer is too engrossed with his job and his fiancée, Elaine Harper, to ever notice any strange or unusual goings-on; that is until he discovers the latest elderberry wine connoisseur, Mr. Hoskins, in the window seat box. Quite out of sorts from the discovery, Mortimer becomes completely unhinged when his aunts explain they are responsible for Mr. Hoskins, as well as other basement residents. In his attempt to safeguard his aunts, Mortimer puts Elaine through an emotional wringer sending her into full stubbornness mode. And, if that isn’t enough, Mortimer’s long-forgotten brother, Jonathan, who now resembles Boris Karloff, makes his way home with his partner in crime, Dr. Einstein, and their own dead body, in an effort to evade the authorities. If the Brewster’s had family game night, I suppose they would play, “Who’s Crazier?” and “Whose Body Is It Anyway?”

In this gifted cast, Janean Clare and Susan Giddings play sisters Abby Brewster and Martha Brewster, respectively. They are both so sweet, so kind, so giving, and oh, so cunning. Abby exudes more of the doe-eyed, “Who? Me??” kind of assassin while Martha has a subdue inner “prove it” type of vibe. Their portrayals are pleasant, evenly measured, and firmly grounded in the grandmother everyone loves, wouldn’t hurt a fly façade. Both actresses make it easy for the audience to forget about the sisters’ deeds and root for their success. Taking up the role of Teddy, Shaun Yates gleefully charges his way to the laughs with the aid of several props and costume accoutrements. Although, I feel there’s room for a bit more slapstick with the character and props to fully encompass his daffiness. Johnny Drumgoole delivers a delightful and smartly played Mortimer complete with the necessary physical comedy and quick-change emotions - spirited, anxious, flummoxed, hopeful, confounded – necessary for keeping (or attempting to keep) all of the plates spinning.

Steve Connor as Jonathan and David T. Wills as Dr. Einstein capably fulfilled their duties as the villains so much so that audience members amusingly booed while clapping during their curtain call. That is the true test of success! Mr. Connor brings menacing physical and intimidating vocal attributes to Jonathan to heighten the creep factor. Add in Jonathan’s family tree of maniacs and you reach super creepy. Mr. Wills agreeably delivers a sleazy, unethical, and corrupt quasi-henchman to Jonathan.



Laura Mancano as Mortimer’s fiancée Elaine nicely handles the no nonsense, rational thinking character by giving Elaine subtle inner strength and the ability to remain calm during Mortimer’s shenanigans. Her father, The Rev. Dr. Harper (William R. McHattie), very briefly seen in the beginning of the play, along with two other bit character seen later, Mr. Gibbs & Mr. Witherspoon (Jack Dibeler), aren’t actually needed to convey the story and I’ve never understood why playwrights do such a thing. The other smaller roles of Officer Brophy (David Cuff), Officer Klein (Michael Ignudo), Officer O’Hara (Mac Versak-Kennedy) and Lieutenant Rooney (Dan Healy) all have some purpose – buffooning cops. However, the final scene with the authorities lumbers along, giving too much to characters we have no investment in while taking away from the comedy of the main characters. Yes, I know, it’s too late to ask for a rewrite. Every actor in these roles gives it their all and turns in earnest work.

Tom Teti’s stage direction is clear and fluid. The performers work well with and off of each other to create an amicable ensemble. The laughs are genuine, organic - not forced or purposely mined. Costumes (Timothy Lamont-Cannon) are period and character appropriate. Clayton Stacey offers his usual loveliness with wigs, hair and makeup. Aaron Kirschner provides a solid sound design as does Matthew J. Kator with the lighting design. The wonderfully colorful and well-appointed two story set (Matthew Kator – Set Design & Anthony Connell – Set Dressing) garnered the highest of compliments from my tablemates. The wallpaper – chefs kiss!  

Candlelight is after all a dinner theater so be prepared to fill your belly before you laugh. As most dinner theater do, your server may also be a character in the show, who will merrily provide your intermission drinks and desserts in full costume.  Remember to tip your servers no matter what they wear!!  If you don’t want to dine at the theater, call the box office to ask about Show Only tickets (and I think you may be able to purchase drinks from the bar with those tickets).


ARSENIC AND OLD LACE
Written by Joseph Kesselring
Directed by Tom Teti
The Candlelight Theatre
2208 Millers Road
Wilmington, DE 19810
(302) 475-2313
www.candlelighttheatredelaware.com

Photo Credit: Tisa Della-Volpe