Review: THE MUSICAL COMEDY MURDERS OF 1940 at John Brown University Berry Performing Arts Center

Don't let the title fool you like it did me! I headed to John Brown University in Siloam Springs expecting a musical, but instead found myself immersed in a hilarious murder mystery filled with secret passageways, suspicious characters, and unexpected twists! This was my first visit to the university's Berry Performing Arts Center, and what a fun introduction! John Bishop's THE MUSICAL COMEDY MURDERS OF 1940, which ran September 25 through October 3, gave its talented student ensemble plenty of opportunities to shine.

Founded in 1919, John Brown University is a private Christian university whose Music & Theatre Department offers students hands-on experience in performance and technical production. I always enjoy discovering new university theatre programs throughout Arkansas, and I was excited to see what these students would bring to the stage.

Set in December 1940, the story takes place in the mansion of Elsa Von Grossenknueten, where theatrical personalities gather under the pretense of auditioning for a new Broadway musical. However, there is more to this gathering than meets the eye, especially since a mysterious killer known as the Stage Door Slasher has been terrorizing the theatre community. As secrets emerge, the guests find themselves caught in a dangerous game of deception, mistaken identities, and unexpected revelations. With hidden passageways, suspicious behavior, and a growing sense that nobody can be trusted, the play turns a traditional murder mystery into a fast-paced theatrical farce.

Now, I love a good murder mystery, especially when there are plenty of suspects and enough twists to keep me guessing. What makes this one particularly entertaining is that it also pokes fun at theatre people. We all know performers can be a little dramatic, and Bishop takes those colorful personalities and puts them in a situation where practically everyone has something to hide.

One of my favorite aspects of this production was the beautiful set! The mansion was impressive, but what really caught my attention were the bookshelves that doubled as secret passageways. When certain books were pulled or levers activated, the shelves moved to reveal hidden entrances and exits. How fun is that?! I loved watching characters suddenly appear and disappear through these secret spaces.

And then there was the snow! Outside one window, snow was falling, making it feel like a winter storm was raging beyond the mansion walls. Between the moving bookshelves and snowy window, the technical elements brought this mysterious setting to life. I love when a set becomes part of the storytelling rather than simply serving as a backdrop.

THE MUSICAL COMEDY MURDERS OF 1940 is a true ensemble show, with every character contributing something important to the mystery. Farce requires precise timing, quick reactions, and the ability to keep a complicated storyline moving without losing the audience. These students embraced the challenge!

Julia Mccarty was an absolute delight as Elsa Von Grossenknueten! She embraced Elsa's dramatic, over-the-top personality with such enthusiasm that I couldn't help but love every exaggerated moment. After all, when you're hosting a mansion full of eccentric theatre people, why not be the most dramatic person in the room? Mccarty understood exactly how to make Elsa's larger-than-life personality work within this outrageous story.

Lillian Martin was especially entertaining as Helsa Wenzel, whose identity becomes part of the mystery itself. Helsa is not quite who she initially appears to be, and Martin gets to explore different personas and accents as the story unfolds. 

Garrett Cote did a wonderful job portraying Michael Kelly, bringing a commanding police presence to the mansion while embracing the humor surrounding him. I especially enjoyed his scenes with Mccarty's Elsa. The contrast between Michael's no-nonsense attitude and Elsa's dramatic personality made their interactions particularly funny!

Brayson Saunders as Patrick O'Reilly, however, completely caught me off guard. I certainly wasn't expecting him to be revealed as a Gestapo agent! One of my favorite elements of this production was watching the characters reveal their true identities. Just when I thought I had someone figured out, another surprise would change everything. 

And can we talk about Daniel Goodlin as Ken De La Maize? Oh, he was a hoot! Goodlin brought so much personality to Ken through his animated expressions and dramatic flair. I loved how completely he embraced his character's theatrical nature, making Ken someone I looked forward to seeing whenever he entered a scene. Goodlin certainly knew how to command attention!

Sadie Snodgrass as Nikki Crandall and Jaxon Davis as Eddie McCuen made a delightful pair! Their interactions felt natural and playful, and I enjoyed watching them navigate the increasingly complicated circumstances. Snodgrass was especially convincing as Nikki, doing a wonderful job concealing her character's true identity as a Naval Intelligence officer. Davis complemented her performance beautifully, and their easy rapport made their scenes together especially enjoyable.

Kate Enoch as Marjorie Baverstock and Anna Potter as Bernice Roth were another memorable pairing! I especially loved the little tiff between these two. Marjorie had a commanding, no-nonsense personality, and Enoch brought a wonderfully sharp attitude to the character. Meanwhile, Bernice became less concerned with maintaining her composure as the evening progressed thanks to the many drinks she consumed as the evening became more dangerous. They made a marvolous contrasting pair.

And then there was Jon Woodard as Roger Hopewell! Though the title suggests a musical, this is actually a comedy mystery revolving around people involved in musical theatre. However, we did get a little music, thanks to Woodard, who treated us to some beautiful piano playing. I absolutely loved those moments! Anytime live music finds its way into a production, it makes my heart happy, and Woodard's musicianship was certainly appreciated.

What impressed me about this cast was how well the performers worked together. With so many characters, secret identities, and unexpected developments, everyone had to stay connected to keep the story moving. No single performer carried the production. Instead, each contributed a distinct personality to this wonderfully peculiar gathering.

Behind the scenes, Addy Cabell served as Stage Manager, assisted by Haley O'Keane. Caleb Ruth handled Sound Design, Noelle Hogue served as Music Director, and Heath Stark and Judah Winn designed the lighting. Sunny Lee designed costumes, Anna Potter handled Hair and Makeup Design, and Zofia Leverette served as Properties Master. Abby Snell and Amelia Boggess worked on stage crew, Jacob Boetig operated the light board, Fernando Gomez operated QLab, and Nora Phelps and Levi Jones served as Audio Engineers. Bowen Hurley designed the program and poster.

I especially appreciate seeing university students take on multiple responsibilities in a production. Several performers also contributed behind the scenes, alongside the costume and scene shop teams. Those clever bookshelves and the falling snow were wonderful reminders of how much creativity and teamwork go into bringing a story to life.

For me, visiting a new university theatre program is always an adventure. I enjoy discovering new performers, seeing how different schools approach their productions, and celebrating the students who dedicate their time to the arts. John Brown University certainly selected an ambitious comedy, and I appreciated the energy and commitment these students brought to the stage.

Coming up next is the Fall Choir Concert, and then The Hunchback of Notre Dame October 30-November 8, which is one of my favorites. For more information about this amazing program, visit their website at https://www.jbu.edu/academics/music/.

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