REVIEW: SLEUTH Continues Repertory Theatre of St. Louis 2009-2010 Season

I have to be careful when describing Anthony Shaffer's classic play Sleuth, because I want to make sure I don't give away any business that might reveal the many twists and turns that occur as events unfold. Sleuth, being a thriller of sorts, may be best viewed by a novice, where its many intricacies of plot can be better appreciated, although that may be increasingly difficult to accomplish with the recent cable TV airings of the 2007 film remake. However, that attitude would be doing a disservice to Shaffer's witty script, which offers up a steady stream of delicious and sharply barbed dialogue to enjoy. The Rep's current production is a dazzling show that engages the viewer from start to finish. Even someone familiar with the outcome will enjoy this performance-driven presentation.

Hack mystery writer Andrew Wyke is acutely aware of the indiscretions his wife has committed. In the true spirit of an English gentleman, he invites her paramour, Milo Tindle, to his country home on the pretense of settling this delicate matter in civil fashion. But, nothing is ever how it appears to be in this play, so even that setup masks Andrew's true intentions. He explains to the skeptical Milo that there's no way he can keep his soon to be ex in the manner she's accustomed to, and that that will lead to her return, which is more than he can stomach. So, he hatches a plan whereby Milo will steal valuable jewels from his safe while he claims the insurance money. However, the scheme begins to go through a series of convolutions almost immediately, and it becomes clear that Wyke has actually constructed an elaborate game of revenge. But, has he underestimated his opponent?

Munson Hicks and Michael Gabriel Goodfriend are convincing as Andrew Wyke and Milo Tindle, respectively. Their interplay is an essential part of what makes this show really work, and their reactions have a spontaneity about them that allows this material to remain fresh and invigorating. Hicks plays Wyke with an arrogance that fits this aging novelist perfectly. His contempt for the science of police work seems to extend to his loyal readers as he dashes off an absurdly ridiculous conclusion to his latest tome as the play opens. And, when Wyke manages to lose some measure of control, Hicks ably conveys his sad desperation. Goodfriend is equally up to the task as Milo, who unwittingly becomes a pawn in Wyke's mental chess match. Milo succumbs to his own greed in going along with Wyke's suggestion of robbery, and in doing so he finds himself forever changed in the process. Goodfriend's early sense of unease masks his ability to match the opposition blow for blow, making the payoffs that much sweeter. Shaffer's cat and mouse game is in fine hands with this pair.

Michael Evan Haney's direction is focused and assured, and though the play lends itself to some static moments here and there, this is compelling entertainment. But you might find it hard to take your eyes off of Paul Shortt's fabulous scenic design, which equips this eclectic two-story English country home with a spiral staircase, and a slew of interesting references to doubles and duplicity in the prop selections that decorate the manor, even extending the gaming theme to the chess board flooring. James Sale's lighting brilliantly illuminates the action to create the proper tension, and Gordon DeVinney's costumes work to help define each character clearly.

The Repertory Theatre of St. Louis's thrilling presentation of Anthony Shaffer's Sleuth continues through November 8, 2009 on the mainstage at the Loretto-Hilton.

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