Fall Into the "Deathtrap" with The Rep This Month

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The Resident Ensemble Players (REP) fully deliver in the form of Ira Levin’s 1978 Edgar Award-winning play Deathtrap – a dark thriller with a perfect blend of schemes, plot-twists, and black humor.

Ira Levin's Deathtrap playing now at The REP.
Photo courtesy of The REP.

Formerly successful playwright Sidney Bruhl (Lee E. Ernst) has had a recent string of theatrical failures; is dealing with writer’s block; and is getting short on cash. A potential change in fortune arrives in the form of a brilliant script sent by former student Clifford Anderson (Mic Matarrese). Clifford’s thriller – also titled Deathtrap – has all the makings of a Broadway hit. Sidney tells his wife, Myra (Elizabeth Heflin), that the student’s play could put him back on top if he steals it and passes it off as his own. But for that to work, Clifford would have to be out of the picture. Permanently. Myra sees the wheels in Sidney’s head turning and hopes the unthinkable hasn’t really been considered. Sindey assures Myra he is only kidding and would never truly entertain such an atrocity just to steal a script. But the play is called Deathtrap…

“I’m interested in the thievery,” says Interim Producing Artistic Director Steve Tague. “It is an old premise, but we don’t seem to get tired of it. What are we willing to do for success, or money, or fame, or admiration?”

Director Michael Gotch keeps the pacing tight and uses the wonderful set by Stephanie Hansen in ominous and oddly comforting ways. When Sidney isn’t scheming, he’s enjoying his brandy by the fire and fawning over his collectibles – various weaponry. But when his doddering evil takes hold of him, Sidney’s surroundings become his killing fields. Credit to Ernst for appearing tough to decipher when he’s being nice and when he’s sizing up his prey.

Matarese is solid playing a character who may just be too smart for his own good. His Clifford initially seems overwhelmed, but grows bolder and more driven in purpose as Act II develops.  The cast also includes REP company members Stephen Pelinski (attorney Porter Milgrim) and Kathleen Pirkl Tague (psychic Helga ten Dorp). The portrayal of ten Dorp is somewhat over-the-top, but provides humorous portents of things to come and unknown things that were. Plus, her hair – and that of Matarese – are glorious. Kudos to Denise O’Brien for her wig design.

The show is a pleasure to experience and holds up well after almost 50 years. Celebrated author Chuck Palahniuk praised Deathtrap thusly: “Everything looks so gorgeous and simple and approachable, but on the other hand, it’s so incredibly complicated and beautifully assembled.” I concur.

With over 1800 performances, Deathtrap is known as one of Broadway’s greatest successes. It was even adapted into a film starring Michael Caine and Christopher Reeve. Interim Producing Artistic Director Tague concludes: “The consequences of deception are the deliciousness of this play. It’s a wicked, outrageous romp that won’t disappoint.” 

Warning: This production includes strobe lights, gunshots, violence, and profanity. Many audience members gasped and visibly reacted to some of the surprises the plot revealed. 

Performances of Deathtrap run April 11-28 with Opening Night being April 13. Informal talkbacks with the cast take place following the evening performances on Thursday April 13 and Friday April 26. Two “prologues” occur on Saturday April 20 and Sunday April 28. Tickets prices range from $30-39 with discounts available for students, seniors, plus University of Delaware faculty and staff. Tickets can be purchased online at www.rep.udel.edu; by contacting the REP box office at (302)831-2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12 to 5 PM. The show runs approximately 2 hours and 20 minutes with one 15-minute intermission between acts.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling (302)831-2204 or emailing cfa-boxoffice@udel.edu.

The preface to the published script describes it as "...something so evil that it infects all who touch it...” but I would say it entertains all who witness it. Call it a Murder Game…

Go "Backstage" and Discover a New Film by Kevin Austra

Jeff Gudzune writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

Theater is a world of its own. A multi-faceted realm where reality intersects with fantasy and art is given life. It isn’t easy. Anyone who has gone through the rigors of cold readings, callbacks, and the emotional roller-coaster associated with awaiting a casting decision can attest. Actors are not simply reciting words; they are giving of themselves to bring their characters to life. It’s a wonderful, collaborative, and exhausting process. It is agony and ecstasy. Directors have the arduous task of taking the script and translating their vision into blocking. Set Designers must bring the bare stage to life. Costume Directors must outfit an entire troop in keeping with the theme of the show, often using a shoestring budget. In essence, every theater is a community theater. Months of work go into production — most of it happening before Opening Night. But what of the drama that happens behind the curtain?

Backstage is a film that exposes the gritty underside of theater with a careful mix of humor and drama. An unnamed theater group is working hard on their winter show, Romeo and Juliet. Among the cast is newcomer Sam, whose struggles with bringing his character to life will strike a familiar chord with many neophyte thespians. Sam is the everyman, a complicated person with a backstory that is cleverly revealed throughout the film.Among the players, each one represents an archetype of the theatrical world. There are stars, prima donnas, hams, and old hands. There is the frustrated Director, the sanguine Stage Manager, and the interfering Board Member. While the principal focus of the dramatic arch is Sam, the ensemble characters stand out with their own stories.

The cast of Kevin Austra's new film, Backstage.
Photo provided by Kevin Austra.

Backstage is an independent film by Kevin Austra, shot entirely inside the iconic Everett Theatre in Middletown, Delaware. Utilizing a cast of local actors, the film examines the complex dynamics of the theater itself. While there are points where the timing seems slightly off, and some of the lines are rushed, the performances are nuanced and poignant. Among the more memorable moments is a conversation in which a more experienced performer explains why he accepted the relatively minor role of Montague even though he thinks he deserves a larger role. Confronting a younger performer, whose inclusion in the cast was the result of his association with a prominent board member, the older actor explains that at the end of the day, the theater is where he wishes to be. His job may pay the bills, but the theater is his life.

This alone underscores the reason actors, directors, stage crew, and those who run the theater do what they do for little to no pay. It’s not about the money, it’s about the art. There are moments in the film where it seems as if the characters have lost their direction, and the plot seems to grind to a halt. This can only be deliberate, as the tone change represents a transition into the more serious aspects of the drama.

Find out more about the filmmaker at www.kevinaustra.com.

Kick Up Your Heels with Wilmington Drama League's Snazzy "Kinky Boots"

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The cast of WDL's Kinky Boots. Photography by Rich Lee. 

The Wilmington Drama League is staging an enthusiastic rendition of the much-beloved show Kinky Boots at its refurbished theater on Lea Boulevard. If the standing ovation the players received on Opening Night is any indication, this production is one the reader should make plans to experience!

Kinky Boots is an award-winning musical with music and lyrics by Cyndi Lauper and book by Harvey Fierstein. Based on the 2005 British film of the same name – written by Geoff Deane and Tim Firth (and mostly inspiredby true events) – the musical tells the incredible story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they aren’t so different plus are stronger together than apart.

Disparate Charlie (Stephen Piergrossi) and Lola (Aubrey Murphy) connect over two common bonds – shoes and people. Charlie is as loyal to his factory workers as Lola is to her “Angels” – drag performers like her who form her family. They are also true to themselves – who they are and what they aspire to be. 

Piergrossi and Murphy leapt off the stage with powerful voices and sincere emotions that kept the audience rapt. Piergrossi excelled with his touching solo “The Soul of a Man.” It seemed like every Lola song morphed into an epic disco number with bright lights, a chorus of dancers, and a party atmosphere. Murphy held the audience in a trance with her subtle yet strong movements and pointed dialog. You really can’t take your eyes off her. “Celebrate yourself triumphantly,” she says…and does.

Kudos to director/choreographer Patrick Murray for filling every inch of the multi-level modular stage (by Aaron Cook) with dancers, props, and overall action. I especially enjoyed the slapping fans, elevated conveyor belt catwalking, and the visuals during the boxing match. Timothy Cannon and Laurene Eckbold must be cited for the costuming of everyone in the show, but especially Lola and her Angels. The sassy Angels were played by Cannon, Tommy Fisher-Klein, Keian Hagstrom, Todd Hartsock, Galen Keliikuli, and Ricky López.

The crux of any show is the interaction between characters on stage and with the audience. There’s no room for “stupid hubris” (Charlie) and the actors bear all for us to appreciate. At the same time, the core for any musical is the performance of the songs. While many of the songs feel the same, the high energy and quality of the vocals elevate the musical numbers into crowd-pleasers. Simply put, this production of Kinky Boots has you rooting for all sides to win from the get-go. The coda “Raise You Up/Just Be” got the crowd up and moving in their seats for a rollicking finale.

I’d be remiss if I didn’t single out solid performances by Meghan Arters (Nicola) and Catherine Callahan (Lauren) as Charlie’s romantic interests. Both portray characters with kind souls who have no real malice toward people when things aren’t quite going their way. They’re both strong actresses and singers whose postures and authenticities shone.

Performances of Kinky Boots run from March 8 through 17 on Friday and Saturday nights (8 pm) plus two Sunday matinees (2 pm). Tickets prices are $25 with senior/student tickets $20 and children (12 or younger) $15. Group ticket rates are also available through the box office. Tickets can be purchased online at wilmingtondramaleague.org; by contacting the box office at 302.764.1172; or visiting in person at 10 Lea Boulevard. The show runs approximately 2.5 hours with one intermission.

The Wilmington Drama League seats 260 patrons, including six wheelchair bays. The newly revamped theater is equipped with an ADA compliant entrance ramp and bathrooms. “Flex Tickets” are also an option for those who plan to watch several WDL shows, but maybe not all of them. Inquire at the box office. 

“The most beautiful thing in the world is a [red!] shoe.” – Lola