STAGE VOICE/REVIEW: "SLEUTH" @ THE REP STL
BY: ANDREA BRAUN - THEATRE ARTS CORRESPONDENT
Before David Mamet constructed a house of games, Andrew Wyke (Munson Hicks) already lived in one. Wyke is a renowned mystery writer whose Hercule Poirot or Adam Dalgliesh is called “St. John, Lord Merrydew.” He writes in the old-fashioned Christie style—a set up, a murder, a solution, and a resolution. His novels are formulaic and all the more popular for that, yet one gets the idea Andrew, the aging man, has seen better days.
He has surrounded himself with toys and board games. He has a life-sized model of a sailor with a creepy laugh. Even his doorbell triggers lights to brighten around his beautifully appointed English country home. He considers himself the ultimate gamester, until. . . .
On this night, Wyke has invited Milo Tindle (Michael Gabriel Goodfriend) for a gentlemanly discussion about Tindle’s affair with Wyke’s wife. Tindle relaxes as he realizes Wyke not only doesn’t mind about the affair, but he wants to set up a ruse whereby Tindle is to steal Mrs. Wyke’s jewels and pawn them. In turn, Wyke will report them missing and collect the insurance on them. It’s a win-win situation. But. . . .
Once the game is afoot, Wyke changes the rules. He lures the willing mouse into his trap until it springs. And I can’t say anything more about the plot because it would spoil this intricate, clever combination of homage to and send-up of the traditional British drawing room mystery.
The actors are fine, especially Hicks, who is best when he’s alone—working on his book, conducting an imaginary orchestra, and generally swanning about his little Wiltshire fiefdom. He’s also very good when he’s playing a “find the clue” game. Goodfriend has the more difficult part, and he is mostly up to it. They’ve had a lot of practice already, as this play has been shipped in from the Rep’s sister theatre, The Cincinnati Playhouse in the Park. The team behind the scenes is the same, as well.
And what a team they are! Michael Evan Haney is as much a choreographer as a director. Wyke moves like a dancer using the whole of the playing space, while Tindle does his bit in a smaller area—at least at first. In his program note, Haney mentions that Anthony Schaffer (twin brother of Peter whose Amadeus was a glorious season opener for the Rep) based Wyke on Stephen Sondheim who adores games and that the set looks much like Sondheim’s home. However, the scenic designer, Paul Shortt, talks about how he conceived and executed the brilliantly detailed and evocative space. James Sale’s lighting design is especially good because of how many moods—and quick shifts—must be reflected.
Sleuth was a true original in 1970, but in 2009, it doesn’t seem to have aged well. This may be due to our now being accustomed to so much novelty in popular culture: the manipulation of time, superheroes, aliens, Jane Austen with zombies and so on. A clever piece on old-fashioned gamesmanship just doesn’t pack the same punch that it once did. But it is still a lot of fun to see Wyke and Tindle go at it, with able support from Inspector Doppler (Stanley Rushton), Det. Sgt. Tarrant (Robin Mayfield) and P.C. Higgs (Liam McNulty). Game, set, match.
Sleuth plays at The Repertory Theatre of St. Louis through Nov. 8, 2009. Call 314-968-4925 or visit www.repstl.org.
