author: Erin Tarpley
“You can not make an omelet without breaking eggs, every cook will tell you that. But look what happened to the cook!”
A stormy night. A lone eerie mansion owned by one, Mr. Boddy. A mysterious party invitation sent to six unrelated party guests. An assortment of items that lead to a murder (or six). These are the initial ingredients for a night of mystery and fun at the Kennedy Center’s Opera House for the performance of the hit show: Clue.
Based off of the classic 1985 movie of the same name (which itself was inspired by the infamous Parker Brothers board game), Clue brings the wit and the zing of its predecessors to truly have the audience rolling in laughter while they try to solve the puzzle of the mysterious murders taking place within the Boddy Manor.
While the dialog and the acting are the main attractions of this production, the first thing to really make the audience gasp is the astounding scenic, light, and sound designs of Lee Savage, Ryan O’Gara, and Jeff Human, respectively. The moment the curtain rises, the audience is transported to a breathtakingly beautiful country manor; complete with mahogany floors and tall wood paneling that seemingly reaches the heavens, and adorned by lighted sconces and chandeliers that shine like the night’s stars. Obviously inspired by the original board game’s art, Savage brilliantly makes use of rooms (and hidden passageways) that are able to appear and disappear into the walls while also making the absolute best choice in colors to distinguish each room and hallway, giving each the nostalgic feel of one being submerged into the 3D version of the 2D board used in the game. O’Gara and Human also pair beautifully to create the sense of a dark and stormy night, while never allowing the gloom and doom of the evening to damper the laughs and hijinks that continue onstage.
But while the background and atmospheric setting are amazing, the attention to costume design by Jen Caprio is just as equally fabulous. While the characters invited to this evening’s soiree are instructed to forgo their actual names and assume the pseudonym of various colors, the choice of each character choosing to match that color, accent the color, or forgo the use of assigned color all together, is evident in the lovely 1950’s styling assigned to each. For example, while most characters may have accents as a nod to their respective colors, it makes sense that the character of Miss Scarlet would embrace her red evening gown as a sign that she is one that frankly doesn’t give a damn. While the character of Mrs. White is a force that lives by the beat of her own drum (even if none of her past dead husbands ever could), and wears black as a sign of performative mourning in addition to her defiance to the assigned color of “white”. As for Colonel Mustard… well, he’s not the type to have enough brain power to think about these types of things, so military mustard-khaki suits him just fine!
Now, I know what you are really here for. The performance! And you are correct. In a production that already shines with every visual aspect set before you on stage, the actual action of the show is what will rope you in. Based on the screenplay by Jonathan Lynn, and written by Sandy Rustin, the dialog is sharp as a dagger and a gem in its own right. But with the direction of Casey Hushion, this gem shines brighter than a well-polished candlestick with its ability to maintain the pacing of a revolver’s speeding bullet to wrench every laugh possible that will leave you piping for air!
But in all seriousness, the pacing is what makes the humor of this production immaculate. Set at a pace that never allows lines to be spoken over another, it also nary allows for much of a breather in between dialog. As an effect, this keeps the audience’s rapt attention for the next laugh with each tragedy that unfolds so as to only add to the suspense in this who-done-it. The use of movement during larger transitions allow for a seamless change of locations within the manor that also serve as another opportunity for merriment as it often breaks with the more traditional seriousness of the comedic scenes, and comes across at times as a live-action “Scooby Doo” run that works fabulously!
The cast boasts a fantastic ensemble of characters that each shine and delight in their own ways. Led by the butler Wadsworth, played by Mark Price, his snooty and seemingly all-knowing presence is contrasted with the physicality of some of his over exaggerated lines-to-actions that makes his over-the-top recap of the events of the evening enough to split your sides laughing. Seemingly employed for the evening is the stereotypical French Maid personified that is Yvette, played by Elisabeth Yancey, Yancey adds the “oo la la” on stage with her comically exaggerated French accent and bodacious presence.
First to arrive at the manor for the evening, and always last to understand whatever is at hand, John Treacy Egan charms with consistent buffoonery as Colonel Mustard. Black widow, Mrs. White, played by Tari Kelly, exudes a dominant presence that beliles her poor meek widow demeanor, and never fails to elicit a sharp look or turn that plays to the overdramatics of camp. Joanna Glushak follows close behind as Mrs. Peacock in the comedic juxtaposition of high morals, and high moral failings as she refuses all alcohol offered and swears that her “lips belong to the lord” while never failing to impressively throw back a flask of her own personal stash.
Mr. Green arrives at the manor next, played by the very flexible John Shartzer. Whether he be toppled by a dead body, or nearly toppled by a falling chandelier, Shartzer’s physical humor will impress and beguile you as you snort-laugh at his antics, and have you leaving the theatre convinced he is a man made of rubber. Professor Plum, played by Jonathan Spivey, is a man oozing of arrogance that will have half the audience (especially the feminine half) rooting for his downfall. And finally, Miss Scarlet, played by the charming Christina Anthony, is both commanding and nonchalant in her demeanor, allowing for the comedy of her “straight man” character to shine in a simple look.
While this production very closely follows the 1985 movie, both theatre goers that have and have not seen the movie will enjoy this production. Again, it is the fantastically quick pacing that really makes this already brilliantly comedic script a tour-de-force of laughter. While the production does advertise a 90 minute run-time, the particular production I saw clocked in at only 75 minutes, so clearly, that fast pacing is in action! For those that have seen the movie, you’ll get a real kick at how this beauty comes to life on stage. For those that have not yet seen the film, well it’s up to you to deduce whether it was Professor Plum in the library with the candlestick; or was it Mrs. Peacock in the study with the rope? To find out what really happened, get a clue and buy your tickets now for Clue!
Running Time: Approximately 90 minutes with no intermission.
Clue plays through October 6th, 2024 in the Opera House at The John F. Kennedy Center for the Performing Arts, 2700 F Street NW, Washington, DC. For tickets call the box office at (202) 467-4600 or purchase them online.
