The Game’s Afoot
If local theater awards existed, North Coast Repertory Theatre’s last production of the season, The Game’s Afoot, would be nominated for several coveted (and imagined) Woody awards. With ugly Christmas sweaters, oversized magnifying glasses and half-in-the-bag smiles smattering the audience, the production is lively, spirited and fun. Despite my having one of those days, the show transformed my Grinch into a Buddy the Elf.
The Game’s Afoot is a Christmas whodunnit that revolves around an acting troupe, successful for a Sherlock Holmes stage adaptation, who gather on Christmas Eve to examine the series of murders and an attempted assassination of their colleagues. Murder mysteries are notorious for long expositions and character’s stories to stir suspicion in every player. While that’s still true for this show, director Scott “Q” Marcus utilizes his incredible cast to create a natural feel and appropriate pace to let the comedy unfold naturally; the rising action feels like a progression as opposed to a force-feeding with facts. Though some blocking (i.e. Shakespearean lines that break the fourth wall and put their back to characters meant to be witnessing their acting skills and obvious say-that-while-doing-this heavy handedness) sometimes steals from it, the style is effective overall.
Catherine Rivers Holper as Aggie is nothing short of mesmerizing. Equally sweet and timid, terrifying and lascivious, her acting skills are a pleasure to watch. Her interactions and connection with Kate O’Faolain’s Madge elevate all the onstage relationships and create a tacit backstory that makes everything more believable. Amadeus Brown as Aggie’s partner Simon delivers an equally stunning performance. His character is so believable, had I not seen him in other productions, I would swear he has a bit of a stutter and an awkward disposition. Both are deserving of awards.
Rachael Houska’s observant reviewer Daria is deliciously vexatious, as noted in my favorite line: “Of course she is rude and cruel, she’s a theater critic for god’s sake!” Houska plays her well. Willie Welton’s Martha, troupe leader and onstage sleuth Gillette’s (Steven Santos) mother, equalizes the cast. Equal parts Rose Nyland and Clairee Baker, she is the mother everyone wants and is even better after her character takes a couple of pills. I would love to see her take her intoxication to the next level and add a few shots of bourbon and some strong indica in inspiration. Moss Nipkau as Felix shows off some veteran acting techniques alongside Santos. On this night, there was a bit more air between lines that challenged momentum, though some line work will easily remedy it. I also wanted the pair to have more urgency in their scenarios — the consequence of them trying to move and hide a murdered body felt nonexistent. While the pace is meant to accommodate some hilarious physical comedy, without the heightened stakes, the bit feels too choreographed.
The production is aesthetically beautiful. The dull, Pepto-colored walls enhance all the detail of weapon decor. It is easy to believe it is an expensive house. Megan Hughes’ costume palate against the set is absolute perfection. The royal jewel-toned dresses and accessories are gorgeous, while suits, ties and vests fit in all the right ways. Daniel Butler’s lighting is perfect — simple enough to tell the story but enough detail (like programming the board so Christmas lights come up before the rest and lightning that moves) to be spectacular. I didn’t understand the dance choreography as the moment was awkward and unneeded, however, Shawn Wagner’s fight and stunt choreo is sadistically appetizing.
And the multiple Woody nominations go to The Game’s Afoot. Maybe the statue will come into fruition. Slap on an ugly sweater, get a free cookie and laugh at Christmas murders. Go get your tickets; it’ll sell out if it hasn’t already.
NCRT’s production of The Game’s Afoot continues with 8 p.m. performances Thursday through Saturday, Dec. 5-7, and a 2 p.m. matinee Sunday, Dec. 8. Visit ncrt.net.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
Cinderella
The current incarnation of the Cinderella fairy tale is hundreds of years old. A girl forced into hard circumstances meets a lonely prince, they fall in love, marry and live happily ever after. Those who deserve justice get it, wrongs are righted and, in Ferndale Repertory Theatre’s production of Rodgers and Hammerstein’s Cinderella, it’s all done with moving songs and entrancing dances.
Before you’ve even decided to buy tickets, you know Cinderella (Marina Benson) is a sweet and demure young lady. When you see her character posters advertising Ferndale Repertory Theatre’s production, you know those who aren’t pictured include a stepmother (Tina Toomata) and two stepsisters who force her to be a lowly maid in her own house. In this production, the sisters, ironically named Grace (Kira Lawrence) and Joy (Arielle Englund), are indeed mean and treat her unfairly, mimicking their mother. As you walk the picturesque streets of Ferndale in the crisp autumn air to the theater, you know Cinderella is going to find a way to the prince’s (Andrew Miller) ball with the help of a fairy godmother (Elaine Yslas) and possibly mice, where the couple meet and fall in love. As you peruse the concessions for a beverage and snack, you have no doubt that Cinderella will lose a glass slipper as she runs away from the ball just before her midnight curfew. As you figure out the theater’s seating numbers, you have no illusions about the ending: The Prince will scour the whole country with the aid of his trusty steward (Lionel, in this case, played by James Morris) for the foot that fits the shoe until he finds it and marries the girl, bestowing upon her the lofty status she deserves because she’s pretty. I mean, because she’s virtuous. Or is it because she’s demure? Doesn’t matter; it’s the happy ending that’s familiar as old socks. Now that you’re settled in and watching the theater fill up with all the different kinds of families Humboldt County offers, it’s time to get excited about what you don’t know: how the cast and crew of FRT is going to tell you the story. Let me assure you, it’s worth getting excited about.
I was surprised in the best way with the amount of humor throughout the show, from deliciously subtle faces pulled by Prince Charming during the ball to the slapstick skirmishes between the stepsisters. Morris’ Lionel is a pragmatic foil (with great comedic timing) for the quixotical Prince and the two of them during the “search for the mysterious girl” montage are a crowd favorite. Benson’s Cinderella is dreamy, delightful and an excellent match for her prince. This is a huge cast with a range of experience from familiar veterans to newly minted thespians, with many in the ensemble taking on multiple roles. For all the differences in cast and characters, they perform as a cohesive unit through all the moving parts to tell a wonderful version of the age-old tale in the legendary Rodgers and Hammerstein style.
Drawing notice is how well balanced the sound is; the volume of the music doesn’t overwhelm the singers, nor the singers the music, and the volume of both together don’t overwhelm the audience, for which I’m grateful. My thanks to the sound board operator Jaison Chand and sound designer Jaiden Clark for creating a sound space that supports the singers and allows them to carry the audience into the story with their beautiful voices. The costumes (Linda Muggeridge and Deirdre Bise) are opulent, joyful and do the heavy lifting of setting the fantastical tone. The scenic design (Micheal Charles Smith, Carl McGahan and Carin Billings) is fanciful and minimal, with my personal favorite being the marketplace.
Rodgers and Hammerstein’s Cinderella is unique in that it’s the only time they collaborated on a musical specifically written for live television broadcast. It’s decidedly different than the animated version you’re likely familiar with. The stage adaptation is enjoyable for the whole family. Ferndale Rep has two matinees to accommodate younger theatergoers, and the cast comes out into the house in costume for a meet-and-greet. Watching the children’s impromptu dance with Cinderella on stage makes me hopeful that the seeds of theater have been sown in the hearts of the next generation.
FRT’s Cinderella runs through Dec. 22, with Friday shows at 7:30 p.m., and Saturday and Sunday matinees at 2 p.m. Visit ferndalerep.org.
Doranna Benker Gilkey is a long time Humboldt County local who hopes to encourage other locals to go to more live shows.
OPENING
The Arcata Playhouse’s all-ages holiday musical pantomime The Valiant Red Rooster gets crowing with a choir and audience participation Dec. 6-15. Visit playhousearts.org.
This article appears in Flash Fiction 2024.