I think many directors salivate at the idea of reworking their theater pieces despite knowing it is a double-edged sword. As a production runs, actors’ discoveries, relationships and the merging of tech solidifies, creating a slew of nuance that can be explored and expanded. However, that evolution could result in the production feeling overworked to the dismay of an audience hypercritical of possible changes. Ferndale Repertory Theatre’s remounted A Gentleman’s Guide to Love and Murder displays the excellence of an experienced director, phenomenal cast and shared commitment to go further with this audience-pleasing production.
Monty Navarro (Jordan Dobbins) learns from Miss Shingle (Eliza Klinger Rouse) that he is part of the affluent D’Ysquith family (played entirely by Andre LaRocque) and eighth in line for their inheritance. Motivated by his love for Sibella (Jessy McQuade), he plans to advance his position by killing off the succession. He eventually meets Phoebe (Holly Portman), which reinforces the need for the murderous plot and puts him in an awkward romantic entanglement. The cast performs in an over-the-top farcical and surreal comedy style complete with spit takes, over-exaggerated expressions and reactions directly to the house. Director Todd Hoberecht capitalizes on a beautiful stage design (Carl McGahan), costumes (Denise Ryles and Rosemary Smith) and precise movement and vocal nuance to reinforce this bold style. From the opening scene, it does not take the audience long to invest completely and become equipped for the hilarious absurdity that ensues.
Undeniably, Hoberecht has assembled an incredible cast of local acting elite that puts their skills on full display. Dobbins, a vocal powerhouse, does not miss a note in the waltz-heavy and word-packed music. Coupled with eye-bulging, face-stretching reactions and a naive innocence, it is sometimes too difficult to believe the nefariousness of his character. Still, he delivers a mesmerizing performance. Every one of LaRocque’s many characters are alive with their own identity. Because they are all related, the reuse of his extensive comedic toolbox with some characters (particularly the woman) enforces the family traits and compounds the laugh. Portman’s strength in building believable, excessive characters that somehow read naturally is uncanny. I would have liked to see more of a character arc to justify her initial bold choices, but her acting and commitment to character is enough for stardom. McQuade is a fine balance between character confidence and personal doubt. Throughout, she exudes power and surety that makes her shine like the star she is. The belief in that will make an already excellent performance transformative. I must see more of Klinger Rouse. She is, simply put, breathtaking. Even in her small role, she was definitely one of the most memorable.
The rest of the ensemble can easily carry leading roles brilliantly (and have in other productions). Standouts are Abi Camerino and Filip Amborski who enhance every scene they are in. While every individual was great on the night that I attended, sometimes revisiting work leaves actors thinking more of what they want to show than allowing the truth of their circumstances to guide them. A fake moustache or wig falling off, an uncooperative picture frame not coming off the wall, spilled water soaking a dress, a sword hitting a body part just a bit too hard — all can be used with hilarity and spontaneity to create the best moments in theater subsequently solidifying character development and relationships. As the opening night jitters fade away, this show will surely blossom.
Not much more can be said about FRT’s sound. Although Emma Dobbins does a great job designing around what they have to work with, it remains a well-known problem. These productions work far too long and hard to have their work blighted by something that should have been addressed long before this production. Might I suggest (or plead) investing in someone that can rework the entire sound system to ensure that amazing productions like A Gentleman’s Guide to Love and Murder aren’t sabotaged?
Despite the issues most who attend this show will not notice, it is an incredible piece that deserves full houses. There is a reason this production was so popular the theater mounted a redux. If you saw it the first time, you will be treated with more nuance and realization. If you missed it the first time, I implore you not to make that mistake again.
Ferndale Repertory Theatre’s production of A Gentleman’s Guide to Love and Murder continues through Feb. 23, with performances on Fridays and Saturdays at 7:30 p.m. and matinees on Sundays at 2 p.m.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
NOW PLAYING
Papaya Lounge: Supernatural(s) continues its raucous ride at Dell’Arte’s Carlo Theatre Feb. 6, 7 and 8 (sold out) at 8 p.m. (ages 18 and up). The Feb. 6 performance is followed by a Performing Arts Party Schmear Schmooze at the Logger Bar. Visit papayalounge.com for tickets.
COMING SOON
The Anti-Valentine Cabaret brings even the blackhearted to the 5th and D Street Theater Feb 7-8 at 8 p.m. Call (707) 442-6278.
Those undeterred by red flags for Valentine dates might consider Red Bastard: Lie with Me welcomes “Prudes, Cheaters and Perverts” at the Carlo Theatre Feb. 14-15 at 7:30 p.m. Visit dellarte.com.
This article appears in The Humboldt County Fair is at a Crossroads.