"Death on the Nile" is apparently Ken Ludwig's newest play. So new, in fact, that the performance I attended was still in "previews"! Imagine my surprise when someone from Arena Stage came out before the production to tell the audience and explain what that meant. Now, I know what it means, and to be completely honest what it ought to have meant was a cheaper ticket! Previews occur when a play or musical is brand new and being staged before a live audience for the first time. Often the Playwright and/or director will be clandestinely hanging out in the audience taking notes, gauging audience reactions, making changes. Sometimes the changes involve the dialogue, but everything is on the table, blocking, props, the sets, costumes, sound, lighting...you get the picture. Why didn't Arena Stage make it clear that this show would have a period of time in previews? And why didn't they discount the seats for those performances? It seems unethical, a mon avis.
Of course, there is a bit of an honor in being among the first folks to see a new play, that with good reviews in DC will move on to Broadway. That's how I saw "Come Away From"-- and it was thrilling. Arena Stage has a history of being just such an incubator. "Dear Evan Hansen" completed its final pre-Broadway audition at Arena, but then, so did the newly pronounced flop of a musical by the Avett Brothers about four men lost a sea in lifeboat singing about their regrets until three of them carve up the fourth one for dinner in order to survive. How could it have not succeeded?! Happy to say that Ken Ludwig has a far stronger track record than the Avett Brothers at finding success on Broadway. To date, Mr. Ludwig has 4 musicals, and 23 plays to his name, "Death on the Nile" is #24. He's good. He's funny. He's a family playwright--never works blue. I have had the good fortune of experiencing 4 of his works on stage: "Lend Me A Soprano," "Murder On The Orient Express," "Baskerville: A Sherlock Holmes Mystery," and his musical "Crazy For You." His works often harken back to the Classic era of Broadway in the 40's & 50's. He loves quirky characters, comedic blocking, word play, gorgeous costumes, a general good time. I like all of these things, too. But I do not like being duped.
So what of this play? Of course, I liked it. At times it was a little tedious in its explanation dialogue--a necessary evil in moving such a twisted story-line forward. And though it's available in more than one motion picture creation, I had never seen a single one of them. Like all of his plays, he creates caricatures as much as characters--archetypes of villains and heroines, exotic and captivating making Agatha Christie a perfect co-creator--even if long dead. I should think that an actor would likewise jump at the chance to bring such characters to life where there is no such thing as "over the top". And this cast was excellent--the fun they were having bringing the story to life was palpable. Among my favorites is Robert Stanton, a Broadway veteran and Law & Order Alumni who became Atticus Praed the eccentric and driven Egyptologist from the Metropolitan Museum. His portrayal was excitable and precocious, leaving his sudden epiphany that his son was a real person, too, all the more endearing. One member of the cast was from Baltimore's repertory Everyman Theatre. She's been featured in mostly minor roles there and here Felicia Curry had a chance to strut a little as the crooked lawyer, Annabelle Pennington. Karie Kleiger, as the murderous schemer, Jacquiline de Bellefort took to the role like grabbing a bull by the horns. She brazenly burned her way on stage and never put the fire out.
Another standout was Eric Hissom--at least that's what the program said. I've seen Hissom nearly a dozen times before and he ought to be named the chameleon, because in spite of what I think I know, I can't believe that from one role to the next, it's the same person. As the fading leading man, Septimus Troy, he channeled all of that lights on swagger masking a behind the scenes full of frustration and regrets. But the actor with the most-est was Armondo Duran as the great Hercule Poirot himself. Written as both every one's friend and yet a shadow on the periphery of most of the action. He sees everything, and suddenly steps forward when his wisdom is needed. Played with a wonderful French accent by an actor who knows how to use his voice to great effect, he is one you can't help but want to keep one eye locked on.
The sets were grand, from the Egypt room at the Met with two story tall statuary, to the lobby of a posh hotel in Cairo, to the exalted cliff carvings at the temple of Abu Simbel, to the luxurious captain's lounge on the steamer Karnak. Alexander Dodge must be congratulated for created sets as worthy and able of keeping up with such a sweeping story. However, my greatest acclaim has to go to Karen Perry. Her costumes were luscious! Glamorous, evocative, and carefully tailored to each of the characters. Full of rich detailing. Honestly, I don't know when I've ever felt so powerfully in love with the way costumes accentuate characters and contribute to the story telling.
So what of this play? Of course, I liked it. At times it was a little tedious in its explanation dialogue--a necessary evil in moving such a twisted story-line forward. And though it's available in more than one motion picture creation, I had never seen a single one of them. Like all of his plays, he creates caricatures as much as characters--archetypes of villains and heroines, exotic and captivating making Agatha Christie a perfect co-creator--even if long dead. I should think that an actor would likewise jump at the chance to bring such characters to life where there is no such thing as "over the top". And this cast was excellent--the fun they were having bringing the story to life was palpable. Among my favorites is Robert Stanton, a Broadway veteran and Law & Order Alumni who became Atticus Praed the eccentric and driven Egyptologist from the Metropolitan Museum. His portrayal was excitable and precocious, leaving his sudden epiphany that his son was a real person, too, all the more endearing. One member of the cast was from Baltimore's repertory Everyman Theatre. She's been featured in mostly minor roles there and here Felicia Curry had a chance to strut a little as the crooked lawyer, Annabelle Pennington. Karie Kleiger, as the murderous schemer, Jacquiline de Bellefort took to the role like grabbing a bull by the horns. She brazenly burned her way on stage and never put the fire out.
Another standout was Eric Hissom--at least that's what the program said. I've seen Hissom nearly a dozen times before and he ought to be named the chameleon, because in spite of what I think I know, I can't believe that from one role to the next, it's the same person. As the fading leading man, Septimus Troy, he channeled all of that lights on swagger masking a behind the scenes full of frustration and regrets. But the actor with the most-est was Armondo Duran as the great Hercule Poirot himself. Written as both every one's friend and yet a shadow on the periphery of most of the action. He sees everything, and suddenly steps forward when his wisdom is needed. Played with a wonderful French accent by an actor who knows how to use his voice to great effect, he is one you can't help but want to keep one eye locked on.
The sets were grand, from the Egypt room at the Met with two story tall statuary, to the lobby of a posh hotel in Cairo, to the exalted cliff carvings at the temple of Abu Simbel, to the luxurious captain's lounge on the steamer Karnak. Alexander Dodge must be congratulated for created sets as worthy and able of keeping up with such a sweeping story. However, my greatest acclaim has to go to Karen Perry. Her costumes were luscious! Glamorous, evocative, and carefully tailored to each of the characters. Full of rich detailing. Honestly, I don't know when I've ever felt so powerfully in love with the way costumes accentuate characters and contribute to the story telling.
And, yes, I got my money's worth--but still, it's the principle of the thing.
Hercule Poirot (Armondo Duran) at the Metropolitan Museum
Gathering in the Lobby of a Grand Hotel in Cairo
[L-R] Colonel Race (Jamil A. C. Mangan), Hercule Poirot, Jacqueline de Bellefort (Katie Kleiger), Simon Doyle (Travis Van Winkle), and Linnet Ridgeway (Olivia Cygan)
Simon Doyle reacts to Linnet Ridgeway's fear that they are being stalked!
At the ruins of Abu Simbel
[L-R]: Colonel Race, Simon Doyle, Linnet Ridgeway, Rosalie Otterbourne (Sumie Yotsukura), Atticus Praed (Robert Stanton), Solome Otterbourne (Nancy Robinette), Jacqueline de Bellefort, Hercule Poirot, and Septimus Troy (Eric Hissom)
Septimus Troy, Rosalie Otterbourne, and Solome Otterbourne (reclining)
Septimus Troy, Solome Otterbourne, Rolalie Otterbourne, Hercule Poirot, Jacqueline de Bellefort (seated foreground), Annabelle Pennington (Felicia Curry), and Colonel Race.
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