[NEohioPAL] Beacon Journal review of Weathervane's Bloody Murder

[Henry Bishop]

   Who dunit is a scream 

'Bloody Murder' cast is at its comedic best 

By Kerry Clawson 
Beacon Journal staff writer 

Published on Wednesday, Jan 21, 2009 


It's a sign of fresh, intelligent writing when a playwright succeeds in totally messing with his audience's minds. (In a playful way, that is.) 

Ed Sala does just that, and tangles plenty with his own characters, in the barrier-busting comic mystery Bloody Murder, presented in a world premiere at Weathervane Community Playhouse in Akron. 

The play starts out like a conventional murder mystery, introducing stereotypical characters, including a rich dowager, faded matinee idol, bragging major, ne'er-do-well nephew, prissy ingenue, mysterious countess and devoted maid. They're all gathered at Lady Somerset's English country estate, elegantly appointed by set designer Alan Scott Ferrall in hunter green accented by a balcony and huge window. 

The character types are turned upside down when Linda Ryan's Lady Somerset steps out of the ''script'' to bluntly express how sick she is of the murder mystery genre's repetitive formula. 

''We're as overused as an old tart,'' she complains dryly. 

Ryan steals the show, as her character leads the others in a revolt against the playwright. Employing thoroughly tongue-in-cheek humor, Sala toys with just about everybody involved with making or watching live theater, including the playwright, characters, producers and the audience — or ''mindless masses.'' 

Director Nancy Cates has again assembled some of Weathervane's comedic best and brightest, many of whom appeared under her direction in Lend Me a Tenor. Here, Scott Shriner is wonderful as unapologetic lech Charles; Cates' daughter, Tess Burgler, is fun as the seemingly too-naive ingenue; and Karen Wood is surprisingly funny as maid Jane. Tom Stephan and Henry Bishop play off each other humorously as Tremaine and the Major, and Ron Cuirle and Dede Kline do some crazy turns with several roles each. 

Sala not only pokes fun at himself, but his characters also mock American playwrights and performers who overdo all things British. 

In Bloody Murder, viewers constantly feel the hand of the playwright as he tries to wrestle control from his characters. It's a smart metaphor for the inner struggle writers go through in the creative process. 

The most delicious moment comes when the theater's proverbial fourth wall comes crashing down and the characters realize the audience has been sitting there the whole time. 

Along the way, Sala slips in some sly pop culture references to everyone from Sally Field to Jessica Rabbit. 

The playwright, who works primarily as an actor, has worked onstage with both director Cates and her husband, actor/director Terry Burgler, and has shared the professional stage with John Hedges, Weathervane's executive director. 

The play has a couple of odd moments, including what may have been a missed entrance by Ryan that Bishop covered up decently. Sala goes on too long with a bit where Stephan's character Tremaine obsesses over the actor who plays him. The piece also has an overlong ending. 

Still, this material is fresh and fun, with revelations that will keep audiences on their toes. 

Who ultimately wins the battle of wills in this story? Nobody wants to give away a whodunit.



--------------------------------------------------------------------------------
Theater writer Kerry Clawson may be reached at 330-996-3527 or by e-mail kclawson at thebeaconjournal.com. 


It's a sign of fresh, intelligent writing when a playwright succeeds in totally messing with his audience's minds. (In a playful way, that is.)

Ed Sala does just that, and tangles plenty with his own characters, in the barrier-busting comic mystery Bloody Murder, presented in a world premiere at Weathervane Community Playhouse in Akron.

The play starts out like a conventional murder mystery, introducing stereotypical characters, including a rich dowager, faded matinee idol, bragging major, ne'er-do-well nephew, prissy ingenue, mysterious countess and devoted maid. They're all gathered at Lady Somerset's English country estate, elegantly appointed by set designer Alan Scott Ferrall in hunter green accented by a balcony and huge window.

The character types are turned upside down when Linda Ryan's Lady Somerset steps out of the ''script'' to bluntly express how sick she is of the murder mystery genre's repetitive formula.

''We're as overused as an old tart,'' she complains dryly.

Ryan steals the show, as her character leads the others in a revolt against the playwright. Employing thoroughly tongue-in-cheek humor, Sala toys with just about everybody involved with making or watching live theater, including the playwright, characters, producers and the audience — or ''mindless masses.''

Director Nancy Cates has again assembled some of Weathervane's comedic best and brightest, many of whom appeared under her direction in Lend Me a Tenor. Here, Scott Shriner is wonderful as unapologetic lech Charles; Cates' daughter, Tess Burgler, is fun as the seemingly too-naive ingenue; and Karen Wood is surprisingly funny as maid Jane. Tom Stephan and Henry Bishop play off each other humorously as Tremaine and the Major, and Ron Cuirle and Dede Kline do some crazy turns with several roles each.

Sala not only pokes fun at himself, but his characters also mock American playwrights and performers who overdo all things British.

In Bloody Murder, viewers constantly feel the hand of the playwright as he tries to wrestle control from his characters. It's a smart metaphor for the inner struggle writers go through in the creative process.

The most delicious moment comes when the theater's proverbial fourth wall comes crashing down and the characters realize the audience has been sitting there the whole time.

Along the way, Sala slips in some sly pop culture references to everyone from Sally Field to Jessica Rabbit.

The playwright, who works primarily as an actor, has worked onstage with both director Cates and her husband, actor/director Terry Burgler, and has shared the professional stage with John Hedges, Weathervane's executive director.

The play has a couple of odd moments, including what may have been a missed entrance by Ryan that Bishop covered up decently. Sala goes on too long with a bit where Stephan's character Tremaine obsesses over the actor who plays him. The piece also has an overlong ending.

Still, this material is fresh and fun, with revelations that will keep audiences on their toes.

Who ultimately wins the battle of wills in this story? Nobody wants to give away a whodunit.

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