REVIEW: Hartford Stage, “Rope”

Hartford Stage, Hartford, CT.
www. hartfordstage.org
by Jarice Hanson
through November 2

The World Premiere of “Rope” at Hartford Stage is scintillatingly suspenseful and murderously macabre. It’s theatrically perfect.

T. Charles Erickson

Hartford Stage commissioned the noted playwright, Jeffrey Hatcher, to adapt this version of a 1929 three-act play by Patrick Hamilton, called “Rope’s End.” Audiences may be more familiar with the film, “Rope” adapted by Alfred Hitchcock in 1948 that was famously shot in what appeared to be one long cinematic scene. Hatcher’s version, however, builds on the tension integral to the plot. At the end of the show, it seemed that the audience had been collectively holding their breath until the final moment. This show is a triumph of structure and stagecraft.

Under the direction of Melia Bensussen, a top-notch cast mined the material for every nuance and subtle twist of the murder mystery that is at the heart of the story. Daniel Neale’s interpretation of Brandon, the mastermind of what he claims is the “perfect murder,” is a slick, smarmy operator who orchestrates an intricate plan to murder one of his former college friends. He engages his partner, Lewis, played by the enigmatic Ephraim Birney to actually do the deed. When family and friends of the deceased come to a dinner party, a “cat and mouse” dance begins as the diners’ cluster around the chest that is the tomb of the dearly departed. Mark Benninghofen as Rupert Cadell, the boys’ former teacher, interprets the clues as the story unfolds. This is a master performance by Benninghofen. The cast includes James Riordan as the victim’s father, Fiona Robberson as Meriel, the deceased’s fiancé, and Nick Saxton as Kenneth, an unsuspecting friend. The cast works beautifully together, and every word is clear and understandable.

The outstanding, elegant set by Riw Rakkulchon is brooding and dark. It is a perfect setting for people who come and go, as well as confide and confess. Mary Louise Geiger’s lighting design provides an eerie glow to the stage. Jane Shaw’s sound design and original music shows how tension can evolve with subtle musical cues and percussion. Risa Ando’s costume design is historically accurate and provides visual references to each actor’s character. But weaving the stage elements together is the truly outstanding script penned by Hatcher. He understands the conventions of a typical murder mystery, but adds enough visual clues to make the act of watching the play, engaging and suspenseful.

This is an early Halloween gift to audiences, and Hartford Stage has opened its season with a
masterful play. This one is not to be missed.