Hartford Stage, Hartford, CT.
www.hartfordstage.org
by Jarice Hanson
through November 2
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.
The theatre commissioned 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. Hatcher’s version, however, builds on the tension integral to the plot. At the end of the show, it seems that the audience had been collectively holding their breath until the final moment. This production 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 which 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.
Please note that none of the above are spoilers. Literally, in the first three or so minutes of the play, the audience is immediately brought up to speed on the murder. What follows is the mystery.
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, depicts one of the more important characters. This is a master performance by Benninghofen.
The rest of 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 actors work beautifully together, and every word is clear and understandable.
The outstanding, elegant set by Riw Rakkulchon is brooding and dark; 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.
Weaving these stage elements together is the truly outstanding script penned by Hatcher. He understands the conventions of a typical murder mystery, and with Bensussen's direction 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.
