Now Playing at LCC

REVIEW: Magenta's "Black Coffee" Truly Tasty

Agatha Christie's "Black Coffee" is now showing at the Magenta Theater, 606 Main Street, Vancouver, Wash. The show will run November 9, 14, 15, 16, 20, 21, 22 at 7:30 p.m. and November 16, 23 at 2 p.m.

Poirot Please:

In this story the famous Hercule Poirot (played ably by Tony Provenzola)  is summoned by England's most prominent physicist, Sir Claud Amory. Amory fears that someone in his household is attempting to steal his latest discovery, a secret formula critical to England's defense. But there are other secrets, too.

Poirot, with Captain Hastings at his side, rushes to get there, but arrives too late: Amory has died, his formula is missing and anyone in his country house, full of relatives and guests, could have been responsible.

This is a delightful and perfect community theater piece.

The cast of "Black Coffee." Tony Pronvenzola as Hercule
Poirot seated in the lower right. Photo provided.

Pleasant Performances:

In this production Lucia Amory is played by Tanya Gray, Miss Caroline Amory by Michele Glover, Barbara Amory by Shaye Eller, Tredwell by Glenn Russell, Richard Amory by Glenn Chipman, E. Raynor by Hillary Marshall, Dr. Carelli by Gary Corbin, Sir Claud Amory and Johnson by Rob Goff, Captain Arthur Hastings by Curtis Hope, Dr. Graham by Reba Hoffman, Inspector Japp by Tim Klein, and Hercule Poirot by Tony Provenzola.

Standout performances were given by Chipman, Eller, Corbin and, of course, Provenzola. Chipman was strong in his role and ruled the stage; Eller, sassy and commanding. Both are talented and accomplished actors.

Compare this TV character
portrait to Provenzola above.

I've seen Provenzola play many roles--sometimes several in the same play. He is a particularly good comic actor, so casting him in the role of a serious, though slightly eccentric, detective could been a mistake. The performance might have been more Clouseau than Poirot, even if Provenzola has an uncanny resemblance to the classic Christie character. Well, it wasn't a mistake and he played the role with quintessential imitation and great charm.

However, I think it was Corbin, as the Italian Dr. Carelli, I most enjoyed. The flamboyant and oily character was perfectly played with just the right touch of comedy and shiftiness. I was mesmerized every moment he was on stage. His accent (which he kept throughout) was wonderful to listen to. [Note: Overall the cast, with the exception of Corbin and Provenzola, were lax in their accents. Good British diction is something one expects from Magenta players.]

All other performances were genuinely good, with one exception. Tim Klein was abysmal. I am sorry to say that, because I like him. He was fantastic in Slocum's "Greater Tuna" and wonderful playing multiple roles in a couple of Magenta shows. Actually, it's not so much his acting in that he seemed so out of place. Broad comedy seems to be his forte and Christie, while having a wry sense of humor, is not comedy. Either he was grossly miscast or the director couldn't reign him in--or both. I was truly jarred when he took to the stage with his bombastic mix of U.S. southern and cockney buffoonery. The performance did not fit at all and was way too over the top.

[The above was my initial reaction to the portrayal of Inspector Japp and it has been pointed out, by Tim Klein, that the role was portrayed exactly as he and the director intended and as was written by Christie. I have not read the work (so I cannot confirm that), but have seen the character (I believe wisely played down) in the BBC production. "Black Coffee" was Christie's first stage play and while she kept Poirot in subsequent plays, she dropped the Japp character (possibly because she realized he was too broadly written--writers DO learn and improve). 

Regardless, had I directed the play, I would have done differently. Not because I am right, but because I am merely different. We all have the right to our opinion and interpretation. My apologies for the insinuations I made or seemed to have made that Klein was "miscast" or out of control. I don't believe, as I tried to say, that Tim Klein is a bad actor or that Amanda Goff is a bad director. I retract that insinuation and mean only to state that I didn't like their "take" on the character within the context of the other players.]

Still, the other performances and the overall production made the show delightful and well worth seeing.

Pleasing Production:

I found the production values to be quite pleasing. The show was well lit (lighting design by Elizabeth Tindall). The blocking and stage direction (by Amanda Goff) was good, and her set design was the best I have ever seen at Magenta--quite delightful and realistic. It was also dressed very nicely (by Michele Glover). It was impressive and detailed from stage right to stage left. Costumes (by Sheila McCormack), though good, were not necessarily kept period.  Properties (by Magenta's Artistic Director, Jaynie Roberts) were also detailed.

Potential Patrons:

All shows are at the Magenta Theater (address and dates above). Advance Tickets are $12.00 - $15.00. For ticket reservations and/or information: www.magentatheater.com.

Review by Gregory E. Zschomler.

Coming to the LCC Stage

REVIEW: Don't Wait to See Love Street's Dark Thriller "Wait Until Dark"

First of all Frederick Knott's "Wait Until Dark" (1966) is an extremely well-written stage play. (He also wrote "Dial M for Murder.") I believe that "Wait" is one of the best straight plays I have ever seen--certainly the best thriller. The dialogue is delightful, the pace is perfect and the intrigue is artful. It is so well conceived and so captivating that I sat on the edge of my seat the entire time.

The Plot

You know how they warn you at airports not to accept packages from strangers? Yeah, well this is what could happen if you do:

A photographer unwittingly agrees to transport a doll from Montreal to New York not knowing the doll contains two pounds of high grade heroin. He leaves the doll at home with his blind wife and, while he is away, three thugs come looking for it. They concoct an elaborate con to get it back, but she doesn't know where it is. They grow impatient and desperate and, when she begins to figure out what's going on, things get violent and quite scary.

From Left to Right: Sgt. Carlino (John McCamish), Harry
Roat (Paul Segren) and Mike Talman (Scott Clark), Susy
Hendrix (Dorinda Toner) and Gloria (Doris McCamish). DEP

The Players

Secondly, the players handled the material with great aplomb. Director David Roberts has assembled a nearly perfect cast. They did not overplay their roles so the play would be comedic--they seemed natural, real and well fleshed out. Neither did they underplay the parts so the show would come off blase'.  Performances all around were genuine.

Nine year-old Doris McCamish did quite well as the adventurous and feisty Gloria. While not greatly experienced, the youngin shows great promise. Scott Clark as con man Mike Talman was so smooth you had to love him. And John McCamish (Doris' father) as Sgt. Carlino, another con man, played his heavy with just the right chutzpah. It was nice to see Kirk Snead back, and Carl Haeger in their bit roles as policeman, too.

But the leads...oh!

Dorinda Toner and Paul Segren. (c) DEP

Dorinda Toner (who is not blind) as the blind Susy Hendricks was, in a word, convincing. Wonderfully played with all the right emotion, intensity and guts. You could feel her fright and revel in her resolve. Lee Remick was nominated for a Tony for her Broadway performance in 1966; Audrey Hepburn was nominated for an Oscar and Golden Globe in 1967 for the film adaption. Toner, she would have received them.

Paul Segren, whom I was very pleased to work with in "An Inspector Calls," was masterful as Harry Roat, the maniacal mastermind. He was like an ogre (or onion), with many layers, each peeling back, one by one, until a crazed and savage psychopath erupted into a raging fury. So subtle at first, so conniving and creative, calm, cool, collected until...BAM!, he completely snaps in the second act. (I felt there should have been one quick "tell" in the first act that would have broadcast this side of the character's personality.) Segren has got to be one of the very best actors in the area. (See our previous artist profile piece, here.)

And the last scene? Wow! Absolutely unnerving. Toner and Segren sell it!

BUT...all of this would not be possible if not for the quality direction by David Roberts. I directed Roberts in "Inspector," but I feel ashamed; I had no idea I was directing a master. He is so much better than I. Everything seemed so well orchestrated. Every detail attended to. There was great intentionalism and inspired foreshadowing at his hand.

And, he played the part of Sam Hendricks. I have seen Roberts act in five plays. While not a broad actor (he seems to play everything the same way) he is quite professional and precise. He's like Bruce Willis who is always Bruce Willis, but you love it.

The Play

Technically the play went off without a hitch and there are a lot of tricky lighting cues. The scene changes were quick and courteous. Timing on everything seemed spot on.

Segren, McCamish and Clark on the set of "Wait Until Dark" (c) DEP

The set, designed by Roberts and crafted by Jeff Leuthold, was Love Street's best yet. I loved what he did for my "Seven Keys to Baldpate" and "An Inspector Calls." Then his set for "Mousetrap" was even better and now this. Leuthold just keeps plussing himself.

The lighting and the lack there of (see the play and you'll understand), by Joe Jenkins was ideal. It wasn't bright, but, hey, this wasn't a musical; it was perfect for the play. [Note: Jenkins has been the LSP resident LD since 2008, but he has just moved to Utah. He will be greatly missed by all of us who have worked with him.]

A good shot of the set. Photo by Gregory E. Zschomler.

Andrea Adams (Stage Manager and Assistant to the Director), Melinda Leuthold (Producer, Costumer, Properties and Set Dresser), and the running crew of Rebecca Reich (Board Operator) and Rebekah Krohn (Backstage) all did their jobs beautifully.

The Love Street Playhouse production of "Wait Until Dark" is a must-see. My only real criticism? They should use a doll that's actually big enough to pack two pounds of heroin. And that's being petty. So just go see it...

...unless you're afraid of the dark.

WARNING: Some of the play does take place in complete darkness and some other moments may be too scary for young children.

Now showing 7:30 p.m. Friday and Saturdays, October 12 - 28 with a special HALLOWEEN performance, October 31st at 7:30 p.m and Sundays at 2 p.m. The playhouse is located at 126 Loves Ave in Woodland, Wash. and is worth the drive.

For tickets visit www.lovestreetplayhouse.com or call 360-263-6670 or email info@lovestreetplayhouse.com.

By Gregory E. Zschomler
All photographs, by Darcie Elliott Photography, provided, except as noted.

"Murder at the Mansion" to Play in Longview

Stageworks Northwest presents "Murder at the Mansion" written and directed by Phillip Kennedy, 6:30 p.m., October 4 - 27,
Thursday, Friday and Saturday evenings at The Rutherglen Mansion, 420 Rutherglen Rd. Longview, Wash.

Tickets: $55, includes drinks, salad, entree, dessert and murder!

For Tickets and Table Reservations please call The Rutherglen Mansion at 360-425-5816.

Warning: There will be multiple gun shots fired.

Source: Stageworks Northwest Facebook page.