It would be a pretty good wager to bet that the reader has never seen a serious opera open with, or even contain, a break dance which includes balancing and spinning on one hand – much less that the dance is performed not by a professional dancer, but by the title character!  This unique skill performed by Jakub Józef Orliński, as Orpheus, is merely the beginning of a San Francisco Opera production spectacular in all of its creative aspects.  Despite individually simplistic staging elements, their combination results in a striking visual experience to support the notable operatic creation. 

Christoph Willibald Gluck’s contributions to opera extend beyond the merits of his individual operas.  Like Richard Wagner a century later, Gluck conceived an intellectual framework that changed the opera landscape.  Though his published formulation for reform followed the debut of “Orpheus and Eurydice,” this opera had applied the changes he would later prescribe.  It would stand as the great transition work between Baroque and Classical period opera. And while “Orpheus and Eurydice” certainly stands the test of time, it does have some issues.

Among simplifications and elimination of restrictive conventions, Gluck specified the end of the da capo aria with stanzas in the a-b-a format, which totally repeats the first stanza, giving scope for vocal ornamentation to display the singer’s virtuosity without otherwise adding dramatic or musical value.  Also, rather than wearisome harpsichord accompaniment to recitatives, Gluck supported these less melodic tracts with full orchestra.

Notwithstanding these reforms, Gluck’s musical foundations were laid in the past.  He continued Baroque melodic idioms, and while he avoided the a-b-a form, he did use recurring musical phrases frequently.

The Orpheus myth has been the basis for dozens of operas, but no plot could be more simplified than Gluck’s, another reform objective of the composer.  He minimizes the number of principal roles to the three essentials, the title characters plus Love (aka – Amore).  No subplots.  No diversions between point A and point B in the story line.  The narrative is reduced to: Eurydice is dead; Love tells Orpheus how to retrieve her from the dead; he fails to heed Love’s stricture that he not look back at her during their passage from Hades; Eurydice dies again.  But as happens in some other versions of this classic, a Hollywood ending yields eternal happiness. 

With such an economic tale to tell and 80 minutes to fill, the aria lyrics may not be repeated identically as in the a-b-a format, but conceptually, they are.  For the first 50 plus minutes, Orpheus is the only principal on stage except for a brief visit from Love.  He is so distraught about his loss, that he is constantly pining away.  What is remarkable is that the librettist de’ Calzabigi could find so many ways for Orpheus to express his lament.  Fortunately, OrIiński is a world class countertenor whose presence and vocal quality carry the day with considerable vocal and visual support from the chorus.

Musically, the opera is of its time, 1762.  The modulations from Baroque format make it more listenable to those who tire of the incessance of earlier style.  “Orpheus and Eurydice” does contain one particularly memorable aria, Orpheus’s final lament, “What will I do without Eurydice?”  which OrIiński delivers with great passion.

The countertenor voice is unnatural in its harsh falsetto character and high tessitura, though OrIiński handles it admirably.  Conversely, the sopranos, Meigui Zhang as Eurydice and Nicole Heaston as Love both possess mellow instruments, and the ranges of their singing parts display the warmest qualities of their voices.

But as talented as the performers are, the creative design team distinguishes this production.  Director Matthew Ozawa relates the stage components to contemporary resonance, and his minimalistic aesthetic delivers a powerful and lush sensibility.  With Yuki Nakase Link’s sharp and everchanging lighting against set designer Alexander V. Nichol’s black back wall, the solid-colored, satin-like material of Jessica Jahn’s simply styled costumes visually pop as if a fashion show for colors.

Orpheus’s red and Eurydice’s blue outfits stand with distinction, but Love displays the real eye candy.  Not only does her yellow-gold costume sizzle with its brightness and contrast to the black backdrop, but her entrance is a dramatic swing down from the fly, and beneath her trails a drape of perhaps 20 feet of the same material.  Now that’s a real fashion statement!

Another strong visual element is Rena Butler’s choreography.  Orpheus and Eurydice are each replicated by three dancers wearing costumes in different shades of their respectively assigned colors to represent different stages of the couple’s relationship.  The many dances are evocative, stylistically dominated by the herky-jerky motions of Orpheus and the sensuality of Eurydice.  The chorus’s movement and posturing add another dramatic element, as does their monochromatic sea of color, whether white or black, but often altered in appearance by colored lighting.

Although conflict dominates the action of the opera, Gluck offers a positive overarching outlook.  He posits the magical power of music and the heroic nature of the musician.  And though the possible price of giving in to temptation is clear, he demonstrates his belief that suffering grief will ultimately be rewarded with happiness.  Let’s hope he’s right!  In the meantime, we can obtain much happiness by enjoying this sterling production.

“Orpheus and Eurydice,” composed by Christoph Willibald Gluck with libretto by Ranieri de’ Calzabigi is produced by San Francisco Opera and plays at War Memorial Opera House, 301 Van Ness Avenue through December 1, 2022.

[Overview – After a pandemic pause, the American Theatre Critics Association resuscitated its annual fall conference in New York City in November 2022. It represented an opportunity for theater critics to share new insights into what is happening in the theater world nationwide; to renew acquaintances; and to catch a few plays in the heart of the theater universe. Karin, my wife+editor, and I were fortunate enough to attend four plays in diverse theater categories. They are “A Delicate Balance” (Off or Off-Off Broadway classic drama),”Where We Belong” (Off Broadway world premiere solo performance), “Kinky Boots” (Off Broadway musical revival), and “Kimberly Akimbo” (new Broadway musical moved from Off Broadway). Incidentally, the definition of the category Broadway refers to size of house, specifically capacity of 500 seats or more. 100 to 499 seats is classified as Off Broadway, and smaller is Off-Off Broadway.]

“Kinky Boots”

Traditional industries in advanced economies collapse with regularity. Usually decline is accompanied by sad stories of displaced workers who lack job skills or mobility to secure a comfortable future. Occasionally, repurposing obsolete assets succeeds not only in saving jobs, but the whole ecosystem in which they occur. Doesn’t sound like grist for humor, does it? But British writers Geoff Deane and Tim Firth turned the idea into a rollicking comedy movie, “Kinky Boots,” and book writer Harvey Fierstein and composer and librettist Cyndi Lauper have transformed it into a highly successful Broadway musical which is now receiving a resounding Off Broadway revival. The audience howls to the humor and roars to the high energy music and dance.

Briefly, the conflict begins with Charlie, played by an empathetic yet insistent Christian Douglas. The young man inherits a shoe factory in small town England that is on the brink of bankruptcy, unable to compete with lower quality and cheaper foreign products. Prompted by what he observes in London as a poorly served market niche that is forced to buy products that can’t take the stress of weight and heavy activity, he decides to fully redirect production to this niche and to hire a user as a designer and consultant.

Still sounds pretty dry? Well, the product is gaudy, thigh-high boots, and the market is drag queens! The designer is Lola, a wildly flamboyant denizen of the dark who had escaped the socially conservative sticks for the friendly confines of cosmopolitan London. To Lola, a boot is not merely an accessory to walk in, it is 2 1/2 feet of tubular sex, and in red, it represents not only sex, but danger. And, oh, that stiletto heel – as she sings, “The sex is in the heel!” Needless to say, Lola’s appearance in staid, working-class Northampton causes quite a stir.

Conflicts abound. Charlie loves chic and sassy Nicola, but factory worker Lauren loves Charlie. Many clashes result from the baggage that Lola carries with her as one with a lifestyle that offends many. Don dislikes Lola because of what she represents and resents having to make the new product. Lola and Charlie clash over product design and promotion. She wants to use actual drag queens to model the product, but he insists on using professionals. Although her father trained her as a boxer (which is relevant to the plot), Lola’s coming out became a source for rejection. Lola laments how her father never saw the best in her in “I’m not my father’s son.” But even Charlie shares the common thread of not following the path that his father hoped for. Although they didn’t create the characters, is it fair to say that some of the success of the musical comes from Fierstein’s identification with Lola and Lauper’s with Lauren? Anyway, as you might expect from an uplifting experience, there are happy resolutions.

“Kinky Boots” offers a light-hearted escape triggered by the brashness of Lola, played with great verve and sung with a striking voice by understudy Nick Drake. But what brings the house down at their every appearance is the Angels, a dancing and singing crew of four drag queen friends of Lola. They rev up the house as they shimmy and shake in sexy synchronicity.

Although the show can be appreciated as simply an attractive diversion, the creatives are clearly going for more. Shared values come to the fore in romantic relationships as Charlie and Nicola grapple with what goals in life that they can agree on. The importance of community and shared experience weighs on the workers as they sacrifice in hopes of seeing a new vision to fruition. And certainly, core messages concern diversity and acceptance as Lola and her friends seek to have mainstream people understand that they are who they are, and that they deserve to be embraced by society, just as anyone else.

Throughout the story. Lauper’s bouncy and melodic music along with Director and Choreographer Jerry Mitchell’s lively dance provide emotional propulsion. It all culminates with the togetherness of the iconic and elevating “Raise you up.” “Kinky Boots” pleases audiences and in particular, inspires a younger generation of patron to appreciate what the institution of musical theater has to offer.

“Kinky Boots” with book by Harvey Fierstein and music and lyrics by Cyndi Lauper is based on the movie of the same name written by Geoff Deane and Tim Firth, and is performed at Stage 42, 422 West 42nd Street, NY, NY through November 20, 2022.

[Overview – After a pandemic pause, the American Theatre Critics Association resuscitated its annual fall conference in New York City in November 2022. It represented an opportunity for theater critics to share new insights into what is happening in the theater world nationwide; to renew acquaintances; and to catch a few plays in the heart of the theater universe. Karin, my wife+editor, and I were fortunate enough to attend four plays in diverse theater categories. They are “A Delicate Balance” (Off or Off-Off Broadway classic drama),”Where We Belong” (Off Broadway world premiere solo performance), “Kinky Boots” (Off Broadway musical revival), and “Kimberly Akimbo” (new Broadway musical moved from Off Broadway). Incidentally, the definition of the category Broadway refers to size of house, specifically capacity of 500 seats or more. 100 to 499 seats is classified as Off Broadway, and smaller is Off-Off Broadway.]

“Kimberly Akimbo”

From the time that Victoria Clark steps on stage at curtain rise, it becomes a “you had me at hello” moment. The immensely talented and highly decorated senior citizen enacts the conceit that she is Kimberly Levaco, a 15-year-old suffering from progeria, the rare, rapid-aging disease. The disease ages her at four or more times the normal rate, and the life expectancy is 16 years, so most likely, her expiration date will soon arrive. Clark captures the affect and behaviors of a teen with great precision, and her buoyancy and optimism in the face of inordinate bad fortune puts a smile on your face and a hole in your heart.

Geeky and looking like she could be the grandmother of her peers, Kimberly doesn’t have a lot going for her. She would love nothing more than to experience for a single day how normal people live. Apart from not fitting in socially because of her physical weirdness, her family is wacko.

Her mother Pattie, played by the perky Alli Mauzey, is a narcissistic hypochondriac who wouldn’t know how to prepare a meal. Both of Pattie’s hands and forearms are in casts, making any activity difficult. In one sequence, Kimberly feeds Pattie. With visual tongue in cheek, it appears that mother is feeding daughter rather than vice versa. To top things off, Pattie is pregnant, although there is a high likelihood that any child that Pattie and Kimberly’s father, Buddy, spawn would also suffer progeria. But that’s another story.

Portrayed as well-intended but shifty by Jim Hogan, Buddy is a heavy-drinking wastrel whose pride and main source of supplemental income is winning bets that he can put a whole mango in his mouth. Guess who’s the real adult in the family. One funny vignette has Kimberly expressing romantic interest in new friend Seth. In his protective fatherly mode, Buddy says that she better be careful not to get pregnant, to which erstwhile aged teenager Kimberly replies “Dad, I went through menopause four years ago!”

And then there’s Aunt Debra. An inveterate grifter, she’s served time. When Kimberly’s parents moved, they kept their new address secret from Debra. Of course, a grifter will always find a way, and an effusive and brazen Bonnie Milligan acts her craftiness and evasive nature with great flair. The final major character is Seth, played by a form-fit Justin Cooley as a bubbly loner with an anagram passion. Like Kimberly, he has had to overcome poor parenting to find his own way in the world.

In the adaptation of this play to a musical, composer Jeanine Tesori has drawn diverse arrows from her rich musical quiver that has produced music for “Fun Home,” “Shrek,” “Caroline, or Change,” and many others. The overall music tenor is upbeat and youthful, but there are also reflective moments such as Seth’s ruminations about being a “Good Kid,” without much benefit. David Lindsay-Abaire, Pulitzer Prize winner for his drama “Rabbit Hole,” has adapted his kooky but highly insightful story and added incisive and revealing lyrics to songs. (Disclaimer – This reviewer and his editor were fortunate to attend an informative and entertaining panel discussion with Tesori and Lindsay-Abaire as well as Bonnie Milligan and Justin Cooley shortly before we saw the performance.)

The narrative includes sequences that derive from the main characters’ traits, such as Kimberly’s presenting a science project with Seth on her disease or applying to the New Jersey Make-a-Wish Foundation, hopefully for a visit to Disneyland (represented by the charming song “Make a Wish”.) Her parents’ ineptness is endless, and even when they try to do the right thing, they don’t have the skills or the perseverance to make it happen. Kimberly’s dreams go unrealized.

An otherwise unrelated thread involves a Greek chorus of four geeky schoolmate choristers needing money to have costumes made for a competition. But Debra has a scheme that would satisfy Kimberly and the choir group’s needs. However, the playwright’s endorsement of the outcome of the plan introduces moral turpitude that may create a sense of discomfort in some of the audience.

That said, the play has a heart of gold. It recognizes the need for friendship, even among fractured people, and the importance of seizing the day. No one gets a second time around. It tells its story with great compassion and in an entertaining and involving manner. Apt music and dance produce tremendous audience enthusiasm that ensures this winning production will enjoy a great run and an esteemed position in the constellation of Broadway musicals.

“Kimberly Akimbo” with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori, is performed at Booth Theatre, 222 West 45th Street, NY, NY on an open run.

[Overview – After a pandemic pause, the American Theatre Critics Association resuscitated its annual fall conference in New York City in November 2022. It represented an opportunity for theater critics to share new insights into what is happening in the theater world nationwide; to renew acquaintances; and to catch a few plays in the heart of the theater universe. Karin, my wife+editor, and I were fortunate enough to attend four plays in diverse theater categories. They are “A Delicate Balance” (Off or Off-Off Broadway classic drama),”Where We Belong” (Off Broadway world premiere solo performance), “Kinky Boots” (Off Broadway musical revival), and “Kimberly Akimbo” (new Broadway musical moved from Off Broadway). Incidentally, the definition of the category Broadway refers to size of house, specifically capacity of 500 seats or more. 100 to 499 seats is classified as Off Broadway, and smaller is Off-Off Broadway.]

[Addendum – We were originally scheduled to see Suzan-Lori Parks’ new “Plays for the Plague Year,” but because of covid cases in their cast and staff, the performance was cancelled. Happily, The Public Theater was able to substitute this alternative premiere production which delivered a fruitful evening.]

“Where We Belong”

Regrettably, many Americans blithely refuse to acknowledge the many blemishes in our country’s history, both officially as a government and informally as a society. As a result, we fail to learn from our mistakes. Among our most egregious acts as a country has been our mistreatment of Native Americans, including genocide. Probably the height of hypocrisy has been the abrogation of treaties with various tribes. These and many other abuses can result in feelings by the Native American population of not belonging to the main and of being conflicted in loyalty, as European-Americans have seized their land, suppressed them, and worse. And, of course, many Americans still don’t get it, or don’t want to get it, perhaps because acknowledgement does not conform with their sense of national image. It becomes embarrassing, inconvenient, and expensive.

Against this backdrop, writer, performer, and educator Madeline Sayet has written and acts in a one-person show, “Where We Belong.” The playwright comes from a mixed background of Jewish and Mohegan (known by many as Mohican) and identifies with the latter. Despite displacement and loss of population, her tribe’s roots and reservation remain in Connecticut.

The play covers much ground but explores two major themes. The more common, universal, and expected one concerns the loss of indigenous language, which resulted from U.S. federal policies that insisted on assimilation by native tribes. In school and government work environments, punishment was typically meted out for speaking in native languages. This theme has been explored in other theatrical work. Although James Fenimore Cooper’s “Last of the Mohicans” was apocryphal, the Mohegan language shrank to near extinction. Sayet shares stories about trying to reconstruct spoken language from documents and the challenges of resuscitation without native speakers to intone the words.

The more distinctive and personal story derives from the playwright’s love of Shakespeare. An avid student of The Bard, she was accepted into a doctoral program in the United Kingdom. Sayet was particularly attracted to Shakespeare’s “The Tempest” and especially the character Caliban. Parallel to the experience of Native Americans, Caliban’s territory was invaded by foreigners, and he was subjugated by the interloper. Sayet began her studies in London with enthusiasm and expectation, but one aspect of her participation disillusioned her. There was something about the way that others connected the relationship of her being Native American and succumbing to the attractions of Shakespeare as being her acceptance of Anglo superiority, which was a notion that she rejected, and which would influence her future direction.

Sayet acknowledges that her stories were not intended to be a play. However, she presents and weaves the stories with great confidence. But rather than constituting a cohesive narrative, they act as an interesting collection of related vignettes. Despite the conviction of her presentation, the pacing is somewhat pedestrian for much of the show. However, the latter third contains considerable spark with drama and animation, coordinated by Director Mei Ann Teo.

The performance is aided by uncommonly stunning production values for a solo performance. Production and Lighting Designer Hao Bai’s earthen serpentine on the stage floor symbolizes the Trail of Life with its ups and downs as well as the people who are met along the journey. A rumpled but reflective backdrop shows the distortions that we all witness in life but process inaccurately. Constellations of lights and mobile bars of florescents, along with Erik Schilke’s powerful sound design and composing stimulate the senses and enhance the experience.

The messages of the production are what is expected from one who is trying to promote respect and dignity for all peoples, particularly Native Americans. The content of the show is a bit preachy, and to a large extent, Sayet is preaching to the choir. The theater industry is in the forefront of trying to recognize American indebtedness to the original stewards of the land, and its audiences are among the most committed to diversity and mutual esteem. At the same time, these stories should be told. Hopefully, they will touch potential converts, and good will come from them.

“Where We Belong” is a world premiere written by Madeline Sayet, produced by The Public Theater, and plays on its stage at 425 Lafayette St., New York, New York through November 27, 2022.

[Overview – After a pandemic pause, the American Theatre Critics Association resuscitated its annual fall conference in New York City in November 2022. It represented an opportunity for theater critics to share new insights into what is happening in the theater world nationwide; to renew acquaintances; and to catch a few plays in the heart of the theater universe. Karin, my wife+editor, and I were fortunate enough to attend four plays in diverse theater categories. They are “A Delicate Balance” (Off or Off-Off Broadway classic drama),”Where We Belong” (Off Broadway world premiere solo performance), “Kinky Boots” (Off Broadway musical revival), and “Kimberly Akimbo” (new Broadway musical moved from Off Broadway). Incidentally, the definition of the category Broadway refers to size of house, specifically capacity of 500 seats or more. 100 to 499 seats is classified as Off Broadway, and smaller is Off-Off Broadway.]

“A Delicate Balance”

This Pulitzer Prize winning play written by the great Edward Albee tells the story of an upper-class couple stressed by the pressure of disruptive house guests. First, the alcoholic Claire (played by an acerbic Carmen M. Herlihy), who is sister of the wife, Agnes, alit. Claire had no other place to turn and has long been a burr under the saddle of her hosting sister Agnes (portrayed with eloquent and resentful reserve by Mia Katigbak). Agnes’s husband, the easygoing Tobias actually finds Claire a comfortable diversion from his austere wife. Then, the couple’s best friends, who have suffered from an inexplicable psychological fear, have sought a refuge with Agnes and Tobias. Finally, their boomerang daughter returns home after separating from her fourth husband.

The central antagonist is Claire, the resented guest, and her lilting sardonic humor prevents the depression from sinking to the level of Albee’s own “Who’s Afraid of Virginia Woolf?” or Eugene O’Neill’s greatest plays. The somewhat farcical treatment of events also provides relief. But the playwright’s view of relationships, whether of family or friend, seems quite grim. Is all of our togetherness obligatory or forced or driven by ulterior motives? Claire is a leech who does nothing to ingratiate herself to Agnes. When Edna and Harry show up uninvited, their sense of entitlement as closest friends extends to moving in for an indeterminant period. What’s more, when the host couple’s daughter, Julia, returns home, they not only insist that they stay in her room, but they treat her with parental authority, causing the already put-upon Julia to turn furious. The delicate balance of Agnes and Tobias’s own fragile relationship is further upset by these intrusions. Must they favor family over friends or vice versa? Is there any way they can re-establish agency and their own peace?

Through this all, characters are faced with establishing priorities in relationships, but sadly, the playwright’s pessimism leaves virtually none unsullied by self-interest, as opposed to unselfish generosity. Although much of the context of the narrative fixes on social class and dates the action (dressiness, formalities of speech and actions, cocktails), the friction of the issues remains relevant today, and the underlying message is chilling

The distinctive feature of this production is that it employs an all-Asian cast, something that we might more likely expect to be presented in the Bay Area. The most remarkable aspect of this casting is that there is nothing remarkable. Nothing at all seems unusual about these characters being performed by Asian actors. And the performers act with great conviction. The only issue of note is that while Katigbak probably possesses the greatest gravitas among the actors, her weaker vocal projection makes it difficult to hear her at times.

Another point of interest is the set design, as a proscenium arch theater has been turned into an in-the-round concept with audience on two sides, creating an intimacy that suits the play well – effectively turning an Off Broadway theater temporarily into Off-Off. The staging, while conventional in appearance, is quite creative with the stage raised above an apron of books and drinking glasses in separate rows (drinking cocktails is a constant pastime in the household). A huge staircase separates the characters’ intimate lives from their together lives.

Director Jack Cummings III has brilliantly realized the clash between the gracious externalities of elegant living with the hellish internalities that outsiders may never see. This is a play that always justifies revival because the underlying universal issues will never go away.

“A Delicate Balance” by Edward Albee is produced by Transport Group and plays at Connelly Theater, 220 East 4th St., New York, New York through November 19, 2022.

Murder!  Mystery!  Mayhem! are the order of the day (er – night) as Center Rep takes on the classic trapped-in-a-scary-mansion who-dunnit?  Did the butler do it?  In a play that relies on style rather than gravitas, Director Nancy Carlin pulls all the right strings to make for a fluffy and entertaining ninety minutes.

The premise of “Clue” consists of the genre standard.  Several characters unknown to one another are invited to a gathering at Boddy Mansion by the mysterious Mr. Boddy.  Guests are identified by color-coded monikers rather than their real names to protect their identities. One common connection is that they are all being blackmailed, but only Miss Scarlett, who runs an escort service, will admit it.  Guests are locked in, and murders occur.   The challenge is to determine who is (are) responsible for them.

The success of the narrative depends first on the cleverness of the mystery.  To enliven matters, there is not one central thread, but multiple murders with various presumed motives, so the plot is suitably complicated with many twists and turns.  Evidence will suggest plausible explanations for some of the killings, but they may be red herrings.  To add socio-political heft to the proceedings, the mystery takes place in the Washington, D.C. area, with the House Un-American Activities Committee investigations as a backdrop, but this aspect is not properly developed in the story.

The other requisite is humor, and it flourishes.  The overall tone is farcical, with considerable physical comedy ranging from characters floundering about to corpses being propped up to seem overindulged rather than dead.  Of course, the invisible host wouldn’t be styled as Boddy if there weren’t bountiful opportunities for plays on words with the name. There are plenty, as bodies keep falling.  Each character has odd quirks.  Brady Morales-Woolery deftly portrays Boddy’s butler, Wadsworth, the central figure and orchestrator of activities or herder of cats.  A variant of John Cleese in “Fawlty Towers,” he’s in control – except when he’s not.

Perhaps the funniest character is Colonel Mustard, played in amusing dimwitted fashion by Dorian Lockett.  The Colonel constantly interjects eye-rolling non sequiturs and admits that when he doesn’t get things that he is “not very good at nuance.”  He and Wadsworth share a set piece reminiscent of Abbott and Costello’s “Who’s on first,” built around the Colonel’s wanting to know if there’s another body (Boddy?) in the house and getting more confused with each of Wadsworth’s ambiguous responses.

All principal characters are well-drawn, each with their own amusing schtick that provides the little filler laughs.  Sarah Mitchell as Miss Scarlett shakes her booty; Wilma Bonet as Mrs. Peacock shrieks; and Keiko Shimosato Carreiro sulks and glowers.  Overall, the cast is up to the task with exaggerated gestures and good timing.  Most of the gags prompt laughter in the right places.

Repetition is used effectively to bring laughs to several situations.  The assembled often move en masse from one room to another (but ending up in the same space on the stage), so they enact galumphing slow-motion movement on a dimmed stage to arrive at their destination.  Otherwise, various characters, one-at-a-time, provide conflicting scenarios of what has transpired.  After each tale, characters rewind, lurching backward to return to their previous positions.  Even though the audience comes to expect the device, it works successfully several times.  Finally, because matters have become so convoluted, Wadsworth gives a full review of everything that has come before, and as unlikely as it would seem, the recitation plays for laughs.

This type of comedy also relies heavily on staging to enhance effects.  Kelly James Tighe’s single-set stage design transports the audience to different venues within the house by the use of three large set elements that revolve, exposing different rooms, albeit in the same graytone colors and pattern.  Cliff Caruthers’s soundtrack is almost constantly present and includes an abundance of atmospherics like ominous music and crackling thunder to create an eerie sensation.  Similarly, Jennifer Fok’s lighting creates contrast to amplify the sense of foreboding.

“Clue” is written by Sandy Rustin; from the screenplay “Clue” by Jonathan Lynn; based on the Hasbro board game of the same name; is produced by Center Repertory Company; and plays at Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek, CA through November 20, 2022.