Isaac Wade and John Allee in Charles Ludlam's The Mystery of Irma Vep — A Penny Dreadful at Actors Co-op Crossley Theatre. (Photo by Matthew Gilmore)
Isaac Wade and John Allee in Charles Ludlam’s The Mystery of Irma Vep — A Penny Dreadful at Actors Co-op Crossley Theatre. (Photo by Matthew Gilmore)

The Mystery of Irma Vep – A Penny Dreadful

Reviewed by Terry Morgan
Actors Co-op Theatre Company
Through November 10

In today’s parlous theatrical economy, more must be done with less, which explains the proliferation of one-person shows on some of our larger stages. This is understandable in a pecuniary sense, if regrettable in an aesthetic one — one misses the dramatic interplay between actors. A nice compromise is the “two-hander,” in which two performers make up the entire cast. Charles Ludlam’s The Mystery of Irma Vep — A Penny Dreadful is an excellent example of this theatrical form. It’s a showcase for a pair of accomplished actors to demonstrate their skills in multiple roles. The new revival at Actors Co-op features two strong performers; unfortunately, static direction takes the wind out of the production’s sails.

The story takes place at British manor house “Mandacrest,” in a time set “between the wars,” where Lord Edgar (John Allee) lives with his new wife, Lady Enid (Isaac Wade). They’re tended to by prickly housekeeper Jane (Allee) and groundskeeper Nicodemus (Wade). Edgar is still mourning his late wife Irma, who perished in mysterious circumstances, and Enid worries about her husband’s obsession and the frequent appearances of wolves on the estate grounds. The more deeply Enid looks into the unnatural demise of Irma, the closer natural and supernatural forces come to devising Enid’s own death.

As Lord Edgar, Allee is appropriately tormented, and he excels as the snappish Jane, who alternately flirts with Nicodemus and slaps him down (“How dare you speak to me in such a manner?! I’ve had education!”). Wade, reveling in histrionic reactions and gestures, is wonderfully over the top as Enid (who is supposed to be a retired actress). He especially shines in a sequence in which Enid’s singing voice is revealed, at hilarious length, to be less than lovely.

Ludlam’s play is a classic, a tribute to old Universal Studios monster movies and gothic melodramas, and it retains all of the quick wit and affection for the genres it satirizes. Allee and Wade do their best and are generally entertaining. But a successful production of a play like this requires rapid pacing, to accommodate all the quick costume changes required. Unfortunately, as directed by Carla Cackowski, this doesn’t happen; instead, the action stops and starts when it should be fleet throughout. Jessa Orr’s set is also somewhat lackluster, although David B. Marling’s sound is consistently amusing, especially the very specific effect of Nicodemus screwing his wooden leg into its socket.

 

Actors Co-op Crossley Theatre, 1760 N. Gower St., Hollywood; Fri.-Sat., 8 p.m.; Sat., 10/12 & 10/19, 2:30 p.m.; Sun., 2:30 p.m.; through Nov. 10. www.ActorsCo-op.org. Running time: approximately two hours and five minutes, with one intermission.