Theater Works Clue: The Musical
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 5/12/00
(out of )We've had musicals based on unfinished mystery novels, '70s sitcoms, and cheesy '50s Sci-Fi movies. Why not one based on a popular board game? In the very least, it's guaranteed to be clever. Such were the probable thoughts of the creators of Clue: The Musical, which brings to life the memorable characters of Mr. Boddy, Mrs. Peacock, Colonel Mustard, Professor Plum and the others, and uses the convention of card-choosing (by audience members) to set the plot of the musical in motion. While it is definitely a clever idea with much potential, its execution is less than satisfying. It has lyrics too quick-witted for their own good, a penchant for textual rhyming that gets annoying very quickly, and absolutely forgettable, generic music. Despite these and other problems, Director Gregory Jaye has mounted a very amusing production with a few impressive performances and a set that perfectly fits the material. While it never lives up to its clever potential, it is still cute enough to be engaging.
If you haven't heard of this musical, or any of the songs therein, there's a reason. This was never a critical success, and not a single number can be removed to stand on its own (they can barely stand on their own with the show supporting them). It definitely has some belly laughs, and uses its self-awareness of being a board game to its advantage. You start with Mr. Boddy, a character just dying to be killed. Add six color-coded suspects more than willing to help him to his demise, six rooms where the grisly task could take place, and six commonplace items that will aid in the dirty deed. It could be Miss Scarlet in the Conservatory with a Wrench, or Mr. Green in the Kitchen with a Knife. Three audience members pick the cards that are placed in the folder that decides the ultimate ending of 261 possibilities. For theatrical reasons, a detective is added to the mix to help divine the clues that help the audience make their final choices.
Mr. Jaye has wisely over-directed this production as much as possible. He has avoided such pitfalls as characterization by getting his actors to overplay as much as possible and keeping the show running at a fast-pace. Without a chance to notice the thin plot or dwell on the lame songs, this becomes a purely escapist evening. When you throw in Rachel Cohen's frenetic choreography, Christie McKibben's well-modulated musical direction, and the work of several impressive cast members, an enjoyable evening can be had by all.
The top cast member of the solid group is narrator/victim Mr. Boddy, commandingly played by Damon Bolling. His great voice and stage presence, along with his stylized presentation, make him a perfect center of the show. At his level is Johanna Carlisle as the maid, Mrs. White. Despite a wig that covers her face through most of the show, her great cockney accent, half-muttered asides, and prickly attitude accentuate her powerful voice. Nearly as great are Beau Heckman as intellectual Professor Plum, and Julie Cotton as Miss Scarlet. Mr. Heckman perfectly plays the ineffectual intellectual, and cowers through the show convincingly. Ms. Cotton is sexy and conniving as the other woman of the house.
Solid performances come from Jesse Berger as the money-hungry Mr. Green, and Lori Northcutt as the textually weak Detective. Both of their performances seem a bit hesitant. Jean Sidden is not strong in presentation of the black widow Mrs. Peacock, with vocal and character presentations wavering. The weakest member of the cast, both in song and in performance, is Wayne Kindall as Colonel Mustard, who misses his chance to shine during his duet with Ms. Sidden.
Mr. Jaye's set is as clever as the show requires, making a three-dimensional version of the board, complete with surprising secret doors and passages. Margret Emerson's costumes fit the literal cardboard characters perfectly, while James Clotfelter's lighting and Kevin Cleere's sound are serviceable, though their run crew made mistakes. With a few notable exceptions, Stephan Miller's hair and makeup design are acceptable.
The convention of having the audience figure out the ending works very well, though the clues get a bit obsequious. On the night I attended, only two people admitted that they got all three choices correct. For the record, I got two of three. There's little here to digest, but it definitely satisfies the sweet tooth of escapism.
Production Details:
Clue: The Musical Book by Peter
DePietro, Music by Galen Blum, Wayne Barker,
Vinnie Martucci, and Lyrics by Tom Chiodo
Theater Works, Peoria
(623) 815-7930
May 5th - May 28th, 2000