by Charlsie-Kern Kruger

“Arsenic and Old Lace” is the very definition of what is sometimes called an “old chestnut” of the American  theatre. These are plays that were celebrated in their day, possessed of plenty of period charm, but rarely revived unless as exercises in nostalgia. “Arsenic and Old Lace” was a huge hit when it debuted on Broadway in the 1940s, went on to success as a film starring Cary Grant in one of his funniest performances, and then became a staple of community and high school theaters everywhere.

The hilarious idea of two murdering spinsters, played for laughs, is pretty much actor proof. The special joy of “Arsenic and Old Lace” is in its sly sendup of the theatre world: “Mortimer” the Brewster’s presumably normal nephew, is a drama critic who hates the theatre. The goofy local police officer is a wannabe playwright so enamoured with his work that he recites it to Mortimer while the latter is bound and gagged—literally, a captive audience. Every characer is theatrically over-the-top, acting out somebody whom they are not: sweet old Abby and Martha are actually murderesses. Mortimer’s fiance, the Parson’s daughter, is a budding nymphomaniac. Mortimer’s long lost brother, the mad Jonathan, has been cut up by his sidekick, Dr. Einstein, in a botched plastic surgery that leaves him looking like Boris Karloff playing Frankenstein’s monster. Dr. Einstein, of course, is not the celebrated physicist.

“Arsenic and Old Lace” is a reliable laugh factory, and it is no surprise when any theatre company decides to give it a run.

What is surprising is Director Matt M. Morrow’s decision to present it as her debut production in the role of Center Rep’s new artistic director. Anybody would think this would be a completely safe, risk free, decision for a new artistic director in the conservative community of Walnut Creek. But Morrow has a trick or two up her sleeves.

Recognizing that “Arsenic and Old Lace” is as much a spoof of theatrical convention, full of insider theater jokes, as it is a dark comedy, she adapts it as a vehicle for inside theater jokes appropriate to the theater of the 21st Century. She decided to “queer” this old chestnut, incorporating drag queens, gender variant casting across the boards, wildly outrageous special effects, and off-the-wall humor reminescent of British pantomime.

It is a brilliant idea. It is likely that Walnut Creek audiences might not be ready for a lot of queer and gender bending theater that is becoming the norm in the 21st century. But Morrow dives headfirst into that controversy by presenting queerness as wonderful silliness, perfectly safe, entirely non-threatening, just good old fashioned fun. But it is more than that: she makes “Arsenic and Old Lace” which has always been both a spoof and a celebration of theatre generally, into a celebration of the new queer theatre that has pretty much taken over contemporary theater in America.

“Nothing scary here, folks,” is the message. “It’s all make believe murderesses and corny gags.”  And, hey, this is theatre today, and it is fun, and it is worth celebrating.

The result is a an utter delight.

Danny Schie and Michael Patrick Gaffney pull out all the stops as Martha and Abby Brewster. They give performances conceived in drag heaven, as campy as camp can get. For my money, though, the evening is practically stolen by the hilarious DeAnna Driscoll in a hoot of a cross gender performance as the terrifying Jonathan Brewster. Except, she is not terrifying. Diminutive and squeaky, her Jonathan is about as scary as Kermit the Frog. In spite of the constant references to a botched plastic surgery, this Jonathan looks nothing at all like the over 6 foot tall Boris Karloff as Frankenstein’s monster. But she’s scary enough when she decides to subject her brother Mortimer to “the Melbourne method” of execution. Is there a point? Yes, there is. Casting across gender lines isn’t a matter of being politically correct, or forcing new viewpoints down the throats of unwilling theatergoers: it’s simply good sense and great fun to see fine actors taking on unexpected roles and slaying ’em. Relax folks, it’s all good. This simpel truth is brought home by Catherine Luedtke’s turn as Teddy Brewster, the brother who belives he’s actually Teddy Roosevelt. Luedtke has fun with it, and so do we. Queer doesn’t have to be threatening; it can be fun. So what’s wrong with acceptance, anyway? Just enjoy the show.

Making all this go down even more easily are amazing set designs by Yi-Chien Lee, lighting by Kurt Landisman, costumes by Brooke Kesler, and wigs and makeup by Emily Haynes. It’s all deliciously haunting and campy, inspired by the Hammer horror movies of the 1950s. Lightning flashes, tableaus are struck, everything moves fast and furious, and the laughs are continuous.

So look, it ain’t Hamlet, but it’s hammy enough, believe me, for six holiday dinners. And Director Matt M. Morrow has something to say about queerness that deserves our attention.

Go, enjoy yourself, laugh a lot, think a little, and maybe get a bit enlightened about the value of queer theatre.

“Arsenic and Old Lace” continues at the Marget Lesher Theater in Walnut Creek through September 29. For further information click here.

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Rating: *** (For an explanation of TheatreStorm’s rating system, click here.)
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“Arsenic and Old Lace” by Joseph Kesselring. Diretor: Matt M. Morrow. Scenic Designer: Yi-Chien Lee. Costume Designer: Brooke Kesler. Light Designer: Kurt Landisman. Sound Designer: James Ard. Wig & Make Up Designer: Emily Haynes. Props Designer: Alyssa Tyron.

Cast:

Offier Brophy: Elio Amador. Brenda Arellano: Officer Klein. Tanika Baptiste: Lieutenant Rooney. DeAnna Driscoll: Jonathan Brewster. Michael Patrick Gaffney: Martha Brewster. Carla Gallardo: Elaine Harper. Kalti Jonsson: Dr. Harper/Mr. Gibbs/Mr. Witherspoon. Officer O’Hara: Addam Ledamyen. Teddy Brewster: Catherine Leudtke. Abby Brewster: Danny Scheie. Mortimer Brewster: Cody Sloan. Dr. Einstein: Skyler Sullivan.