by Joanne Engelhardt

Palo Alto Players’ costume designer, Andy Lechuga, deserves top billing for swathing “The DaVinci Code’s” “movement ensemble” with such flexible, form-fitting costumes that the actors wearing them are able to sway, bend and twirl with precision.

For this reviewer, at least, their performances are the highlight of a production that is burdened with an adaptation that is convoluted, confusing and at times, bordering on ridiculousness. That’s unfortunate because it’s likely many audience members have either read Dan Brown’s 2003 book which was a huge best seller, or they saw the 2006 movie that had Tom Hanks in the lead role, and may arrive with high expectations.

Watching this adaptation is at times tedious and at other times incomprehensible. Many theatergoers don’t know much (if anything) about the Fibonacci sequence, a cryptex, the Pyramide Inversee and other “clues” that help the lead characters decipher long-unknown religious secrets.

Happily, there are several actors who do their best not to only make their characters come alive but also to attempt to explain the plot as much as their dialogue allows.  As the highly regarded American symbologist, Robert Langdon, Christian Vaughn-Munck seems earnest and dedicated to solving the ancient symbols and helping the young French cryptologist Sophie Neveu (an intense Alli Gamlen) find out who killed her grandfather.

Brandon Dean makes an impression as Silas, supposedly a religious priest who ends up killing a nun living at a church.  Monica Cappuccino holds the audience’s interest as the nun, Sister Sandrine, as well as other roles including a very droll and huffy church volunteer.

Then there’s the character of Remy, played by George Alexander K. At times he moves like a monkey, hoping around on all fours, then standing up and walking around normally. It seems curious, but obviously it’s what the director wanted.

As Sir Leigh Teabing, David Boyle is perhaps a tad over-the-top in a role that requires more nuance.

Another limitation of this production is the proliferation of short scenes, especially in Act 2. They’re in Paris at the Louve, then they’re in London, first at the Temple Church, then Westminister Abbey to visit Isaac Newton’s tomb, and finally to Rosslyn Chapel in Scotland. It’s a bit like playing “Where’s Waldo?”

To be fair to PAP,  the disappointment of this production is likely not so much the fault of the actors or director Jennifer Copaken.  It’s simply that this kind of literary mystery novel is difficult to translate to the stage.

The  Da Vinci Code plays at the Lucie Stern Community Center in Palo Alto through February 1, 2026.

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Rating: ** (For an explanation of TheatreStorm’s rating system, click here.)
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“The Da Vinci Code” adapted by Rachel Wagstaff and Duncan Abel,. based on the novel by  Dan Brown. Director: Jennifer Copaken. Assistant Director: Sydney Harmon. Composer: Anton Sabirianov. Scenic Design: Patrick Klein. Costum Edesign: Andy Lechuga; Sound: Gregorio Perez. Lighting: Edward Hunter. Projections: Tasi Alabastro. Props/technical direct/master carpenter: Kevin Davies. Dialect Coach: Ariana Khan. Fight choreographer: Bessie Zolno. 

Cast

Robert Langdon: Christian Vaughn-Monk. Jacques Sauniere. Silas: Brandon Dean. Bezu Fache: Dane Lentz. Collette: Setareh Greenwood. Sophie Neveu: Alli Gamlen. Sister Sandrine/Marie/Church Volunteer: Monica Cappuccini. Philip & Others: Keith Brown. Vernet/Docent: Sarah Benjamin. Sir Leigh Teabing: David Boyll. Remy/Fight Captain: George Benjamin K. Movement Ensemble: Actor 1:Hannah Oviatt. Actor 2:  Arjun Sheth. Understudies: Langdon/Teabing/Fache: Keith Brown. Sophie: Sydney Harmon.