Lydia Weeks makes a strong debut on the TKD stage in the role of Mollie Ralston, especially capitalizing on a several moments of unexpectedly heightened tension in the second act that give her a moment to display her dramatic chops. But something about Mollie’s story doesn’t add up! Weeks is well paired with TKD veteran David Snow (Giles Ralston) who provides a surefooted and reliable anchor for the production as the dutiful and protective husband. But there’s no denying Giles was wearing the same outfit as the murderer! Casey Cain a UT senior explodes onto the stage with manic energy in the role of Christopher Wren. Cain swings for the fences in every scene and manages to maintain his character’s trademark giddy exuberance throughout. But wouldn’t the murder be really enjoying themselves? Knoxville theatre and screen fixture Steven Trigg offers solid support in the role of Major Metcalf. Trigg is a pro who knows how to share the scene, and he does an admirable amount of detailed character work while watching and listening to his scene partners. But wouldn’t the murderer mostly keep his mouth shut? Sandy Failing, marks her TKD debut as Mrs. Boyle. Failing is well cast as the highly critical and exacting battleaxe, and her abuse of the Ralstons and the other guests is fun to watch. But Mrs. Boyle definitely knows more than she should! TKD board member Courtney Woolard makes some very effective character choices as Ms. Casewell in a role that falls outside the actress' typical fare, but which she executes admirably. Yet Casewell’s past is more than a little suspicious! Lee Wittenberg delights as the mysterious Mr. Paravicini. Wittenberg’s classic comedic timing and technique serve to make his performance the most entertaining of the evening. But Paravicini himself admits his circumstances are highly suspect! Rounding out the ensemble is Adam Crandall as Sergeant Trotter who arrives at first to question and then protect the hotel guests. Crandall’s effective presentation as the crisp and hard-boiled officer is clearly crafted, though he spends most of his stage time taking notes and gathering information about the other characters.
Like any classic murder mystery, the fun lies in the actors’ larger than life characterizations (all of which I found entertaining) and trying to solve the case before the end of the play (which I could not). Director Rebecca Gomez does a fine job keeping the sightlines clear and the stage traffic flowing (no small feat when the whole ensemble appears on stage together.) Her set design for the show is a believable and well rendered Monkswell Manor, complete with several nice details that serve to heighten the mood. I do believe that the show’s pacing could be improved a bit. The first half of act one is a delightful parade of new faces and characters, but things slow down with the arrival of the Sergeant as he begins his interrogations, and some actors attempt to infuse additional drama with over-long pauses. A solid clip returns at the top of act two, but once again begins to sag mostly under the weight imposed by the script’s call for a great deal of backstory, though it does pick back up again during the big reveal.
